London: I. Walsh, .
Folio. Disbound. Violino primo: 1f. (title including "St. Martini [?Sammartini] of Milan"),  (blank), 2-13, [i] (blank) pp.; Violino secondo: 1f. (title),  (blank), 2-13, [i] (blank) pp. Engraved. Publisher's catalogue advertising six items (no. i by Lampugnani, no. vi by Pasquali) to foot of title, with no ascriptions. In A major, B-flat major, A major, D major, E-flat major, and G major, with secondary numbering "No. 37" to "No. 42" in ink. Basso part acking (substituted from another edition, see below). Slightly foxed; title and edges of Violino primo part soiled; leaves of Violino secondo part detached. [?]First Edition. BUC p. 593. RISM L518 and B ii p. 363 (2 copies only in the U.S., at Colonial Williamsburg and San Francisco State College). WorldCat (additional copies at Carleton University and the Eastman School of Music). It is doubtful whether Sammartini had any share in this op. 1 collection. According to Bathia Churgin in Grove Music Onlikne, the third sonata (in A major) has been traditionally considered as Sammartini's work; the absence of ascriptions in the edition and the fact that the later edition (RISM L519) credits all six works to Lampugnani, however, do little to support any claim to Sammartini's authorship.
LAMPUGNANI, Giovanni Battista
[Op. 1]. Six Sonatas for two Violins with a Through Bass for the Harpsicord or Violoncello... Opera Prima. London: I. Walsh [ca. 1748]. [Basso part only]. Folio. Disbound. 1f. (title), 8 pp. Engraved. With bass figures. Lampugnani listed as sole author. Publisher's catalogue printed to foot of title (listing titles different from those included in the publisher's catalogue described above) including Willem De Fesch's 12 sonatas for flute (1748). Soiled, especially at upper margin; minimally foxed. A later edition, probably from plates of the first. BUC p. 593. RISM L519 (3 copies only in the U.S., at the University of California, Berkeley, the University of Virginia, and the Library of Congress). WorldCat (1 copy, at the University of Western Ontario). For doubts about Sammartini's authorship see the comment above.
LAMPUGNANI, Giovanni Battista and Giovanni Battista SAMMARTINI
[Op. 2]. A Second Set of Six Sonatas for two Violins with a Through Bass for the Harpsicord or Violoncello. London: I. Walsh [ca. 1750]. [Parts]. Folio. Disbound. Violino primo: 1f. (title including "St. Martini [?Sammartini] of Milan"),  (blank), 2-13, [i] (blank) pp.; Violino secondo: 1f. (title), 11, [i] (blank) pp.; Basso: 1f. (title), [i] (blank), 2-10 pp. Engraved. With bass figures. Publisher's catalogue printed to foot ot title (same as above). Printed ascriptions in caption titles of Violino primo part: nos. i (B-flat major), iii (F major), and v (B-flat major) to Sammartini; nos. ii (G major), iv (C major), and vi (D major) to Lampugnani. Sammartini identified as "Sigr. Martini" (or "Martino") in caption titles. Secondary numbering of sonatas as "87" to "92" in ink. Some soiling along spine; slightly foxed; small stains to title of Violino primo part; most leaves detached; repair to title of Violino secondo part. A later edition. BUC p. 593. RISM L524 and B ii p. 103 (dated "c.1750"; 4 copies only in the U.S., at the University of California, Berkeley, the University of Virginia, San Francisco State College, and the Library of Congress). WorldCat (copies at the University of Western Ontario and Yale). The sonata no. 1 is most probably by Antonio Brioschi (1725-1750) (see Jenkins-Churgin, App. D 15). The other ascriptions are correct; the two remaining Sammartini sonatas are identical with his symphonies listed by Jenkins-Churgin as nos. 37 and no. 66b. The present edition dated according to Jenkins-Churgin p. 70.
Lampugnani, perhaps best known as an opera composer, also wrote instrumental music and was an accomplished harpsichordist and singing teacher. "He... made the acquaintance of J.C. Bach and Padre Martini; Bach mentioned him in a letter to Martini written in 1759... When Mozart was in Milan to finish his Mitridate, rè di Ponto in 1770, Lampugnani helped rehearse the singers, including the prima donna Antonia Bernasconi. During the first three performances he played second harpsichord and in subsequent performances directed the orchestra himself." Michael F. Robinson et al in Grove Music Online.
"In general [Sammartini's] chamber works are more lyrical, more ornamental and more intricate in rhythm than [his] orchestral music... The string trios for two violins and bass form the largest and most important group, and were extremely popular, as the many surviving copies indicate. The relation between the instrumental parts (especially the violins) varies considerably from the complete domination of the first violin to frequent dialogue and imitation, none of the sonatas being consistently imitative in late Baroque fashion." Bathia Churgin in Grove Music Online.
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