Divertimenti Ensemble of Lon - Quintets with 2 Cellos - COMPACT DISCS [CD]

Album Tracks 1. I. Allegro Con Spirito 2. II. Andante, Chorale St. Antoni 3. III. Minuetto 4. IV. Rondo Allegretto 5. I. Allegro Moderato 6. II. Andante Con Variazioni 7. III. Menuetto Allegretto 8. IV. Finale Allegro 9. I. Allegro Comodo 10. II. Andante Moderato 11. III. Minuetto 12. IV. Rondo Allegretto 13. I. Allegro Non Molto 14. II. Adagio en Rondo 15. III. Minuetto 16. IV. Scherzando 17. I. Marcia Con Spirito 18. II. Dolcema L'amour 19. III. Minuetto 20. IV. Andantino 21. V. Allemande

?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'. However, it is important to note the confusing history behind

Album Tracks 1. Hark! the Herald Angels Sing 2. Invitatory 3. While Shepherds Watched 4. Adam Lay Ybounden 5. Once in Royal David's City 6. I Saw Three Ships Come Sailing By 7. Gabriel's Message 8. God Rest You Merry, Gentlemen 9. Sussex Carol 10. In Dulci Jubilo 11. Away in a Manger 12. O Come All Ye Faithful (Adeste Fideles) 13. Es Ist Ein' Ros' Entsprungen 14. Come Thou Redeemer 15. Twas in the Year That King Uzziah Died 16. Hark! a Thrilling Voice Is Sounding 17. A Spotless Rose 18. I Sing of a Maiden 19. Remember O Thou Man 20. On Jordan's Bank 21. Up! Awake! 22. King Jesus Hath a Garden 23. The Blessed Son of God 24. O Come, O Come Emmanuel