![](../../2001/Aug01/yellowbar.jpg) |
![](../../2001/Aug01/yellowbar.jpg) |
alternatively
CD: MDT
AmazonUK
AmazonUS
|
Giuseppe SAMMARTINI (1695-1750)
Concerto grosso in A, op. 2,1 [08:34]
Concerto grosso in a minor, op. 5,4 [10:07]
Concerto for oboe, strings and bc in C* [17:00]
Overture for strings and bc in F, op. 10,7 [07:37]
Concerto for oboe, strings and bc in g minor, op. 8,5* [06:04]
Overture for strings and bc in D, op. 10,4 [09:30]
Concerto grosso in e minor, op. 11,5 [07:59]
Overture for two horns, strings and bc in G, op. 7,6 [11:23]
Benoît Laurent (oboe)*
Les Muffatti/Peter Van Heyghen
rec. November 2009, Begijnhofkerk, Sint-Truiden, Belgium. DDD
RAMÉE RAM 1008 [79:10] ![](FullPrice.gif)
|
|
When the name Sammartini turns up in books about music or liner-notes
of recordings it will in most cases be referirng to Giovanni
Battista. He is considered one of the pioneers of the classical
style, in particular in his symphonies which had some influence
on the young Haydn. In comparison his older brother Giuseppe
receives less attention, although his chamber music is well
represented on disc. But there is still much to be discovered
in his oeuvre, as this disc proves. No fewer than seven of the
eight pieces on the programme are recorded here for the first
time.
Contemporaries sometimes referred to Sammartini as "(San)
Martini" which is derived from his father's name: Alexis
Saint-Martin. He was of French birth and emigrated to Italy.
Here Sammartini was born, probably in Milan. Like his father
he became an oboist, and together with his brother he played
in the orchestra of the Teatro Regio Ducale in Milan in the
1720s. The German flautist Johann Joachim Quantz heard him play
and ranked him among the best of his time, on the same level
on the oboe as Vivaldi on the violin.
In the late 1720s he moved to Brussels and then to London, where
he would remain until his death. It was here that he made a
career as a virtuoso on the oboe and as composer. The music
historian John Hawkins stated: "As a performer on the hautboy,
Martini was undoubtedly the greatest that the world had ever
known." He performed with the best musicians of his time,
like Bononcini, Porpora and Handel. Many virtuosic obbligato
parts in Handel's operas were performed by Sammartini. As a
composer he also was rated highly. Hawkins described him as
an "admirable composer" and Charles Burney wrote that
his compositions were "full of science, originality and
fire". In his lifetime the largest part of his printed
output comprised chamber music. His concerti grossi and overtures
were mostly printed after his death, sometimes deviating considerably
from his intentions. The unscrupulous publisher John Walsh printed
the Overtures op. 8 with oboe parts which included unplayable
passages. At the same time this very fact proves Sammartini's
reputation as Walsh wouldn't have printed these pieces if he
hadn't expected them to find a good run of customers. The popularity
of Sammartini's music is confirmed by the fact that his compositions
were frequently performed by, for instance, the Academy of Ancient
Music. Even in the 19th century his music still appeared on
concert programmes.
The disc opens with the first of the concerti grossi op. 2,
the only collection of his orchestral music which has ever been
recorded complete. The various concertos and overtures show
a wide range of styles and influences, which reflect the various
fashions of the mid-18th century. There are some operatic traits,
in particular in the Concerto for oboe in g minor, op. 8,5
which is a kind of operatic scena. It begins with an andante
sostenuto; the second movement consists of four sections, the
last of which is an 'adagio ad libitum' for oboe without accompaniment,
which without interruption turns into the closing andante sostenuto.
The Concerto for oboe in C is much longer, and a real
virtuosic showpiece, reflecting the playing skills of Sammartini
himself. The lyrical andante is particularly beautiful. There
are many other lyrical movements as well. Interesting is the
Concerto grosso in a minor, op. 5,4: in his liner-notes
Peter Van Heyghen rightly refers to a similarity with the symphonies
of Carl Philipp Emanuel Bach. Elsewhere we find traces of the
galant idiom, and there are also old-fashioned movements which
are dominated by counterpoint. Lastly, the closing Overture
in G, op. 7,6 has strikingly prominent parts for two horns.
This disc is a worthwhile and important release, firstly because
of the quality and the variety of the music. In addition Les
Muffatti present themselves as strong advocates of his oeuvre.
Peter Van Heyghen shares his views on various decisions in regard
to performance practice which had to be taken. He argues convincingly
that this repertoire can and sometime even needs to be played
with more than one instrument per part. He also writes about
the decisions in regard to the scoring of the basso continuo.
Because of a lack of historical evidence this is sometimes a
matter of 'informed guesswork'. Van Heyghen's honesty in admitting
this is most praiseworthy as is the decision to record those
pieces from Sammartini's oeuvre which are least known. In their
previous recordings Les Muffatti have proven to be a first-rate
ensemble which brings engaging and animated performances. This
disc is no exception. The fast movements are sparkling and energetic,
in convincing and never exaggerated tempi. The slow movements
are played with great sensitivity and refinement. Benoît Laurent
provides an impressive display of his technical prowess and
his interpretative skills in the oboe parts. The contributions
of Bart Aerbeydt and Michiel van der Linden at the hard-to-play
natural horns are equally admirable.
Lovers of 18th-century music are well advised to follow Les
Muffatti on their voyage of discovery through Sammartini's oeuvre.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
|
|