Symphony in D Major Cover Image

Symphony in D Major: Full Orchestra, Conductor Score

$12.00 USD
$12.00 USD
Skip to product information
Symphony in D Major Cover Image
Symphony in D Major: Full Orchestra, Conductor Score

Symphony in D Major: Full Orchestra, Conductor Score

By Giovanni Battista Sammartini, ed./arr. by A. Louis Scarmolin

Grade: 3

Item: 36-10205035
$12.00
Shipped

One moment…

Related Items

Symphony in D Major: Full Orchestra, Conductor Score & Parts

$45.00
View
Description
Giovanni Battista Sammartini (1705-1775) was a prolific composer, noteworthy for being of the the predecessorts of Haydn in orchestra and chamber music. He composed 24 symphonies, and the SYMPHONY in D Major is among his best liked works. The symphony opens (Allegro Moderato) with a broad, dignified theme somewhat reminiscent of Handel, while the second movement (Andante espressivo) is a beautiful air with oboe solos that are cued in the 1st Violin and Clarinet parts. The third movement is a gay Maestoso. Optional saxophone parts are included as well as Violin 3 parts as substitutions for the Viola part.

Symphony in D Major: Full Orchestra, Conductor Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

No sample pages found.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: LudwigMasters Full Orchestra
Publisher: Keiser Productions, Inc.
ISBN10: 1-62-156788-5
ISBN13: 978-162-156-7882
UPC: 605258549273
SKU: 36-10205035
Instrumentation: 2.2.2.2: 2Sax (AT; opt.): 4.2.3.1: Timp.Perc(2-3): Str (9.8.7[+3 Vn3 Va sub.].6.5 in set)

More about this title

About the Composer: Giovanni Battista Sammartini

Giovanni Battista Sammartini (1705-1775) was an Italian composer and maestro di cappella whose symphonies and chamber works shaped the early development of the Classical orchestra. Working primarily in Milan, he composed over two dozen symphonies that bridged the galant style and the emerging Classical language of Haydn and Mozart. His fluency with orchestral color and gift for memorable melodic lines made him one of the most performed composers of his generation across Europe.

For conductors and educators, Sammartini's symphonies offer essential repertoire that demonstrates how composers of the pre-Haydn era thought about orchestral balance, texture, and form. His works reveal the transition from Baroque contrapuntal thinking to the cleaner phrase structures and homophonic textures that would define the Classical period.

Why we love this

This score hits the sweet spot between familiarity and discovery for student orchestras. The opening movement's broad, dignified theme immediately engages players with a strong sense of direction, while the oboe solos in the Andante give wind players a moment to shine with genuine musical substance. The optional saxophone parts and violin 3 alternatives show thoughtfulness about ensemble flexibility without compromising Sammartini's original voice.

What to expect

Elegant and purposeful, with the formal grace of an 18th-century drawing room and the warmth of a composer who understood how to write for human voices and instruments. The Andante's expressive oboe air breathes with genuine lyricism, while the opening Allegro Moderato carries dignity without pretension. The finale's Maestoso stride leaves listeners satisfied without demanding virtuosity beyond a Grade 3 ensemble's reach.

Who it's for

Full orchestras at the intermediate level, particularly those ready to move beyond standard Haydn and Mozart repertoire while staying within manageable technical demands. Directors preparing students for their first encounters with pre-Classical symphonic writing will find this work rewarding for both its musical substance and its pedagogical clarity.

How to get the most out of it

  • Balance the first movement's dignified opening theme by ensuring the first violins project without drowning out the harmonic foundation in lower strings; Sammartini's orchestration depends on clarity of line rather than weight of sound.
  • Shape the Andante's oboe solos with careful attention to the cued parts in first violin and clarinet, making clear which voice carries the primary melody while allowing the other instruments to provide transparent support.
  • Maintain forward momentum in the Maestoso finale despite its stately character; resist the temptation to slow down, which can undermine the movement's underlying vitality.
  • If using saxophone parts, integrate them early in rehearsal so they blend naturally with the woodwind section rather than sitting as an afterthought.

How to use it

Pair this symphony with other Classical-era works in a concert exploring the immediate predecessors of Haydn, or program it alone as an opportunity to spotlight your woodwind and string sections. The work's moderate technical demands and strong musical content make it ideal for early-to-mid season performances when ensemble cohesion is developing but before the most demanding repertoire arrives.

Skills your students will build

  • Reading sustained Andante phrasing with expressive control
  • Balancing homophonic textures where one line carries the melody while others provide harmonic support
  • Executing clean articulation in Classical-style themes with defined phrase structure
  • Responding to conductor gestures that shape broader formal sections rather than moment-to-moment details
  • Blending optional instrumental doublings (saxophone, violin 3) without disrupting orchestral balance

You May Also Like