Giovanni Battista Sammartini  
Giovanni Battista Sammartini
Giovanni Battista Sammartini (c. 1700 – 15 January 1775) was an Italian composer, oboist, organist, choirmaster and teacher. He counted Gluck among his students, and was highly regarded by younger composers including Johann Christian Bach. It has also been noted that many stylizations in Joseph Haydn's compositions are similar to those of Sammartini, although Haydn denied any such influence. Sammartini is especially associated with the formation of the concert symphony through both the shift from a brief opera-overture style and the introduction of a new seriousness and use of thematic development that prefigure Haydn and Mozart. Some of his works are described as galant, a style associated with Enlightenment ideals, while "the prevailing impression left by Sammartini's work... [is that] he contributed greatly to the development of a Classical style that achieved its moment of greatest clarity precisely when his long, active life was approaching its end".
He is often confused with his brother, Giuseppe, a composer with a similarly prolific output (and the same first initial).


Giovanni Battista Sammartini was born to French emigrant and oboist Alexis Saint-Martin and Girolama de Federici in Milan, in what was Austria during most of his lifetime and Italy today. He was the seventh of eight children. He received musical instruction from his father and wrote his first work in 1725, which was a set of vocal works (now lost). Not long after, he acquired the positions of maestro di cappella at Sant'Ambrogio and to the Congregazione del Santissimo Entierro in 1728. He held the position at Sant'Ambrogio until his death.
Sammartini quickly became famous as a church composer and obtained fame outside of Italy by the 1730s. Over the course of the years, he joined many churches for work (8 or more by his death[5]) and wrote music to be performed at state occasions and in houses of nobility. Although he never strayed far from Milan, he came into contact with many notable composers including J.C. Bach, Mozart, Boccherini, and Gluck, the latter of whom became his student from the years 1737 to 1741.
Sammartini's death in 1775 was unexpected. Although he was highly regarded in his time, his music was quickly forgotten, and was not rediscovered until 1913 by researchers Fausto Torrefranca, Georges de Saint-Foix and Gaetano Cesari. However, most of his surviving works have been recovered from published editions from outside his hometown of Milan.


Sammartini is mostly praised for his innovations in the development of the symphony, perhaps more so than the schools of thought in Mannheim and Vienna. His approach to symphonic composition was unique in that it drew influence from the trio sonata and concerto forms, in contrast to other composers during the time that modeled symphonies after the Italian overture. His symphonies were driven by rhythm and a clearer form, especially early sonata and rounded binary forms. His works never ceased to be inventive, and sometimes anticipated the direction of classical music such as the Sturm und Drang style.


Sammartini was a prolific composer, and his compositions include 4 operas, about 70 symphonies, ten concertos and some of the earliest chamber music known in the history of western music. As of 2004, approximately 450 known works by Sammartini have been recovered, although a fair amount of his music has been lost, especially sacred and dramatic works. Some of it may have also been lost due to publication under other names, especially that of his brother, Giuseppe. His earliest music was for liturgical use.
Sammartini's works are referred to, in publications or recordings, either by the opus number they received in his lifetime, or by the J-C numbers they receive in the Jenkins-Churgin catalog referred to below. Newell Jenkins edited some of Sammartini's works, including a Magnificat, for the first time (he was also an editor of works by Vivaldi, Paisiello and Boccherini, among others).
Sammartini's music is generally divided into three stylistic periods: the early period (1724-1739), which reflects a mixture of Baroque and Preclassical forms, the middle period (1740-1758), which suggests Preclassical form, and the late period (1759-1774), that displays Classical influences. Sammartini's middle period is regarded as his most significant and pioneering, during which his compositions in the galant style of music foreshadow the Classical era to come.

From Wikipedia, the free encyclopedia
Giuseppe Sammartini Concertos,I Musici Ambrosiani
Symphonie en Ré JC11
Allegro maestoso - Andante - Presto

Accademia d'Arcadia
Direction Alessandra ROSSI LÜRIG

Giovanni Battista Sammartini - Magnificat in B flat Major (1-3)
in B flat Major / B-dur / en Si b majeur

1. Magnificat (Andante)
2. Et exsultavit (Spiritoso)
3. Deposuit potentes (Risoluto)

Budapest Madrigal Choir
The Budapest Strings, Ferenc Szekeres

Giovanni Battista Sammartini - Magnificat in B flat Major (4-5)
in B flat Major / B-dur / en Si b majeur

4. Gloria Patri (Largo)
5. Sicut erat (Spiritoso)

Budapest Madrigal Choir
The Budapest Strings, Ferenc Szekeres

SAMMARTINI Maria Addolorata
Maria Addolorata, J-C121
Silivia Mapelli, soprano
Sonia Prina, contralto
Miriko Guadagnini, tenor
Capriccio Italiano Ensemble
Filippo Ravizza, harpsichord
Daniele Ferrari
Giovanni Battista Sammartini - Sinfonia in sol maggiore - Atalanta Fugiens, Vanni Moretto

Orchestra Atalanta Fugiens
Stefano Barneschi*, Fabio Ravasi, Isabella Bison, Luca Giardini, Alberto Stevanin*, Daniela Beltraminelli, Carlo Lazzaroni, Gianni Maraldi*, Marco Testori*, Giuseppina Runza, Nicola Barbieri*, Riccardo Doni*.
Vanni Moretto, direttore

Giovanni Battista Sammartini - Notturno V (Presto)
Notturni a flutta traversiere, due violini e basso.
Il Rossignolo
Marica Testi, transverse flute
Maria Paola Cavallini, Raffaele Tiseo, violin
Raffaele Sorrentino, violoncello
Ottaviano Tenerani, harpsichord
G. B. Sammartini: Maria Addolorata (J-C 121) / The complete cantata, Milan 1751 / F. Ravizza
Cantata for soprano, alto, tenor and orchestra
Milan, Chiesa di San Fedele, 1751

I. Introduzione: sinfonia - 0:05
II. Recitativo: Figlio, ah Figlio ove sei? - 2:58
III. Aria [Cleofe]: Almen potesse chiudere - 5:37
IV. Recitativo: Forse Cleofe credi - 17:51
V. Aria [Giovanni]: Rupe in mar, se irato - 19:38
VI. Recitativo: Cleofe, Giovanni, ah voi... - 29:39
VII. Aria [Beata Vergine]: Il caro suo pegno - 30:49
VIII. Recitativo: L'Uomo, te stessa, e 'l Ciel Madre rimira - 35:45
IX. Terzetto [Cleofe, Giovanni, Beata Vergine]: Col magnanimo consiglio - 36:20

Silvia Mapelli (soprano)
Sonia Prina (contralto)
Mirko Guadagnini (tenor)

Daniele Ferrari (harpsichord)

Capriccio Italiano Ensemble / Filippo Ravizza (conductor)

G. B. Sammartini: J-C 73 / Concerto con molti istromenti in E flat major / La Serenissima
Concerto for two violins, two oboes, two horns, two trumpets, strings and basso continuo in E flat major (J-C 73)

date: 1756

I. Tempo largo - 0:05
II. Tempo giusto - 7:15

Adrian Chandler (R. Ross, 1981 after Amati)
Cecilia Bernardini (Anonymous, XVIII century, Klotz school)
Gail Hennessy (S. Dalton, 2007, USA after Anciuti)
Mark Radcliffe (S. Dalton, 2007, USA after Anciuti)
Jocelyn Lightfood (Webb/Halstead, 1997, London after Leichamschneider, 1717, Vienna)
Nicholas Benz (Webb/Halstead, 1992, London after Leichamschneider, 1717, Vienna)
Neil Borugh (M. Parker, 1997, Berkhamstead after Ehe II, Nurnberg)
Matthew Wells (Keavy/Van Rynn, 1990, Buckinghamshire)

La Serenissima / Adrian Chandler (conductor)

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