Grove's dictionary of music and musicians

SANDONI
1799
'
; Sir Francis Drake,' 1800 (in which was
the song, 'Bound 'prentice to a waterman, ' which
became so great a favourite with stage representatives
of British sailors that it was constantly
introduced into pieces in which a seaman formed
one of the characters for fully half a century),
and 'Hallowe'en.' His 'Angling Duet,' originally
composed for 'The Magic Pipe,' a pantomime
produced at the Adelphi, also enjoyed a long
popularity. He composed many pieces for the
violin. He died in or about 1841. w. H. H.
In these pantomimes and operas he was
associated with J. C. Cross, who wrote most of
the words, and contrived the scenic effects. The
song Gin ' a body meet a body ' is claimed by
Chappell as originally appearing in one of these
productions, 'Harlequin Mariner,' 1795-96, but
the air is found in print in Scottish collections
long before this, and there is sufficient evidence
to show that Cross and Sanderson had merely
adapted the song to London requirements, f. k.
SANDONI. See Cuzzoni.
SANDYS, William, F.S.A., born 1792,
educated at Westminster School, and afterwards
called to the bar, is entitled to mention here
as editor of Christmas ' Carols, Ancient and
Modern, including the most popular in the West
of England, with the tunes to which they are
sung. Also specimens of French Provincial
Carols,' 1833 ;
author of Ohristmastide, its
History, Festivities, and Carols, with twelve carol
tunes, 1852 ; and joint author with Simon
Andrew Forster of The History of the Violin
and other Instruments played on loith the Bow.
. . . Also an Account of the Frincipal Makers,
English and Foreign, 1864. He died Feb. 18,
1874. w. H. H.
SANG SCHOOLS. See Song Schools.
SAN MAETINI, or SAMMARTINI. Two
brothers born at Milan, both musicians, whose
works were in great vogue in England during
the first half of the 18th century.
Giuseppe or Gioseffe San Maktini, born
about 1693, came to England, according to
Burney, in 1723, and according to Hawkins in
1729. This latter date is most probably correct,
as Quantz heard him in Milan in 1726. He
was well received by Buononcini, Dr. Greene,
and others, and was by the influence of the firstnamed
appointed as hautboy player at the
Opera. His performance on the instrument
surpassed all that had been before heard, and
raised it to a great importance. It was thought
that much of the fine quality he obtained was
by a secret method of manipulating the reed
before its insertion. San Martini, having left
the Opera, was patronised by Frederick Prince of
Wales and his wife, holding in their household
the position of musical director of the Chamber
Concerts. Hawkins states that he died about
1740, but this date is probably a few years too
early. Martini composed many sets of sonatas
for flutes and for violins.
To distinguish him from his brother he is
frequently named in contemporary references
'St.
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,
'
SANTINI
221
Martini of London,' his brother being 'of
though they were after-
harpsichord
Six Sonatas for two German flutes or violins.
wards 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,
circa 1740). Others issued by Simpson are :
.
—
' Six Concertos for violins, etc., in 7 parts,' eight
overtures, six more concerti grossi,
concertos, 'Six Solos for a German flute,' and
'
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 the Quellen-Lexilcon.)
Giovanni Battista San Maktini of Milan,
his younger brother, remained in Italy, and became
a prolific composer both for instruments
and voices. About 1746 J. Simpson of London
published of his works 'Six Sonatas for two
violins and a bass,' and Burney 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
capella 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, symphonies, overtures,
trios, sonatas, etc., are mentioned in the Quellen-
Lemkon.^ F. K.
SANTA CHIARA. Opera in three acts;
words by Mme. Birch Pfeiffer, music by H.R.H.
Ernest, Duke of Saxe-Coburg-Gotha. Produced
at Coburg, Oct. 15, 1854 ; at the Opfra, Paris
(French translation by Oppelt), Sept. 27, 1855,
and, in Italian, at Covent Garden, June 30,
1877. o.
SANTINI, FoRTUNATO, the Abbe, a learned
musician, born in Kome, Jan. 5, 1778, early
lost his parents, and was brought up in an
orphanage, but showed such talent for music
that he was put to study with Jannaconi, and
received into the Collegio Salviati. During his
1798) he occupied himself in
stay there (until
copying and scoring the church -music of the
great masters, and after his ordination in 1801
devoted his whole life to music, copying,
collating, and compiling with unwearied
industry.
As an ecclesiastic he had the entrie
to many libraries and collections generally
inaccessible, and set himself to the task of scoring
all important works then existing only in parts.
In 1820 he issued a catalogue (46 pp., 1000
Nos.) of his music, the MS. of which, containing
more than the printed one, is in the