Trent Johnston <[EMAIL PROTECTED]> wrote:

> Cambini has suffered like many "Italian" composers in the 18th century as
> being very prolific. Often the view (especially for 18thC Italian composers)
> is prolific = low quality work.

Yes, I think Barry Brook made a specific study of Cambini and the
Sinfonia Concertante years ago
and talked about this specifically. I believe Cambini wrote dozens of
Sinfonia Concertantes, to the tune
of at least one a month for a few years.

> Additionally Cambini was also a prolific publisher with his music scattered
> all over Europe as was the tradition of the time in only instrumental parts.
> I think the biggest barrier to Cambini's work (as to a lot of 18thC
> repertoire) is the time and effort in piecing these instrumental parts back
> into a scores and then making a judgement of the overall quality of the
> work. Let alone with any view in being able to get these works performed.
>
> I'm sure as you well know this music was never meant to be "high art music"
> but rather to fulfil a amateur market that always wanted new works. The fact
> that the music was only sold in parts (with no full score) suggests that the
> orchestral requirements where very minimal (very few instruments to a part
> and often only one or two in the case of stringed instruments). Too often
> modern performances use instrumental forces that were unknown in the 18thC a
> criticism levelled at both modern and period instrument orchestras.

Do you think this was the case for the music that was written for
performance in Paris
especially the Sinfonia Concertantes? There seems to have been
simplification of scores by
the publishers too (this happened with Haydn's symphonies I think) in
an effort to make them
more sellable.


> You can access some of Cambini's Sinfonia Concertante parts here as well as
> some other instrumental works.
> http://www.kb.dk/en/nb/samling/ma/digmus/index.html
.edu


Thanks so much for that, I appreciate it!

Kim
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