[Op. 1 and Op. 2] Six Sonatas for two Violins with a Through Bass for the Harpsicord or Violoncello. [Set of parts]

London: I. Walsh, 1744. Folio. Disbound. Violino primo: 1f. (title), [1] (blank), 2-13, [i] (blank) pp.; Violino secondo: 1f. (title), [1] (blank), 2-13, [i] (blank) pp. Basso (with figures): 1f. (title) 8 pp. Engraved. Basso part from issue of ca. 1748.

Some browning, soiling and minor foxing.

First Edition, first issue of string parts, first edition, later issue, of the bass part. Smith & Humphries 918-919. BUC p. 593. RISM L518.

Together with:

Lampugnani and Sammartini. [Op. 2]. A Second Set of Six Sonatas for two Violins with a Through Bass for the Harpsicord or Violoncello. London: I. Walsh [ca. 1750]. [Set of parts]. Folio. Disbound. Violino primo: 1f. (title), [1] (blank), 2-13, [i] (blank) pp.; Violino secondo: 1f. (title), 11, [i] (blank) pp.; Basso (with figures): 1f. (title), [i] (blank), 2-10 pp. Engraved. Spines slightly frayed. Minor browning, staining and foxing. Tear to title of Violino Secondo part repaired. A later edition. Smith & Humphries 921. BUC p. 593. RISM L524. It is doubtful whether Sammartini had any share in the op. 1 collection. According to Bathia Churgin in Grove Music Online, the third sonata (in A major) has been traditionally considered as Sammartini's work; the absence of ascriptions in the edition and the fact that the later edition (RISM L519) credits all six works to Lampugnani, however, do little to support any claim to Sammartini's authorship.

Lampugnani, perhaps best known as an opera composer, also wrote instrumental music and was an accomplished harpsichordist and singing teacher. "He ... made the acquaintance of J.C. Bach and Padre Martini; Bach mentioned him in a letter to Martini written in 1759. ... When Mozart was in Milan to finish his Mitridate, rè di Ponto in 1770, Lampugnani helped rehearse the singers, including the prima donna Antonia Bernasconi. During the first three performances he played second harpsichord and in subsequent performances directed the orchestra himself." Michael F. Robinson et al. in Grove Music Online

"In general [Sammartini's] chamber works are more lyrical, more ornamental and more intricate in rhythm than [his] orchestral music ... The string trios for two violins and bass form the largest and most important group, and were extremely popular, as the many surviving copies indicate. The relation between the instrumental parts (especially the violins) varies considerably from the complete domination of the first violin to frequent dialogue and imitation, none of the sonatas being consistently imitative in late Baroque fashion." Bathia Churgin in Grove Music Online.