This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Giovanni Battista Sammartini

Giovanni Battista Sammartini developed the three-movement symphony by separating the opera overture, which Alessandro Scarlatti had given the fast-slow-fast form, and used sonata form in its construction. Johann Stamitz of the Mannheim School added a minuet as the third movement, creating a four-movement form, which was further developed by the Mannheim School, Haydn, and Mozart. However, Emanuel Bach continued to write symphonies in the three-movement form until the end.

The influence on Emanuel Bach seems to be limited, but Emanuelʼs brother Christian learned from Sammartini and Martini, who had moved to Italy, and became the only opera composer in the Bach family. Christian also left behind several symphonies in the three-movement form.

Giovanni Battista Sammartini is the younger brother of Giuseppe Baldassare Sammartini, sharing the initials G. B. S.

Giovanni Battista Sammartini (c. 1700–1775) was an Italian composer and a significant figure in music history, known for developing the symphonic form. He was positioned in the transitional period from the Baroque to the Classical era, and his music, characterized by concise and clear structures, greatly influenced the next generation of composers.

Sammartini was born in Milan and spent most of his life there. He worked as a church musician, composing a large amount of religious music, while also leaving behind innovative works in the field of instrumental music. He is considered one of the founders of the symphony, and his works were widely performed in mid-18th century Italy.

About 70 of Sammartiniʼs symphonies survive, typically in a three-movement form (fast-slow-fast). These works contributed to the development of the Classical sonata form and particularly influenced young Mozart and Haydn. His music is also characterized by light and bright melodies, typical of the galant style.

Furthermore, he also worked on chamber music and concertos, contributing to the development of 18th-century European musical culture through works such as string quartets and sonatas. In religious music, he composed numerous masses and motets, establishing his position as a church musician.

Sammartini was also active as a performer and educator, and the musicians he taught influenced the later Italian music scene. His music, combining simplicity and lyricism, holds an important position as a precursor to Classical music.

Giovanni Battista Sammartini was recognized not only in Italy but throughout Europe, leaving a legacy as a pioneer in the development of the symphony. His music continues to be studied and performed today, with its historical significance being re-evaluated.

"Did Sammartiniʼs symphonies not have an established form like those of the Mannheim School?"

Giovanni Battista Sammartini (1700–1775) holds an important position as an early symphony composer. His symphonies influenced those of the Mannheim School but differ in several respects. Below is a detailed explanation of the differences in form and characteristics between Sammartiniʼs symphonies and those of the Mannheim School.

Sammartiniʼs Symphonies

Characteristics

1. Early Form:
• Sammartiniʼs symphonies are positioned in the transition from Baroque to Classical, generally having a three-movement structure (fast-slow-fast), which differs from the later Classical four-movement structure (fast-slow-dance-fast).
2. Simple Structure:
• His symphonies have relatively simple structures, with many short and clear movements. There is little use of contrapuntal elements or complex development sections, with an emphasis on melodic beauty and clear rhythm.
3. Orchestral Arrangement:
• The orchestration of Sammartiniʼs symphonies is small-scale, centered on strings. The use of wind instruments is limited, contrasting with the rich orchestration of the later Mannheim School.

Representative Works

• Symphony in F Major (S. 1)
• This symphony features a simple and clear three-movement structure, with each movement characterized by short and familiar melodies.

Symphonies of the Mannheim School

Characteristics

1. Established Four-Movement Structure:
• The symphonies of the Mannheim School generally have a four-movement structure (fast-slow-dance-fast), which became the standard form for later Classical symphonies. The symphonies of Johann Stamitz and Carl Stamitz established this form.
2. Rich Orchestration:
• The Mannheim School expanded the orchestral arrangement, increasing the use of wind and percussion instruments, enriching the color and dynamics of the music.
3. Dynamics and Special Effects:
• Features of the Mannheim School include dynamic expression techniques such as the “Mannheim Crescendo” and “Mannheim Rocket,” which brought dramatic effects to the music and greatly influenced later Classical music.

Representative Works

• Johann Stamitzʼs Symphony No. 3
• This symphony is characterized by a four-movement structure and rich orchestration, representing the style of the Mannheim School.

Comparison and Influence

Influence of Sammartini

1. Simplicity of Form:
• Sammartiniʼs simple three-movement form influenced early symphony composers, but the Mannheim School developed this into an established four-movement form.
2. Clarity of Melody:
• The clarity of Sammartiniʼs melodies and the familiarity of his rhythms influenced the composers of the Mannheim School, who incorporated these while adding more complex and rich orchestration.

Development of the Mannheim School

1. Structural Development:
• The composers of the Mannheim School built more complex and structurally unified symphonies based on Sammartiniʼs simple form.
2. Technical Innovation:
• Innovations in dynamics and technical developments in orchestration are features of the Mannheim School, which became the standard for Classical symphonies.

Summary

Sammartiniʼs symphonies, with their simple and clear form, paved the way for the Mannheim School. However, the composers of the Mannheim School built on this to establish a more complex and rich form, laying the foundation for the Classical symphony. While influenced by Sammartini, the Mannheim School developed its own style, leaving a significant mark on music history.

ChatGPT4o was asked: "Can we see any influence from opera in Sammartiniʼs symphonies?"

Giovanni Battista Sammartini, an Italian composer, played a crucial role in the development of the symphony. His symphonies exhibit several influences from opera. Below is an explanation of the operatic influences in Sammartiniʼs symphonies.

Operatic Influences

1. Richness of Emotional Expression

   • Sammartiniʼs symphonies incorporate the rich emotional expression found in opera arias and recitatives. His melodic lines are often lyrical, possessing a fluidity akin to operatic singing.

   Example:

   • The second movement (slow movement) of his symphonies often features beautiful melodies similar to opera arias, written to strongly express emotions.

2. Dramatic Contrast and Dynamics

   • Sammartiniʼs symphonies exhibit dramatic contrasts and dynamic changes influenced by opera. This mimics the scene changes and sudden emotional shifts in opera.

   Example:

   • There is often a strong emphasis on the contrast between fast and slow movements within the symphony, leaving a strong impression on the audience.

3. Use of Ritornello Form

   • The ritornello form found in opera arias is also incorporated into Sammartiniʼs symphonies. This form involves the repetition of a main theme, with different episodes inserted, creating unity and variation in the music.

   Example:

   • In the first movement of a symphony, the main theme is repeated, with different keys and themes developed in between.

4. Dramatic Overture Style

   • Some of Sammartiniʼs symphonies mimic the style of operatic overtures, including a brilliant and energetic opening, a contrasting middle section, and a return to a brilliant conclusion.

   Example:

   • The first movement of a symphony often features a grand opening and dramatic development similar to an opera overture.

5. Vocal Elements

   • Sammartiniʼs instrumental works contain many vocal elements, which can be considered an influence from opera. The melodic lines often feel as if they have lyrics, making his music more emotional and expressive.

   Example:

   • The melodies in Sammartiniʼs symphonies often flow naturally as if they have lyrics, eliciting a strong emotional response from the audience.

Conclusion

Giovanni Battista Sammartiniʼs symphonies clearly exhibit influences from opera. These include the richness of emotional expression, dramatic contrasts and dynamic changes, the use of ritornello form, dramatic overture style, and vocal elements. These elements combine to create symphonies that incorporate the dramatic effects and rich emotional expression of opera, playing an important role in the musical development of the 18th century.

ChatGPT4o was asked: "How did Sammartini use the ritornello form in his symphonies?"

Giovanni Battista Sammartini effectively used the ritornello form in his symphonies, bringing structural stability and variation to the music. The ritornello form, frequently used in Baroque music, features a main theme (ritornello) that is repeated, with different episodes inserted. Below is a detailed explanation of how Sammartini incorporated the ritornello form into his symphonies.

Characteristics of the Ritornello Form

1. Repetition of the Ritornello (Main Theme):

   • In the ritornello form, the main theme is repeated multiple times, providing unity and predictability to the music.

2. Variation in Episodes (Inserted Sections):

   • The episodes inserted between the ritornellos often have different keys or melodies, bringing variation to the music. This avoids monotony and keeps the audienceʼs interest.

3. Diversity of Keys:

   • It is common for the key to change between the ritornello and episodes. The main theme returning to the home key provides stability to the overall music.

Use of Ritornello Form in Sammartiniʼs Symphonies

Specific Example: Sammartiniʼs Symphony

1. Symphony in G Major, J-C 23

   First Movement:

   • Ritornello (Main Theme): A clear and memorable theme presented at the beginning of the movement functions as the ritornello, repeated throughout the movement.
   • Episodes: The episodes inserted between the ritornellos have different keys and melodies, adding new elements to the music. These episodes involve contrapuntal treatment and melodic development.
   • Key Changes: While the ritornello is repeated in the home key, the episodes are developed in secondary keys, bringing diversity to the music.

2. Symphony in F Major, J-C 32

   First Movement:

   • Ritornello (Main Theme): A theme with a strong rhythm and clear melody functions as the ritornello, forming the framework of the movement.
   • Episodes: The episodes are performed by solo instruments or small ensembles, creating contrast with the main theme. This brings dramatic effect and variation to the music.
   • Repetition and Variation: Each time the ritornello is repeated, subtle variations are added, keeping the music fresh.

Sammartiniʼs Innovations

1. Variation of Themes:

   • Sammartini added subtle changes and ornaments each time the ritornello was repeated. This allowed the audience to enjoy new elements without tiring of the themeʼs repetition.

2. Emphasis on Contrast:

   • By emphasizing the contrast between the ritornello and episodes, he created dramatic effects in the music. For example, while the ritornello might be a strong and clear theme, the episodes could have lyrical and delicate melodies.

3. Exploration of Keys:

   • By changing keys in the episodes, he brought diversity and interest to the music. While the ritornello provided stability in the home key, the episodes explored new keys, broadening the scope of the music.

Conclusion

Giovanni Battista Sammartini skillfully incorporated the ritornello form into his symphonies, bringing structural stability and variation to the music. Through the repetition of the ritornello and the variation of episodes, he provided unity and freshness to the audience, characterizing his symphonies. Sammartiniʼs innovations made the ritornello form an effective tool in symphonies, adding dramatic effects and emotional depth to the music.

ChatGPT4o was asked: "Is it not possible to interpret the ritornello form in these pieces as sonata form?"

It is often difficult to interpret the ritornello form in Giovanni Battista Sammartiniʼs symphonies as sonata form. While both the ritornello form and sonata form are important structures in Classical music, their structures and purposes differ. Below is an explanation of the differences between the ritornello form and sonata form, and how Sammartiniʼs symphonies relate to these forms.

Differences Between Ritornello Form and Sonata Form

Ritornello Form:

• Structure: A form where the main theme (ritornello) is repeated, with different episodes inserted.
• Repetition and Variation: The ritornello is usually repeated almost unchanged, while the episodes vary.
• Usage: Mainly used in Baroque concertos and cantatas.

Sonata Form:

• Structure: A three-part structure consisting of exposition, development, and recapitulation.
• Development of Themes: Themes A and B are presented in the exposition, developed in the development section, and recapitulated in the recapitulation. It is characterized by changes in key and resolution of tension.
• Usage: Widely used in Classical symphonies, sonatas, and chamber music.

Ritornello Form in Sammartiniʼs Symphonies

Sammartiniʼs symphonies sometimes use the ritornello form. Especially in his early symphonies, the influence of the Baroque is strong, and the ritornello form is often seen. In this form, the ritornello functions as the main theme, with episodes inserted between.

Relationship Between Ritornello Form and Sonata Form

Transition to Early Classical:

• Sammartini was active during the transition from Baroque to Classical, so his music contains characteristics of both periods. Therefore, the ritornello form may sometimes include elements of sonata form.

Examples of Mixed Forms:

• In some of Sammartiniʼs symphonies, the ritornello form may incorporate elements of sonata form, such as the main theme being presented and developed in different keys.
• However, these works are often interpreted as transitional examples between ritornello form and sonata form, rather than pure sonata form.

Conclusion

The ritornello form in Sammartiniʼs symphonies differs from pure sonata form in its structure and purpose. His music is positioned in the transition from Baroque to Classical, and while the ritornello form may include elements of sonata form, it is difficult to interpret it as sonata form. The ritornello form focuses mainly on repetition and variation, differing from the structure of thematic development and resolution of tonal tension found in sonata form.

ChatGPT4o was asked: "Giuseppe Sammartini did not succeed in Italy and moved to London. Also, Christian Bach, who studied under Giovanni Battista Sammartini, did not stay long in Italy and moved to London. Furthermore, Battista himself died in London. Did these individuals move to London because they were fed up with the fickle Italian audience?"

It is highly possible that the instability of the Italian music market and the fickle nature of the audience were factors in the decision of Giuseppe Sammartini, Johann Christian Bach, and Giovanni Battista Sammartini to leave Italy and move to London. Below are the details.

Giuseppe Sammartini (Elder)

• Success in Italy and Move to London:
  • Giuseppe Sammartini did not achieve the success he desired in Italy and moved to London in 1718. He achieved great success as an oboist in London and left many works.
  • London had a thriving music market, and many Italian musicians moved there and succeeded. Giuseppe was one of them, and his activities in London became a significant turning point in his career.

Johann Christian Bach

• Activities in Italy and Move to London:
  • Johann Christian Bach was active in Italy from 1754 to 1762, studying under Sammartini. However, he did not stay long in Italy and moved to London in 1762.
  • In London, he succeeded as an opera composer and became known as the “London Bach.” His activities in London were the highlight of his career, and he left many important works.

Giovanni Battista Sammartini (Younger)

• Success in Italy and Final Move:
  • Giovanni Battista Sammartini spent most of his life in Milan, composing many symphonies. However, he also visited London and eventually died there.
  • London offered many opportunities for musicians, and the stability of the music market there was attractive compared to Italy.

The Appeal of London

• Stability of the Music Market:

  • In the mid-18th century, London had a very active music market. There were many patrons and music lovers in London, and the demand for opera and concerts was high, making it an attractive city for musicians.

• Economic Opportunities:

  • In London, there were many opportunities for musicians to succeed economically, and the rewards were high. This led many Italian musicians to move to London and succeed.

Instability of the Italian Audience and Market

• Fickle Audience:

  • The Italian audience tended to constantly seek new music, and trends changed very quickly. This put pressure on composers to constantly provide new works, making it difficult to earn a stable income.

• Instability of the Music Market:

  • The Italian music market was highly competitive and unstable. This was a challenging environment for composers and performers, motivating them to move to London in search of a more stable market.

Summary

One of the reasons Giuseppe Sammartini, Johann Christian Bach, and Giovanni Battista Sammartini moved to London was the instability of the Italian music market and the fickle nature of the audience. London offered musicians a stable market and opportunities for economic success, and many Italian musicians succeeded there.

In order to elicit a different answer from the above, ChatGPT4o was asked: "Please argue against the statement that ʼGiuseppe Sammartini, Christian Bach, and Giovanni Battista Sammartini all moved to London because they were fed up with the fickle Italian audience.ʼ"

There are several counterarguments to the statement that Giuseppe Sammartini, Johann Christian Bach, and Giovanni Battista Sammartini all moved to London because they were fed up with the fickle Italian audience. Below are detailed explanations of these reasons.

1. Relocation for Musical Opportunities and Development

• Giuseppe Sammartini:

  • Giuseppe Sammartiniʼs move to London was not only because he did not succeed in Italy but also because he sought new musical opportunities and development in London. Through his activities in London, he greatly developed his career as an oboist and became widely recognized.
  • London had many music lovers, and the music market was active, providing abundant opportunities for performance and composition, making it an ideal environment for him.

• Johann Christian Bach:

  • Johann Christian Bach received his musical education in Italy and studied under Sammartini, but his move to London was a strategic choice to further develop his musical career. He succeeded as an opera composer in London and became widely known as the “London Bach.”
  • London offered him a new market and audience that he could not find in Italy.

• Giovanni Battista Sammartini:

  • Giovanni Battista Sammartini also felt the limitations of his activities in Italy and sought new musical opportunities in London, leading to his activities there.
  • London was a cultural center where many Italian musicians gathered, providing him with new challenges and opportunities for success.

2. The Appeal of the London Music Market

• Economic Stability and Success:
  • In the 18th century, London provided an economically stable market for musicians. Many musicians succeeded in London because the market was active and there were many patrons.
  • This allowed Italian musicians to build more stable incomes and careers through their activities in London.

3. Individual Reasons and Backgrounds

• Giuseppe Sammartini:

  • Giuseppe Sammartini sought performance opportunities in London and succeeded there, making relocation a natural choice for him.

• Johann Christian Bach:

  • Johann Christian Bach moved to London to build his career as an opera composer. The London music market was an ideal environment for him, allowing him to fully showcase his talents.

• Giovanni Battista Sammartini:

  • Giovanni Battista Sammartini moved to London to gain a new audience and market through his musical activities. His works were also appreciated in London, and he was satisfied with his activities there.

Conclusion

The statement that they moved to London because they were fed up with the fickle Italian audience is only one possible reason and not the decisive one. Giuseppe Sammartini, Johann Christian Bach, and Giovanni Battista Sammartini each moved to London to develop their careers and seek new opportunities. The active and stable music market in London was the main reason for their relocation.

ChatGPT4o was asked: “What kind of positions did Sammartini hold?”

Giovanni Battista Sammartini held various positions and roles while engaging in musical activities. Below is a summary of his career.

Church Musician

• Milan Cathedral:
  • Sammartini was active for a long time at Milan Cathedral (Duomo). He served as an organist and conductor there, composing a large amount of religious music.
  • His duties at the cathedral were an important source of income and the center of his musical activities.

Court Musician

• Noble Patrons:
  • Sammartini was supported by the nobility and upper class in Milan. He taught music in noble households and held concerts within these homes.
  • Among his patrons were many nobles who appreciated and supported his works.

Teacher

• Music Teacher:
  • Sammartini taught many students, instructing them in music theory and composition techniques. Many of his students later became famous musicians.
  • Johann Christian Bach was one of them, learning the basics of music under Sammartiniʼs guidance.

Composer

• Compositional Activities:
  • Sammartini was a very prolific composer, leaving behind works in symphonies, chamber music, religious music, opera, and more. His symphonies are particularly famous, having a significant impact on the development of the Classical symphony.
  • His works were frequently performed in Milan and other European cities at the time.

Conductor

• Orchestral Conducting:
  • Sammartini often conducted his own works and those of other composers, performing as a conductor in Milan and other cities.
  • His conducting activities contributed to the widespread recognition of his works.

Conclusion

Giovanni Battista Sammartini was a versatile musician, fulfilling many roles such as church musician, court musician, music teacher, composer, and conductor. Through these roles, he had a significant impact on 18th-century European music. His diverse roles and activities demonstrate his musical talent and influence, and are one of the reasons his works are still appreciated today.

Site search by Google

Upper< Lower> items