William George Cusins

“ The appointment then of the younger Bernabei to the Munich Kapellmeistership must have decided him at once to leave Munich, and from Venice at the end of 1688 or early in 1689 he made his way to Hanover, there to remain and become Kapellmeister, and a good deal besides.
If Munich was a pleasant place for a musician of genius, Hanover was not far behind it. It might not have the same glorious musical history; but Steffani found there congenial society, and singers and players of great excellence. ”

“ At the British Museum there is likewise a glorious 'Confitebor' for 3 voices with violins and bass in E minor, said to be of the year 1709, with a splendid bass solo ('Sanctum et terribile') a species of accompanied recitative; the whole work being full of exquisite beauties. No notice of this piece has yet appeared in any life of Steffani's. In the Sacred Harmonic Society's library there is a book of 'XII Motteta par celeberrimum Abbatem Stephanum' for 3 voices with solos and recitatives, but it is only a vocal score, without the symphonies and accompaniments which all undoubtedly had. ”

“ The Emperor as a reward determined, in 1692, to create a 9th Elector, and raise the younger branch of the house of Brunswick-Lüneburg to the Electorate. This was generally deemed just, but many difficulties stood in the way, and during four years the position of Ernst August as Elector became more and more difficult, so that, in 1696, it was determined to send an Envoy Extraordinaire round to the various German Courts to smooth matters over, and Ernst August and Leibnitz could find no one among the court personnel in Hanover so well fitted for the post as Abbate Steffani. ”

“ The Düsseldorf opera, 'Tassilone, Tragedia in 5 Atti,' is only represented at Buckingham Palace by a vocal score; the overture and all instrumental effects are wanting, only the bass being given to the different pieces; but the singers' names, all Italian, are mentioned. The music is mostly excellent. The second act commences with a charming chorus alternating with dances. The movements of both these operas of 1709 are all long, well developed, and broad, and our composer has not failed to march with the times. ”

“ There are delightful contrapuntal devices in the scoring, all the wind instruments have obbligato passages, one air a vigorous fagotto obbligato throughout. Chrysander states (Life of Handel) that the opera company in Hanover was divided into two camps, an instrumental (French) and a vocal (Italian) , both however working harmoniously. The singers must have been of the best if they could execute these difficult arias; the band too must have been excellent. ”

“ Chrysander speaks of an opera called 'Il zelo di Leonato' in 1691, but it is doubtful if Steffani composed the music. 'Le Rivali concordi' appeared in 1692, written again by Mauro, and afterwards performed at Hamburg. We now come to 'La libertà contenta' (Mauro) in 1693, in which evidence is given of great further progress, for nothing of such importance had hitherto come from his pen. It is full of beauties of all kinds—a fine overture, fine counterpoint, beautiful melodies, very difficult arias, and powerful recitatives. ”

“ It is needless to say that he upholds the dignity of the art in all its bearings.—In 1695 we have the opera 'I trionfi del Fato, o le glorie d'Enea,' another charming work. It found its way to Hamburg in 1699. An opera in 1 act 'Baccanali,' was also composed this year for the small theatre in Hanover. It is a work of great beauty, and contains the first notes of Handel's 'Let the bright Seraphim.'
For the Carnival of 1696 the grand opera of 'Briseide' was composed, the words by Palmieri, Comes Italus. ”

“ We may add that it contains the first ideas of Handel's 'O ruddier than the cherry' and 'How beautiful.' These were the golden days of the opera in Hanover.
A change was now about to take place in Steffani's circumstances. He was no longer to be the active composer of operas, and Kapellmeister, but from this time forth was destined to devote his time chiefly to diplomacy, though he never forsook the art of which he was so great an ornament. Ernst August had sent 5000 men to assist the Emperor against the Turks, and some 8000 against the French ”

“ In one of the movements there is a very bold passage in thirds in contrary motion. The remaining piece, not dated, is a 'Beatus vir' for S.S.B., with 2 violins and a bass, not quite equal to the other compositions.
In Rome he appears to have had a long illness, as he received 50 crowns extra for expenses incurred while laid up. This illness, and a journey to Venice, for which he received a sum of 665 fl. 11 kr. in three instalments, render it improbable that he found time to take lessons from Ercole Bernabei in Rome, for both Steffani and he were in Munich in the summer of 1674. ”

“ The opera given at Hanover is called 'Enea, or Amor vien dal destine,' in the large copy, but in the conducting score 'Il Turno'—in 3 acts, and is a very fine work; again an advance on any previous effort. The second movement of the overture has a masterly chorus sung on the stage before the rise of the curtain, foreshadowing the grand choruses which Handel afterwards brought forward in his oratorios ”

“ About the year 1712 the new church in Brunswick was so far ready that the Pope sent Bishop Steffani, Vicario apostolico delle missione Settentrionali, to consecrate the building and perform the opening service. Two years later the Elector of Hanover became King of England, but Steffani did not accompany him to London, indeed we do not meet with his name again till 1724, when the Academy of Ancient Music in London unanimously elected him its Hon. President for life. This Academy, of which Handel was a great supporter, had been instituted by Dr. ”

“ In another book in the same library however we find two of them complete. In their mutilated form it is not always easy to judge of the value of these motets, but some movements are certainly very fine, especially the last of no. ”