Giuseppe Baldassare Sammartini ( Italian: Giuseppe Baldassare Sammartini , also Joseph, San Martini, San Martino, Martini, Martino; [5] January 6, 1695, Milan , Italy - November 1750, London , England ) - Italian composer and epochian of the epoch late baroque and early classicism . Most of his life spent at the court of Frederick, Prince of Wales in London .
Giuseppe Sammartini Giuseppe Sammartini | |
---|---|
Birth name | Giuseppe Baldassare Sammartini |
Date of Birth | |
Place of Birth | |
Date of death | |
Place of death | |
A country | |
Professions | , |
Instruments | |
Genres |
Content
Private life
Giuseppe Sammartini was born in Milan , in the family of French oboist Alexis St. Maarten, who Italianized his last name. Giuseppe and his younger brother, Giovanni Battista , who also later became a famous composer and oboist, learned music from his father [6] . In search of success, Giuseppe moved to Brussels , then to London. He lived all his life in London, having left him only twice: in February 1728 Sammartini visited Milan for the sake of Madalena's wedding [7] , and in July 1728 went to Brussels with his student Gaetano Parenti. [7] .
Artist
Sammartini was an exceptionally capable oboist, he could also play flute and recorder [7] . Around 1717, he played the oboe in the church of St. Celsus in Milan. In 1720 he entered the Milan Ducal Theater Teatro Regio Ducal . In London, he gained the glory of "the greatest [oboist] that the world has ever seen" [8] . Sammartini performed at Lincoln's Inn Fields , on other prestigious stages and in the opera orchestra at Her Majesty's Theater [7] . As an oboist, Giuseppe was incredibly successful and significantly raised the oboe level that existed in his time. He could make the oboe sound like a human voice. One of his most famous students was the Englishman Thomas Vincent [7] .
Composer
Sammartini possessed the theory of counterpoint and harmony, and because of this he became one of the most educated composers of his time. One of the first collections of his works were twelve sonatas for the trio , published in London by Walsh & Hare [7] . The possibilities of Sammartini the composer increased when in 1736 he entered the service of a music teacher for Prince of Wales Frederick and his wife Augustus . Sammartini taught them and their children until his death in 1750 [7] . As a music teacher, Sammartini wrote and dedicated many works to the family members of the prince. 12 sonatas op. 1 are dedicated to Frederick, 12 trio op. 3 - August. Sammartini was very attached to this family and wrote for them both complex musical cycles and simple melodies for the birthday of children.
Most of the chamber works of Sammartini were performed and reprinted during his lifetime. Nevertheless, many concerts and overtures were published only after his death, although later they received recognition even more than the works of other Italian composers, such as Corelli [7] .
Musical style
Most of the works of Sammartini are written in the late Baroque style , but include many elements of classicism [9] . As a composer, Sammartini was progressive and anticipated many trends in the future development of music [10] [11] , in particular, using musical forms with several themes. Large orchestral works often have four or five themes with slow transitions between them. Sammartini wrote primarily instrumental music, including many sonatas. Of course, among them were works for flute, recorder and oboe. Giuseppe Sammartini was the first in England to write a concerto for clavier , which made him an extremely influential composer of his time [7] [12] .
Works
- 24 sonatas for flute and bass,
- 30 trios for flutes or violins ,
- 24 Concert Grosso ,
- 4 keyboard concertos
- 1 concert for oboe,
- 16 overtures
- several sonatas for cello ,
- several duos for flute.
The most famous work by Giuseppe Sammartini is a concert for recorder in F major.
Notes
- ↑ 1 2 BNF ID : 2011 open data platform .
- ↑ Encyclopædia Britannica
- ↑ SNAC - 2010.
- ↑ German National Library , Berlin State Library , Bavarian State Library , etc. Record # 12854743X // General Regulatory Control (GND) - 2012—2016.
- ↑ Bathia Churgin.
- ↑ Bathia Churgin, Dictionary of Music and Musicians, Sv
- ↑ 1 2 3 4 5 6 7 8 9 Churgin, "Giuseppe Sammartini," 215.
- ↑ Bathia Churgin, "GB Sammartini and the Symphony," The Musical Times 116/1583 (1975): 27.
- ↑ Paul Everett, Twelve concerti grossi op. 6 by Arcangelo Corelli; Brandenburg Consort; Roy Goodman; Introduttioni teatrali by Pietro Antonio Loci; Freiburger Barockorchester; Thomas Hengelbrock; Battista Sammartini; Giovanni Battista Sammartini; Camerata Köln, "Early Music 22/3 (1994): 523.
- ↑ Roy Pascal, "The 'Sturm und Drang' Movement," The Modern Language Review 47/2 (1952): 129.
- ↑ Everett, "Releasing the Italian in Instrumental Music," 525.
- ↑ Bathia Churgin.
Literature
- Brown, A. Peter. “Approaching Musical Classicism: Understanding Styles and Style-in-Century Instrumental Music.” College Music Symposium vol 20, no 1 (1980): 7-48.
- Churgin, Bathia. Dictionary of Music and Musicians, Sv "Giuseppe Sammartini," New York: Grove's Dictionaries Inc., 2001, 22: 215.
- Churgin, Bathia. “GB Sammartini and the Symphony.” The Musical Times vol. 116, no. 1583 (1975): 26-29.
- Churgin, Bathia. “New Facts in Sammartini”: The String Trios, Op. 7. ”Journal of the American Musicological Society vol 20, no 1 (1967): 107–112.
- Churgin, Bathia. “The Symphonies of GB Sammartini. Vol I: The Early Symphonies by Giovanni Battista Sammartini: Bathia Churgin. ”Journal of the American Musicological Society vol 26, no 1 (1973): 164-167.
- Everett, Paul. “Releasing the Italian Instrumental Music: Corelli, Locatelli and Sammartini Twelve concerti grossi op. 6 by Arcangelo Corelli; Brandenburg Consort; Roy Goodman; Introduttioni teatrali by Pietro Antonio Locatelli; Freiburger Barockorchester; Thomas Hengelbrock; Sonatas by Giuseppe Battista Sammartini; Giovanni Battista Sammartini; Camerata Köln. »Early Music vol. 22, no. 3 (1994): 523 + 525.
- Ng, Samuel. "Phrase Rhythm as Class in Classical Instrumental Music." Music Theory Spectrum vol 34, no 1 (2012): 51-77.
- Page, Janet. "The Hautboy in London's Musical Life, 1730-1770." Early Music vol. 16, no. 3 (1988): 358-371.
- Pascal, Roy. “The 'Sturm und Drang' Movement.” The Modern Language Review vol. 47, no. 2 (1952): 129–151.
- Rushton, Julian. “Christoph Willibald Gluck, 1714-87: The Musician Gluck.” The Musical Times vol. 128, no. 1737 (1987): 615-618.
- Sadie, Julie Anne, ed. Companion to Baroque Music. Los Angeles: University of California Press, 1990.
- Snodgrass Gifford, Virginia. Music for Oboe, Oboe D'Amore, and English Horn: A Bibliography of Materials at the Library of Congress. Westport CT: Greenwood Press, 1983.
- Stauffer, George, ed. The World of Baroque music: New perspectives. Bloomington IN: Indiana University Press, 2006.
- Talbot, Michael. “The Concerto Allegro in the Early Eighteenth Century II.” Music & Letters vol 52, no. 2 (1971): 159-172.
- Zohn, Steven. “The Baroque Concerto in Theory and Practice.” The Journal of Musicology vol. 26, no. 4 (2009): 566–594.