Sgambati has published but little, probably partly on account of the severe self-criticism that is evident in his work, the result of which is seen in the qualities above mentioned. But this is not by any means to imply that his music is lacking in freshness or force; on the contrary, his best work has, which is not too common, a distinction of its own, and there is great vigor and strength in the pianoforte concerto and the symphony, his two works written in the largest form. As every musician, however, in thinking of Dvořák, Brahms, Tschaïkowsky, St. Saëns, etc., has always unconsciously in his mind certain characteristics that he associates with their music, without which it would not be theirs, so in Sgambati are we attracted by his great polish and refinement, as well as by a certain personal charm of manner that is always present (perhaps that is the Italian side of him).

Of vocal music, there have been published three sets of songs (Op. 1, 2, 19) and a cantata for one voice with orchestral accompaniment; of chamber music, there are two quintets for piano and strings (Op. 4 and 5) and a quartet for strings in the unusual key of D-flat major. Of these last, the first quintet, in F minor, is generally considered the most striking, but although it and its companion and the string quartet have made their way, it is by his pianoforte works that he is best known. They are: a Notturno (Op. 3); a strong and characteristic Prelude and Fugue (Op. 6); two Etudes (Op. 10); the "Fogli volanti" (Op. 12), several of which are peculiarly charming; the well-known and truly original Gavotte (Op. 14); four pieces; "Preludio," "Vecchio Minuetto," "Nenia," "Toccata" (Op. 18); "Three Nocturnes" (Op. 20); Suite (Op. 21); "Pièces Lyriques" (Op. 23), and the Concerto in G minor (Op. 15).

Fac-simile autograph and musical manuscript written by Sgambati.

[[See larger version]]

[[Listen midi]]

[[audio/mpeg]]

These pianoforte pieces do not cover a great number of pages, but in them we often feel something that is none too common, and that it is to be highly prized: we find a personality. It is easy now-a-days to be personal by being vulgar and obtrusive, but it is not so usual to find that quality combined with the reticence and knowledge that mark the finest work, and it is perhaps Sgambati's best trait that we do find that in his music. Most of the pieces are under the disadvantage of being less easy to play than they sound, and the opposite feature is so much liked by players that it is surprising that they have obtained popularity. The Gavotte is not run in the common mould, which has been so much employed for the turning out of numberless pieces of the old dance forms, but is piquant and interesting, and with its appropriate drone-like Musette, is as well-known as any; the "Fogli Volanti" has made many admirers for its author, while the "Vecchio Minuetto" and the "Toccata" from Op. 18, and the first of the Nocturnes (Op. 20) in especial are much played. The first study of Op. 10, in F-sharp minor, has especial interest to pianists in that a clever application is made in it of the system of pedal notation proposed by Hans Schmitt; in this desire to set down exactly what he wishes to express at the pianoforte, Sgambati exhibits a certain likeness to Sterndale Bennett, and indeed the two are somewhat akin in their musical way of thought.

The pianoforte concerto is written in a large style, especially the first movement, and has several portions that are striking and unusual; it is grateful for the player, and sure of success. The fact that three trombones are in the score would lead one to fear a certain over-doing of effect, but the brass is so judiciously used as to justify its presence; and in the symphony also the orchestration is skilful and well contrasted, good effects being often obtained by the use of but few instruments. The symphony has had varying fortunes, being received with great warmth in Italy and in London, but having the opposite fate when performed in New York; it was produced at a concert in the Quirinal, March 28, 1881, the King and Queen of Italy being in the audience, and the King conferred upon the composer the order of the Crown of Italy upon that occasion.

To sum up the characteristics of Sgambati's work: in him is found all the old respect for form and style that was once supreme, but that now is not so universally accepted; he is not fond of making dabs of contrasting colors and calling the result a picture, but everything with him must be well-drawn, and the values must be right. His melodies are clearly cut, their harmonization interesting, and with all his adherence to the classic models, there is so much individuality that his music is his own. It is interesting to find a leading composer of Italy so distinguished for sobriety and reticence, while for extravagance of expression we look to the new men of Germany, France and Russia. And, as Sgambati is still in the prime of life, with ripened powers, even more is to be hoped and expected from him than in the past.