Scan 571
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1composed many sets of sonatas for flutes and for violins.
3To distinguish him from his brother he is frequently named in contemporary references 'St. Martini of London,' his brother being 'of Milan.' His first publication was a set of sonatas for two flutes, issued in 1738. The sale of these being slow he destroyed the plates and the unsold copies, though they were afterwards reissued by Johnson of Cheapside. In the same year six concerti grossi were published. His next work, dedicated to the Princess of Wales, was twelve sonatas for the violin (Walsh, c. 1740). Others issued by Simpson are: 'Six Concertos for violins, etc., in 7 parts,' eight overtures, six more concerti grossi, harpsichord concertos, 'Six Solos for a German flute,' and 'Six Sonatas for two German flutes or violins.' Scattered pieces by him are often found in collections of airs ('Martini's Minuet' being long a favourite), but it is difficult to distinguish them from work by his brother or from that of many other musicians who bore the same surname. (See Q.-L.)
5(2) GIOVANNI BATTISTA (b. Milan, 1700/01; d. there, Jan. 15, 1775 1), his younger brother, remained in Italy, and became a prolific composer both for instruments and voices. J. Simpson of London published (1744) of his works 'Six Sonatas for two violins and a bass,' and Burney 2 says that between 1740 and 1770, in which latter year he saw him in Milan, he produced for the violin 'an incredible number of spirited and agreeable compositions,' and in 1770 'he was maestro di cappella to more than half the churches in the city, for which he furnished masses upon all the great festivals.' Many motets, etc., and a great number of concertos, symphonics, overtures, trios, sonatas, etc., are mentioned in Q.-L. F. K., addns.
7BIBL.—R. SONDREIMER, G. B. Sammartini, with numerous examples in music type (Z M W., Nov. 1920), G. DE SAINT-FOIX, La Chronologie de l'oeuvre instrumentale de Jean Baptiste Sammartini (Sammelbände der Internationalen Musikgesellschaft, 1914).
9SAMMONS, ALBERT EDWARD (b. London, Feb. 23, 1886), violinist, a pupil of his father, an amateur musician. He had a few desultory lessons from John Saunders and Frederick Weist-Hill. He must mainly be considered as a self-taught artist, yet can command a fine, apparently effortless technique which places him among the most capable of living violinists.
11Happening to attract the attention of Sir Thomas Beecham, who heard him play the Mendelssohn concerto at the Waldorf Hotel (1908), he received an engagement as leader of the Beecham orchestra, a post he retained for five years, during which he took part in some fifty operas and ballets.
13His early successes as a soloist included appearances at a Patron's Fund Concert at
151 Death certificate. See G. de Saint-Foix, Histoire musicale; une découverte. R.M.I., 1921, p. 816. According to burial certificate (Bulletin de la Société Française de Musicologie, No. 9—Documents).—Hist. III, 873.
17Queen's Hall (Max Bruch concerto), at the Harrogate Symphony Concert (Mendelssohn), and at the Philharmonic Society, of which he became leader, making a favourable impression by his playing of the solo in Strauss's 'Heldenleben.' In 1912 he played before the King in the Saint-Saëns concerto, the composer being present.
19He toured in Germany in the spring of 1913 with the Russian ballet under Monteux, passing the summer season of the same year at the Dieppe casino, where he had some useful experience in concerto-playing. Later he won great distinction in London and the provinces by his interpretation of the Elgar concerto, a work singularly suited to his temperament and mentality, and also by his competent quartet leading. He was for nine years leader of the LONDON STRING QUARTET (q.v.), playing in first performances of works by Schönberg, Goossens, Waldo Warner, McEwen, Ethel Smythe and others. He also introduced several new works at a series of sonata recitals given in conjunction with William Murdoch (pianist).
21He has edited the Delius concerto and partly rewritten the violin part. His own compositions include a Phantasy quartet for strings (Cobbett prize), several violin soli and books of studies.
23At a Cobbett competition among British violin-makers, held at the Aeolian Hall on Feb. 19, 1923, he played behind a screen upon a new violin by Alfred Vincent against a Strad, the former, upon which he now habitually plays, gaining the suffrage of the audience. W. W. C.
25SAMPSON, RICHARD, LL.D. (b. circa 1470; d. Eccleshall, Sept. 25, 1554), English ecclesiastic and composer of church music. He was appointed proctor at Tournay in 1517, and Dean of St. Stephen's, Westminster, 1520. Two years later he became a canon of St. Paul's Cathedral, and was later appointed Dean of the Chapel Royal. He was holding this latter post when, in 1533, he became Dean of Lichfield. On Feb. 20, 1536, during Dean Pace's illness, Cromwell made him Vice-Dean of St. Paul's, and in May of that year, when Pace died, he succeeded him as Dean. A few months after this he became Bishop of Chichester. He was deprived of his deanery of the Chapel Royal, but on Mar. 3, 1543, he was promoted by Henry VIII. to the see of Lichfield and Coventry.3
27Like his predecessor at St. Paul's, Sampson was a musician (for details of Pace's musical activities see PYGOTT and REDFORD). Two motets by Sampson, 'Quam pulchra es, amica,' a 5, and 'Psallite felices protecti culmine rose purpuree,' a 4, are in the Roy. Lib. B.M. 11 E x1/11b. The latter is a long setting of a Latin song in honour of Henry VIII. There
293 His ecclesiastical career is described with some fullness by Grattan Flood's Early Tudor Composers.
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