ul I 35 tne 35.36 he cae ap i emai eid ing wih ee peta sending a Giovanni Battista Sammartini was the most prominent of the early symphony composers active in the region around Milan in northern Italy. He composed this symphony by about 1740~44, when it was copied into a manuscript collection of, three hundred instrumental works prepared for a French magistrate and music patron, Pierre Philibert de Blancheton. ‘The opening Presto follows the form typical for symphonic first movements at mid-century, as described by Heinrich Christoph Koch in the third volume of his Introductory Essay on Composition (1793). The overall structure is binary form, with two main sections that are each repeated. The first section contains a single period (a self-contained unit including at least two phrases and closed with a cadence)that opens in the tonic, modulates (measures 6-10). and closes on the dominant, The second section has two periods. one that modulates back to the tonic key (measures 15~24) and another that presents a full recapitulation of the first sec- tion with the latter portions altered to close in the tonic. According to Koch's description, each period includes a series of phrases that may vary considerably in length, and the first section and the second period in the second section follow a set pattern of phrases, while the middle period is more variable. The following diagram shows how Koch's model fits this movement: Music Key Measure Fast Section (ONE main PeRI00) | First and second phrases 1 1 Third phrase modulates toV | 6 | Fourth phrase v " Appendix v 3 ‘Secono Secrion (Two MAIN PERIODS) rast Man Peston Free modulates 15 Preparation for return on 2 ‘Secono MAIN Pexion First and second phrases I 25 Third phrase modulates 30 Fourth phrase 1 34 Appendix 1 37 This form later became known as sonata form, and the three periods were termed exposition, development, and recapitulation. ‘As is typical of Sammartini’s symphonies, one idea follows another in rapid succession, each with a distinet rhythm and texture. The opening hammerlike blows in unisons and octaves were a favorite beginning gesture in early sym phonies. Such a distinctive first idea captures the listener's attention and is readily remembered, making it easy to recognize when it returns and helping the listen- cer to follow the movement's form. Only one element, a rising line over a pulsing bass (measures 6-8). is reused before the double bar (measures 11-12). to bring the first section to a close. In the second period, the hammer blows are harmonized in the dominant, but almost immediately a Bs in the bass thrusts the harmony back toward the tonic. Two measures later. an Eb in the bass spurs the music on to the subdominant, a new tonal area, from which the harmony moves on to close the second period on a dominant seventh chord. Inthe final period, after the return of the movement's opening material (measures 25-30), a new transition (measures30-34) simulates a modulation to the subdominant but quickly leads back to the tonic. The material presented in the dominant at the end of the first section now appears in the tonic, and repeated tonic chords bring the second section to a close. Like most early symphonies, this one is scored for strings in four parts—violins and II, violas, and a bass line played by cellos. doubled an octave lower by bass viol-joined by a harpsichord for realizing the basso continuo. Orchestras of the time were usually small by modern standards, with perhaps ten to sixteen string players, including three to five on each violin part, one to four each on viola and, cello, and one on bass viol