As is the case with so many 18th-century composers, Giuseppe Sarti (1727–1802) enjoyed fame in his lifetime to rival W.A. Mozart’s but is scarcely known today. Some might remember him as the author of the aria “Come un agnello”, borrowed by Mozart in Don Giovanni. After all, Sarti’s arias were in his lifetime regarded as true models of Italian style. Even after his death, they were regularly performed in the salons of the nobility. But by about 1840 the memory of the man and his works had largely faded. In recent decades, however, there has been a renewed focus on Sarti; not only for his compositions, but also for his merits as a pedagogue and theorist.
The 6 Sonate a Flauto Traversiero solo e Basso Continuo were published in Paris by Christophe Le Menu. The date of publication, 1772, can be deduced from an advertisement that appeared in a periodical late that year. It is a collection of sonatas definitely conceived for an audience at a more professional than amateur level, with writing decidedly suited to the instrumental
peculiarities of the transverse flute, which, according to the taste of the time, took as its model the singing qualities of the human voice.
This allowed Sarti to take advantage of his skill at composing operas in order to write particularly touching, even dramatic melodies, with typically theatrical affects such as in the Largo and Cantabile of the First Sonata or the Andante of the Fourth Sonata, both in the key of G minor, which on the transverse flute is, with its veiled timbre, delicately affectionate. In the context of what is one of the main characteristics of flute (and violin) writing by Italian composers, Sarti employs an articulation dominated by legato, clearly diversifying himself, as did the French composers, from the predominantly articulated style that prevailed with German composers.
The remarkably flautistic writing, for a composer who did not play the instrument nor wrote much instrumental music in general, suggests he may have been in contact with a flute virtuoso who either advised or inspired him. A credible hypothesis is that a collaboration with the orchestra of the Grand Duchy of Florence led him to work closely with its principal flautist, the virtuoso Niccolò Dôthel.
Other information:
- Recorded December 2023 in Florence
- Booklet in English contains liner notes by the harpsichordist, Giacomo Benedetti, along with profiles of all three players
- Liner notes and biographical information in Italian available at brilliantclassics.com
- Giuseppe Sarti (1729–1802), an Italian composer primarily known for his operatic works, also contributed significantly to instrumental music. His flute sonatas exemplify the elegance and refinement of late Baroque and early Classical styles.
- Sarti’s flute sonatas are characterized by their lyrical melodies, which reflect the influence of vocal music, a hallmark of his operatic background. The sonatas typically follow the three-movement structure -fast-slow-fast- that was common in the 18th century. The first movements are often lively, with energetic, flowing lines for the flute, while the middle movements tend to be more expressive, allowing the instrument to display its capacity for emotional nuance. The final movements bring a spirited conclusion, often featuring dance-like rhythms.
- These sonatas were likely written for amateur musicians, given the rising popularity of the flute in domestic music-making circles of the time. As a result, they strike a balance between technical accessibility and artistic depth.
- Played by Giovanni Miszczyszyn (Traversiere flute, made by Luca Ripanti in Turin/ Italy 2023, after Carlo Alberto Felice Palanca around 1760), Valeria Brunelli (cello) and Giacomo Benedetti (harpsichord). Giovanni Miszczyszyn studied with Peter Lucas Graf, and followed Master Classes with Aurèle Nicolet and Jean-Pierre Rampal. At the same time he specialized in Baroque flute in seminars and classes with Barthold Kuijken and Pierre Séchet.
