Accademia d'Arcadia, Alessandra Rossi Lürig - Sammartini: Late Symphonies (2012)

Tracklist

01. Symphony in A, J-C- 63: I. Presto
02. Symphony in A, J-C- 63: II. Andante Piano
03. Symphony in A, J-C- 63: III. Presto
04. Symphony in D, J-C- 22: I. Presto
05. Symphony in D, J-C- 22: II. Assai Andante
06. Symphony in D, J-C- 22: III. Allegrissimo
07. Quintet No. 5 in E for 3 Violins, Viola, Cello and Basso Continuo: I. Allegrissimo
08. Quintet No. 5 in E for 3 Violins, Viola, Cello and Basso Continuo: II. Allegrino
09. Quintet No. 5 in E for 3 Violins, Viola, Cello and Basso Continuo: III. Allegro Moderato
10. Symphony in E, J-C- 31: I. Allegro Assai
11. Symphony in E, J-C- 31: II. Andante
12. Symphony in E, J-C- 31: III. Allegro spiritoso E Brillante
13. Symphony in A, J-C- 60: I. Allegro Moderato
14. Symphony in A, J-C- 60: II. Allegrino
15. Symphony in A, J-C- 60: III. Allegro Brillante
16. Symphony in D, J-C- 11: I. Allegro Maestoso
17. Symphony in D, J-C- 11: II. Andante
18. Symphony in D, J-C- 11: III. Presto
19. Symphony in E-Flat, J-C- 28: I. Allegro Assai
20. Symphony in E-Flat, J-C- 28: II. Andante Allegrino
21. Symphony in E-Flat, J-C- 28: III. Allegrissimo
22. Symphony in D, J-C- 17: I. Spiritoso Assai
23. Symphony in D, J-C- 17: II. Andante Allegrino
24. Symphony in D, J-C- 17: III. Presto
25. Symphony in G, J-C- 40: I. Presto
26. Symphony in G, J-C- 40: II. Allegrino
27. Symphony in G, J-C- 40: III. Presto
28. Symphony in E-Flat, J-C- 26: I. Allegro Assai
29. Symphony in E-Flat, J-C- 26: II. Allegrino
30. Symphony in E-Flat, J-C- 26: III. Allegrissimo



Giovanni Battista Sammartini occupied a key position in the development of the symphony. Born in 1701, 31 years before Joseph Haydn, he, like his younger Austrian colleague, has been described as ‘the father of the symphony’, although his name and compositions will be less familiar to listeners. Sammartini’s pioneering symphonies exerted a powerful influence over the emerging Mannheim School; here, young composers like Joseph Stamitz and J.C. Bach were to compose avant-garde works that evolved to become the standard four-movement model of the Classical symphony.

Much of Sammartini’s output was mislaid during the French occupation of Milan; scores ended up in Paris and Vienna, and a substantial quantity were destroyed during the Second World War. However, some sets of parts survived, which allow us to appreciate fully why Sammartini was admired by the young Mozart and, that most perceptive of music commentators, Charles Burney.

The last word is best left to Sammartini’s great Bohemian rival Josef Myslivecek, who, after hearing one of Sammartini’s symphonies, remarked, ‘I have now found the father of Haydn’s style’. Praise indeed.

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