AGOSTINO, commonly known under the name of the Abbate Steffani, a celebrated composer of vocal music, was born in 1655, at the small town of Castelfranco, in the Venetian States. The fine quality of his voice obtained for him early employment in some of the churches of Venice. There, a German nobleman hearing him sing, was so delighted with the youth's musical talent, that he offered to take him to Munich and provide for him. Steffani accompanied his German patron to Munich, where he was placed under the famous Roman composer Giuseppe Ercole Ber- nabei, then chapel-master in the service of the Bavarian court. From that master, one of a celebrated musical family, Steffani rapidly acquired skill in writing for voices; an art in which the Roman school was greatly distinguished. Having early entered into holy orders, he was, in due time, made abbot of Lipsing, and apostolic protonotary; and, finally, Bishop of Spiga in Spanish America. These appointments he owed partly to his musical talents, partly to his diplomatic services. Besides composing several masses for the Elector of Bavaria's chapel, and motets for three voices and figured bass, he wrote the music of eleven operas, of which Servio Tullio was reckoned the finest. This opera induced the Elector of Brunswick to offer the place of chapel-master to Steffani, which he accepted. His new patron became afterwards Elector of Hanover. Steffani composed also sonatas for two violins, viola, and figured bass (basso continuo). In 1698 he published a small work in Italian, on The Certainty of the Principles of Music, and its estimation among the Ancients. His earliest publication was a collection of Psalms for eight voices, with a figured organ-bass. These appeared in 1674, when Steffani was only nineteen years old, and are masterly compositions. Padre Martini published one of them in the second part of his Saggio di Contrappunto, pp. 311-315. Padre Martini (ibid.) writes in the highest terms of the Abate Steffani's compositions, and particularly mentions his duets for two voices, soprano and contralto, with figured bass, printed in 1683: "Held," says Martini, "in great esteem by all professors of music, and in which are wonderfully displayed his deep knowledge, his great practical skill, and especially in double counterpoint of all kinds." These celebrated duets seem to have been studied as models by Clari, the author of charming works of the same kind, as well as of trios for three voices with figured bass. Handel gained much by studying the compositions of Steffani, Clari, and Scarlatti. In 1710, Steffani left his places of chapel-master and music-director at Hanover; pointing out Handel as his successor. After a long absence from Italy, he returned thither in 1729, and passed the winter at Rome in the society of Cardinal Ottoboni, that great patron of musical talent. Returning to Hanover, he was soon afterwards obliged to go to Frankfort, where he fell sick, and died in a few days, in the year 1730, aged seventy-five.

Unfortunately, many of his works, composed for the court of Brunswick and Hanover, are now unknown. Among these were several oratorios, of which even the titles are forgotten. Might not some of these valuable manuscripts be even now recovered by careful research? (G. F. G.)