Grove's dictionary of music and musicians

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240 SCAEIA
SCARLATTI
Miuikalischer Zeitvertrelber, das ist Allerley seltzame lecherllche
Vapores und Huiuores, etc., J^Urnberg, 1609. ContalnB Bongs for
4, 5, 6, 7 and 8 voices, two compositions are by Bcandello.
Triumphi dl DorotJiea . . . das iat geistllches musicalisches
Triumph Crantzlein . . . durch M. Ainckhardum. Leipzig, 1619.
Contains 'Ich weis mir ' for flve voices.
Engelmann's Quodlibetum novum latlnum quinque Tocum.
Leipzig, 1620. Compositions by Scandello in Fart I,
Cantlonale sacrum, das 1st, Geistliclie Lieder mlt 3, 4, 5 Oder mehr
Stlmmen unterschiedllcher Autorum. Gotha, 1646.48, 3 volumes.
One composition by Scandello. also in the edition of 1651'55-67.
Job. 0. Ebeling's edition of P. Gerhard! gelstUche Andachten,
1667.
'
With Scandello'B melody to Lobet den Hen-n.'
A. Neithardt, Sammlung rellgiOser Geslinge, vil. iNo, 11. ' Laaset
die Kindelein ' for five voices.
Franz Commer, Geistliche u. veltliche Lieder. 1^0, Nob. 11, 12.
* Ich ruf zu dir and ' ' Gelobet seist du,' both for five voices ; other
motets in Miisica Sacra, vols. 13, 19, and 20.
Franz WUllner, Chorllbuugen der Htlnchener Musikachtde, 1893,
Nob. 63, 99. *Auf dich trau ich' and 'Mlt Lieb bin ich,' both for
four voices.
MSS. In Augsburg Library, No. 21, Lib, I. Sacrarum missarum
sex vocum variorum authorum hand TUlgarium, 1595. MlBsa super,
Maria Magdalena. (Schletterer'B Catalogue.) Basle Univeraitiits-
Bibllothek, No, 33, Magnificat VIII. tonl, in tablature, date about
1585. (Blchter's Catalogue.) Berlin. KOnigl. Blbliothek, many
sacred songs in score (Eitner).
BresUu Stadtbibliothek, So. 2 (date 16731 in score, and Ho, B in
separate part-books, '.Alleluia noli iiere' for seven voices. No. 6
(date 1567) and 2Jo. 11 (date 1583) 'Noe, noe exnltemus' for eight
voices. Both in Thes. mus. 1564. No. 11 and No. 14 (date about
IBOO). 'Bin Kindelein so ISbelich' for six voices, and 'Gelobet
'
selBt du ' for five voices, both from Nawe sch. auss. geistl." 1575.
No. 10, five part-books, nine Italian madrigals from Scandello'B
Becond book, 1577. No. 94, six folio part-books, late 16th century,
Missae super: Auecque vous; lo mi son giovenetta ; Adaequales;
all for five voices, and MiBsae super : Maria Magdalena ; An premier
jour ; pasBi sparai, all for six voices. The six masses published
at Munich in 1576, see above. A MS. copy of the mass ' passi
sparsi' is also in the Vienna Hofbibliothek, date about 1560.
(Bohu's Catdtague.)
Brieg Gymnasial-Blbliothek. No. 36, six part-books, date 1692,
' Lobet den Herm ' for four voices (see 1568 publication). In Nob.
40, 51, 52, imperfect sets of part-books,
'
Ach edler, Wein' for five
voices BchOns ; ' lied ' S'io canto,' and Se per * sentir ' (from Lib. i.
'
of Canzoni, 1572), all for four voices. (Kuhn'e Catalogue.)
Dresden Royal Library, No. 1270. Three motets for six TOices:
' '
Chrlstus dicit ad Thomani ' dated 1551. Hodie Christus natus
'
est,' 1551, and lilumiuare Jerusalem." (Kade's catalogue.)
Munich Royal Library, No. 34 (Mus. MS. 509) date 1602, Missa
super : O passi sparsi, and Misaa super : Au premier jour, both for
'
six voices. No. 207 (Mus. MS. 1801) Ich weis mir ' for five voices,
and Ach ' Gott wem soil ich's ' for four voices. No. 132 (Mus. MS.
1536) date 1583, an incomplete set of part-books ; two magnificats,
and two moteiiB for eight voices ; one motet for seven, and one for
six voices. (Maier's Catalogue.) Grimma Library MS. motets
written between 1593 and 1595, some for four and five voices by
Scandello.
Liegnitz Ritterakademie Bibl. MS. 19, many motets by Scandello.
Pima Stadtkirche 16th-century MS. Auf dich trau ich ' '
for four
TOices (from 1568 work). Another MB. with Dies sanctiftcatus for
* '
six voices.
Zwickau RatsBchulblbliothek. No. 39, date about 1600. in tablature,
'Mlt Lieb bin ich' for four voices (from 'Nawe imd lustige
Liedlein,' 1578). No. 678, date before 1580, five folio part-books
'
Nun kommt der Uelden Helh^nd ' for five voices. No. 679, incomplete
set of part-books, MlBsa super : Germania plange, for six voices.
No. 680, incomplete set of part-books,
*
Magnus Dominus' in two
movements (which was Included in Walther's Inventarium in
1554), and ' Allein zu dir,' both for six voices. (Vollhardt's Catalogue.)
0. S,
SCAKIA, Emil, born Sept. 18, 1840, at
Graz, Styria, studied at the Oonservatorium,
Vienna, under Gentiluomo, made his d^but at
Pesth as St. Bris in the 'Huguenots,' and
afterwards sang at Brunn and Frankfort. In
1862 he came to London for the purpose of
further study under Garcia, and sang at the
Crystal Palace, on April 5, and at a concert
given later by Franz Abt, who procured him
an engagement at Dessau. He next played at
Leipzig (1863-65) and from 1865 to 1872 at
Dresden. Among his best parts were Hercules
('Alceste'), Sarastro, Leporello, Caspar, Eocco,
Landgrave (' Tannhauser '), Pogner (' Meistersinger
') Burgomaster (' Czaar und Zimmermann
'),
Dulcamara, Geronimo (' II Matrimonio
segreto '), and Falstaff (Nicolai), in which last a
critic remarks that he made one of his greatest
successes . . . when he was at Dresden, and
made it in great measure by his really excellent
acting of the character. From 1872 to 1886 he
was engaged at Vienna, where he established
his reputation as a versatile singer and actor in
both baritone and bass parts, but best in the
latter, as his 'carefully deadened high notes form
so great a contrast to the vigorous notes of his
lower and middle register' (Hanslick). On
leave of absence he sang in the principal German
cities, in Italian opera in Eussia, etc. He sang
the part of Escamillo to the Carmen of Bertha
Ehnn, Oct. 23, 1875, when Bizet's opera was
first given outside France. Among his later
parts were Hans Sachs (' Meistersinger ')
Wotan
('Nibelungen')—for which character he was
originally selected by Wagner for Bayreuth,
and which he sang at Her Majesty's Theatre in
1 8 82, Micheli (' Wassertrager '),
Marcel, Bertram,
and (1879) Seneschal (' Jean de Paris '). Finest
of all was his Gumemanz in 'Parsifal,' which
he created at Bayreuth in 1882 ;
he sang it at
the concert -performance of the work in the
Albert Hall, London, in 1884. He became insane
in 1886, and died on July 22 of that year at
Blasewitz near Dresden. A. Neumann's Erinnerungen
an Richard Wcigner, 1907, gives many
amusing stories of him. A. c.
SCAELATTI, Alessandro, was born in
Sicily in 1659 or possibly in 1658, as may be
deduced from the statement of his age engraved
on his tombstone. It has generally been assumed
that his birthplace was Trapani, on the strength
of an alleged autograph score of his opera
'Pompeo,' which both Fetis and Florimo professed
to have seen while in the possession of
Gaspare Selvaggi of Naples. Selvaggi's library
was bought by the Marquis of Northampton,
and presented by him in 1843 to the British
Museum ; but no score of Pompeo ' ' is to be
found there now, nor is it included in the MS.
catalogue of the collection drawn up for the
The only known score of
donor at the time.
'
Pompeo ' is in the Eoyal Library at Brussels,
and formerly belonged to Fttis ; but it is not
autograph, and does not bear the inscription
mentioned. This inscription, by the way, is
given by Fetis as Musioa ' del Signor Alessandro
Scarlatti da Trapani,' and by Florimo as ' Pompeo
del Cav. Alessandro Scarlatti di Trapani.'
Florimo's version can hardly be accepted as
genuine, since
' Pompeo ' appeared in 1683,
while the composer did not receive the title of
Cavaliere until many years later. In the records
of the Arcadian Academy at Eome, Scarlatti is
described as a native of Palermo, but in view of
other known errors to be found in these records
the evidence of this entry cannot be regarded as
infallible. The official record of his birth or
baptism has hitherto eluded the most careful
research. The fact, however, that he was bom
in Sicily is proved conclusively by statements in
the printed libretti of his early operas, and in MS.
chronicles which record their performance, and
speak of the composerasaSicilian. Of his parentage
nothing is known, and it seems not improb-