XII Sonate a due Violini, e Violoncello, e Cembalo, Se piace, Opera Terza, Dedicata All'Altezza Reale di Augusta Principessa di Valli. [Parts]

London: Printed for and Sold by I. Walsh Musick Printer & Instrument Maker to his Majesty in Catharine Street in the Strand, 1747. Folio. Full modern heavy ivory wrappers. Sewn. Engraved throughout.

Violino primo: 1f. (recto title, verso blank), [i] (dedication), 36, [i] (blank) pp.
Violino secondo: 1f. (recto title, verso blank), [i] (blank), 36, [i] (blank) pp.
Violoncello: 1f. (recto title, verso blank), [i] (blank), 34, [i] (blank) pp.

Dedication within an elaborate decorative border by H. Roberts incorporating floral motifs.

A printed note at the head of the first page of music of the cello/harpsichord part for the first sonata indicates that certain passages (marked "solo" for cello) may be omitted by the harpsichordist if a cello is also playing. In Sonata XII (Allegro moderato e grazioso), two parts are notated on the same stave in the major section of the piece: a more complex variation with upward stems and a simplified version with downward stems; accompanying the piece is a note that the cellist may leave the more complex variation to the harpsichord if it proves too difficult.

Minor annotations in contemporary manuscript to the upper inner corner of titles.

Occasional minor soiling, small stains, and paper loss. A very good, clean and crisp copy overall. Second edition. Smith and Humphries 1330. BUC p. 920. RISM S722.

Sammartini, an Italian oboist and composer, "was the son of a French oboist, Alexis Saint-Martin, and the elder brother of the composer Giovanni Battista Sammartini. The report of his death (discovered by Evelyn Lance) appeared in the Whitehall Evening Post of Saturday, 24 November 1750: 'Last week died at his Royal Highness, the Prince of Wales, Signior S. Martini, Musick Master to her Royal Highness and thought to be the finest performer on the hautboy in Europe'. ... Sammartini left Italy for Brussels and then for London, where his collection of 12 trio sonatas, published by Walsh & Hare, had been announced on 30 September 1727. ... The first reference to Giuseppe in England appears in London advertisements for a concert at Hickford's Room on 21 May 1729, which also featured 'several pieces on the hautboy by the famous Sig. St. Martini of Milan, just arrived from the Court of Brussels' (Lasocki, 887). Sammartini remained in London for the rest of his life, quickly winning recognition as a brilliant performer. ... Burney mentioned an aria sung by Farinelli in Porpora's Polifemo (1735) that was 'accompanied on the hautbois by the celebrated San Martini'. Though Hawkins said that Sammartini was at first allied with Bononcini, he also played in Handel's orchestra. ... Sammartini was primarily an instrumental composer, and one of the leading writers of concertos and sonatas in England between 1730 and 1750. His printed collections include 24 sonatas for flute and bass, 30 trios for flutes or violins, 24 concerti grossi, four keyboard concertos, an oboe concerto, 16 overtures, and some flute duets and cello sonatas. ... Sammartini was a skilled contrapuntist, a fine harmonist with chromatic leanings and a good melodist, the broad lyricism of his slow movements and minuets showing the influence of Handel. His forms are interesting and well organized. Burney and Hawkins much admired Sammartini's music, which Burney praised as being 'full of science, originality, and fire'." Bathia Churgin in Grove Music Online.