(no subject)
Stephen Jackson
Music History 332
Dr. Pierpaolo Polzonetti
Sammartini and Stamitz, Slaves for Their Art?
A Comparative Essay of the Unsung Heroes of The Symphonic Repertoire
Giving Respect, Where Respect is Due
The questions asked in this paper are for non musicologists
Introduction
Johann Stamitz and Giovanni Battista Sammartini were two of the most important innovators of the symphony form. Their idea’s set the stage for the entire Classical Era in which some of the greatest music ever written appeared. Chances are, you have not heard of them.
Giovanni Battista Sammartini, who experts speculate, spent his entire life in Milan became a very popular church organist. He developed a strong following in Milan for his religious compositions. Over time he evolved these talents and became the composer/director for all of Milan, which placed him in charge of all the concerts for the Governor, as well as other parts of Italy.
Johann Stamitz, who was very well known in Germany as a violin virtuoso, was appointed to a job in the Orchestra at Mannheim by Elector Palatine Carl Philipp. Stamitz quickly rose through the Orchestra’s ranks to earn the spot of Concertmaster. Soon after being named Concertmaster, Carl Philipp bestowed on him the title of Director of Instrumental Music, which required him compose new pieces regularly for the Orchestra. Stamitz was blessed with a great opportunity now one of the best orchestras in the world at his disposal. Giovanni Battista Sammartini and Johann Stamitz each were placed in similar situations, and it just happens to turn out that, history perceives them the same way. Both are viewed as visionaries and pioneers in symphony composition. On paper, it appears that they have the capabilities to create identical compositions. Giovanni Battista Sammartini’s Symphony in C major J-C 4; ca. 1750 and Johann Stamitz’s Symphony in E-flat major DTB/Wolf Eb-5a; ca. 1753-1755, will be compared and contrasted through the general harmonic structure of the First movement of each respective symphony, the use of different orchestration techniques based upon the given instrumentation and the relative impact of their ideas on history compared with the recognition they receive today.
First Movement
One hundred years ago, Giovanni Battista Sammartini was a no body. Well, that should go with out saying, considering he would have been dead for one hundred and twenty-five years. In the music community, he was viewed just the same. His one claim to fame was that he probably taught Christoph Willibald Gluck. There would be no way to prove if he actually did teach Gluck, and quite frankly, it doesn’t matter. What does matter is the fact that three musicologists became so fascinated with this little known organ player, for which no one knows his real year, which has a brother who penned a couple compositions and who can really wail away on an oboe. Intrigued by Sammartini, these three musicologists began studying Sammartini between the years 1913-17. Once their findings were published, Sammartini became famous again. His name had meaning, his name had a story, He had an impact on the world. Musicologists soon drew notice of this fantastic find and more research was started. Uncovering more and more facts and details about Sammartini compositions made it seem as if they were Howard Carter opening King Tut’s tomb. (ironically, if the symphony discoveries occurred near the initial dates, they would have proceeded that similes meaning) Musicologist began doing handwriting test in order to verify authenticity.
Sammartini’s J-C 4 discuss discuss discuss discuss… [excerpts: from the piece: first bars, modulation final cadence] Discuss discuss discuss…
Stamitz Symphony Eb-5A [same excerpts as above]
Orchestration and Instrumentation
Refer back to the previous section, since the first measures are crucial. Discuss how the chosen instruments are either doing what you would expect them to do, or breaking their mold. Show an example of this… Discuss discuss discuss
Aftermath
Johann Stamitz, who was a violin virtuoso, was appointed to a job in the Orchestra at Mannheim. Stamitz quickly rose through the Orchestra’s ranks to Concertmaster and soon after was offered the title of director of instrumental music, which required him compose regularly for the Orchestra. Shortly after his new position was offered, the elderly and music conscience, Elector Palatine Carl Philipp died. His young nephew Carl Theodor immediately replaced him. Carl Theodor was considered quite liberal at the time, and through unorthodox moves, managed to raise the level of the Orchestra, through the appointments of more and more talented performers. This situation presented a glorious opportunity for Stamitz. He now had an even better Orchestra to write for, and a young boss who would approve of his experimenting through the new genre of the symphony. Stamitz manages to write a good number of compositions while at Mannheim, until his untimely death at the age of Thirty-nine. Twenty years after his death, Carl Theodor acquires Bavaria. Displaying his kindness and love of musicians, he allows the current members to choose whether to remain in Mannheim, or to stay with the elector’s court and move to Munich. This option splits the group and thus the Mannheim Orchestra is no more . After being in existence for only fifty-eight years, the orchestra which was once said to have “more solo players and good composers […] than perhaps […] any other orchestra in Europe; it is an army of generals, equally fit to plan a battle as to fight it.” The Mannheim Orchestra’s sudden disappearance ended up hurting Johann Stamitz’s legacy and the magnitude of his accomplishments. Without the Mannheim Orchestra to remind keep the memories fresh, the stars of the past eventually fad away from the general public’s eye. ----This will be edited for this topic. I wrote this whole huge introduction and it was like 3 pages long, then I realized I had run out of time, so now I am trying to salvage what I can. I believe that this part of the paper is a very strong idea and subject, but it may be too abstract, although it seems to have affected both Sammartini and Stamitz.
Conclusion
Restate and Reword the thesis
Hopefully add some interesting facts, open ended questions
End with a deep thought or a question, to keep them thinking
For historical intrests, i have decided to publish the piece of horse shit i attempted to turn in. there are general notes for the teacher throughout, which are marked with italics which i guess are acceptable, because it is a draft.
note the lack of conclusion and 2nd point justification, along with the random rants which occur in the first point and 3rd.
also the title is so bad, it has absolutely nothign to do with anything. NOTHING, well i mean, it can be spun from the facts, but who gives a shit. i am now red pening it up, hoping to get something out of it.
my goal is completion by midnight.
actually i'm going to stop working at midnight whether it is done or not
no more procrastination
Music History 332
Dr. Pierpaolo Polzonetti
Sammartini and Stamitz, Slaves for Their Art?
A Comparative Essay of the Unsung Heroes of The Symphonic Repertoire
Giving Respect, Where Respect is Due
The questions asked in this paper are for non musicologists
Introduction
Johann Stamitz and Giovanni Battista Sammartini were two of the most important innovators of the symphony form. Their idea’s set the stage for the entire Classical Era in which some of the greatest music ever written appeared. Chances are, you have not heard of them.
Giovanni Battista Sammartini, who experts speculate, spent his entire life in Milan became a very popular church organist. He developed a strong following in Milan for his religious compositions. Over time he evolved these talents and became the composer/director for all of Milan, which placed him in charge of all the concerts for the Governor, as well as other parts of Italy.
Johann Stamitz, who was very well known in Germany as a violin virtuoso, was appointed to a job in the Orchestra at Mannheim by Elector Palatine Carl Philipp. Stamitz quickly rose through the Orchestra’s ranks to earn the spot of Concertmaster. Soon after being named Concertmaster, Carl Philipp bestowed on him the title of Director of Instrumental Music, which required him compose new pieces regularly for the Orchestra. Stamitz was blessed with a great opportunity now one of the best orchestras in the world at his disposal. Giovanni Battista Sammartini and Johann Stamitz each were placed in similar situations, and it just happens to turn out that, history perceives them the same way. Both are viewed as visionaries and pioneers in symphony composition. On paper, it appears that they have the capabilities to create identical compositions. Giovanni Battista Sammartini’s Symphony in C major J-C 4; ca. 1750 and Johann Stamitz’s Symphony in E-flat major DTB/Wolf Eb-5a; ca. 1753-1755, will be compared and contrasted through the general harmonic structure of the First movement of each respective symphony, the use of different orchestration techniques based upon the given instrumentation and the relative impact of their ideas on history compared with the recognition they receive today.
First Movement
One hundred years ago, Giovanni Battista Sammartini was a no body. Well, that should go with out saying, considering he would have been dead for one hundred and twenty-five years. In the music community, he was viewed just the same. His one claim to fame was that he probably taught Christoph Willibald Gluck. There would be no way to prove if he actually did teach Gluck, and quite frankly, it doesn’t matter. What does matter is the fact that three musicologists became so fascinated with this little known organ player, for which no one knows his real year, which has a brother who penned a couple compositions and who can really wail away on an oboe. Intrigued by Sammartini, these three musicologists began studying Sammartini between the years 1913-17. Once their findings were published, Sammartini became famous again. His name had meaning, his name had a story, He had an impact on the world. Musicologists soon drew notice of this fantastic find and more research was started. Uncovering more and more facts and details about Sammartini compositions made it seem as if they were Howard Carter opening King Tut’s tomb. (ironically, if the symphony discoveries occurred near the initial dates, they would have proceeded that similes meaning) Musicologist began doing handwriting test in order to verify authenticity.
Sammartini’s J-C 4 discuss discuss discuss discuss… [excerpts: from the piece: first bars, modulation final cadence] Discuss discuss discuss…
Stamitz Symphony Eb-5A [same excerpts as above]
Orchestration and Instrumentation
Refer back to the previous section, since the first measures are crucial. Discuss how the chosen instruments are either doing what you would expect them to do, or breaking their mold. Show an example of this… Discuss discuss discuss
Aftermath
Johann Stamitz, who was a violin virtuoso, was appointed to a job in the Orchestra at Mannheim. Stamitz quickly rose through the Orchestra’s ranks to Concertmaster and soon after was offered the title of director of instrumental music, which required him compose regularly for the Orchestra. Shortly after his new position was offered, the elderly and music conscience, Elector Palatine Carl Philipp died. His young nephew Carl Theodor immediately replaced him. Carl Theodor was considered quite liberal at the time, and through unorthodox moves, managed to raise the level of the Orchestra, through the appointments of more and more talented performers. This situation presented a glorious opportunity for Stamitz. He now had an even better Orchestra to write for, and a young boss who would approve of his experimenting through the new genre of the symphony. Stamitz manages to write a good number of compositions while at Mannheim, until his untimely death at the age of Thirty-nine. Twenty years after his death, Carl Theodor acquires Bavaria. Displaying his kindness and love of musicians, he allows the current members to choose whether to remain in Mannheim, or to stay with the elector’s court and move to Munich. This option splits the group and thus the Mannheim Orchestra is no more . After being in existence for only fifty-eight years, the orchestra which was once said to have “more solo players and good composers […] than perhaps […] any other orchestra in Europe; it is an army of generals, equally fit to plan a battle as to fight it.” The Mannheim Orchestra’s sudden disappearance ended up hurting Johann Stamitz’s legacy and the magnitude of his accomplishments. Without the Mannheim Orchestra to remind keep the memories fresh, the stars of the past eventually fad away from the general public’s eye. ----This will be edited for this topic. I wrote this whole huge introduction and it was like 3 pages long, then I realized I had run out of time, so now I am trying to salvage what I can. I believe that this part of the paper is a very strong idea and subject, but it may be too abstract, although it seems to have affected both Sammartini and Stamitz.
Conclusion
Restate and Reword the thesis
Hopefully add some interesting facts, open ended questions
End with a deep thought or a question, to keep them thinking
For historical intrests, i have decided to publish the piece of horse shit i attempted to turn in. there are general notes for the teacher throughout, which are marked with italics which i guess are acceptable, because it is a draft.
note the lack of conclusion and 2nd point justification, along with the random rants which occur in the first point and 3rd.
also the title is so bad, it has absolutely nothign to do with anything. NOTHING, well i mean, it can be spun from the facts, but who gives a shit. i am now red pening it up, hoping to get something out of it.
my goal is completion by midnight.
actually i'm going to stop working at midnight whether it is done or not
no more procrastination