Diss.--Heidelberg, 1993. / Bibliogr. p. 327-334.

Éléments de compréhension du parcours et du répertoire de Giuseppe Sammartini. Descriptions des sonates pour un dessus et basse continue. Etudes stylistiques et de notations de la musique de Giuseppe Sammartini. Proposition d'interprétations de sa musique au hautbois. Aspects of understanding of Giuseppe Sammartini's carreer. Descriptions of his sonatas for one dessus and basso continuo. Studies of the stylistic and notational practices of Giuseppe Sammartini's music. Aspects for the interpretation of his music on the oboe. / Doctorat en Art et Sciences de l'Art / info:eu-repo/semantics/nonPublished

The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

<p>Sammartinis Blockflöjtskonsert F dur</p><p>Dominic Probert, blockflöjt</p><p>Karolina Weber Ekdahl, barockviolin</p><p>Sandra Marteleur, barockviolin</p><p>Anna Lamberti, barockviola</p><p>Stina Petersson, barockcello</p><p>Anna Paradiso Laurin, cembalo</p><p></p><p></p>