Sammartini: Sonatas for Cello & B.C.

The Cello Sonatas presented here mark the transition between Baroque and Classicism, music full of charm, gracefulness, cantabile melodies and instrumental flourish. Played by the Italian ensemble Dolci Accenti, with Daniele Cernuto, Calogero Sportato, Cipriana Smarandescu and Anna Grendene.

Composer: Giovanni Battista Sammartini
Artists: Ensemble Dolci Accenti, with Daniele Cernuto (Baroque cello), Calogero Sportato (Baroque guitar, theorbo, archlute), Cipriana Smarandescu (harpsichord) and Anna Grendene (Baroque cello).
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The essential contribution that Milan-born Giovanni Battista Sammartini (c.1700–1775) made to the history of music is universally recognised. He laid the foundations for the Classical symphony: he helped establish the standard composition of the orchestra and promoted independence and individual timbres in his part-writing, while Baroque customs (most notably the basso continuo) gradually gave way to sonata form. In terms of repertoire and recordings, however, Sammartini is still a relative rarity; if you set aside his symphonies and start investigating his chamber music and works for solo instruments, for example, it is soon apparent that many enthralling compositions remain silently filed away in libraries and archives, waiting patiently for the recognition they deserve. The programme on this record ventures into this very partially unexplored terrain, showcasing a selection of sonatas for cello and basso continuo: the collection of six from his Op.4, published in Paris in 1742, and two sonatas of uncertain date, one in G major and the other in G minor. Although more modest than the symphonies, the cello sonatas display a similar penchant for succinct and elegant writing. Often simple in form, their brilliance stems from the inventiveness of the melody and rhythm and moments of particularly intense and expressive lyricism that are not reliant on excessive ornamentation. Christoph Willibald Gluck, according to some sources, studied under Sammartini: there are plenty of moments in the cello sonatas where echoes of what must have inspired the German master can be heard. When Franz Joseph Haydn was alive, he was also considered to owe a great deal to Sammartini; this seems to have struck a nerve, as he felt the need to distance himself from these claims, even calling his Italian colleague a ‘pencil pusher’.

Tracklist:
Cello Sonata in G Minor:
00:00:00 I. Largo
00:04:47 II. Allegro non troppo
00:08:33 III. Canzonetta
00:10:22 IV. Allegro grazioso

Cello sonata No. 1, Op. 4:
00:12:56 I. Allegro
00:15:32 II. Allegro
00:18:01 III. Allegro

Cello Sonata No. 2, Op. 4:
00:19:35 I. Allegro
00:22:26 II. Affettuoso
00:25:06 III. Allegro

Cello Sonata No. 3, Op. 4:
00:27:25 I. Allegro
00:31:28 II. Largo
00:33:41 III. Spiritoso

Cello Sonata No. 4, Op. 4:
00:36:44 I. Allegro
00:40:17 II. Largo
00:42:14 III. Allegro

Cello Sonata No. 5, Op. 4:
00:45:33 I. Allegro
00:47:44 II. Largo
00:53:26 III. Vivace

Cello Sonata No. 6, Op. 4:
00:55:15 I. Allegro
00:59:34 II. Adagio
01:02:04 III. Allegro

Cello Sonata in G Major:
01:06:04 I. Allegro
01:09:52 II. Largo
01:14:11 III. Minuetto

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