Sammartini, G.b.: Symphonies J-c 4, 9, 16, 23, 36, 62

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Cat No: 8557298

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Release Date: 10 January 2005

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 747313229826

Genres: Classical

Composer/Series: SAMMARTINI, G.B.

Description
Giovanni Battista Sammartini (c.1700/01-1775):SymphoniesThe precise date of Sammartini's birth can only beinferred from the fact that he died in 1775, when his agewas given as 74. It may be supposed that he was born inMilan, where his father Alexis Saint-Martin, to be knownin Italy as Alessio Sammartini, a French oboist, hadsettled, and it has been suggested that his mother,Gerolama de Federici, came from the Milan family ofoboists of that name. The seventh of eight children,Sammartini presumably studied with his father. His olderbrother Giuseppe, who seems to have served as an oboistfor a time in the orchestra of the Teatro Regio Ducal inMilan, from the late 1720s won a reputation for himselfin London, where he played in Handel's opera orchestrasand added significantly to the repertoire of sonatas andconcertos, his playing an inspiration, it seems, to Handel,whose favourite instrument in his earlier years had beenthe hautbois. It is not known whether Giovanni Battistaplayed the oboe or, indeed, the violin, but by the 1720she was already active as a composer, becoming maestrodi cappella of the Congregation of the Most HolySepulchre at the Jesuit church of San Fedele in 1728, aconnection he maintained for the rest of his life. He laterassumed similar positions with confraternities in anumber of Milan churches, well known as a churchmusician, organist and composer, and, from 1768,maestro di cappella of the ducal court in Milan.Although Sammartini seems to have spent his entirelife in Milan or its environs, as the most distinguishedcomposer there, he associated with many leadingmusicians who visited the city or worked there. While hemay not have taught Gluck, who spent eleven years inMilan, from 1734, Sammartini certainly encouraged andinfluenced him, and in the following years exercisedsimilar influence over the music of Johann ChristianBach, who became organist at Milan cathedral in 1760,while the cellist Boccherini played under his direction.Charles Burney, who visited Milan in 1770, describedSammartini's music as 'very ingenious, and full of thespirit and fire peculiar to that author'. Leopold Mozart, inMilan in the same year, wrote home to his wifedescribing how his son Wolfgang performed in thepresence of Maestro Sammartini and of a number of themost distinguished people, and how he amazed them.Later in the year he was able to report the support ofSammartini, described as a true friend, after the localintrigues he suspected over the performance of his son'sfirst Milan opera, Mitridate, re di Ponto. It was naturalthat Sammartini's compositions should be heard inVienna, and there is ample evidence of his contemporaryfame elsewhere. Haydn, who would surely have heardworks by Sammartini in Vienna, curtly rejected thesuggestion of any such influence, yet it is clear thatSammartini had an important part to play in thedevelopment of instrumental music from the 1720s untilhis death.An amazingly prolific composer, Sammartini wrotesome 450 vocal and ins
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