Talk:Sampson I

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Composer names with parentheses in the title could potentially produce undesirable results in some templates (as {{LastNameFirst}}) or queries executed with DLP. Is there any other technique for disambiguating them that does not involve the parentheses? —Carlos (talk) 05:01, 21 May 2013 (UTC)

Reply by: Chucktalk Giffen 06:23, 21 May 2013 (UTC)


I would suggest Sampson 1 for Sampson I and Sampson 2 for Sampson II.

That's fine by me! I also thought of using the Roman numerals in uppercase, Sampson I and Sampson II (or maybe with a comma? Sampson, I and Sampson, II?) Is there any risk of someone taking them for a name initial? —Carlos (talk) 13:06, 21 May 2013 (UTC)
PS: just noted that the numbers are inverted, as (ii) composed a few decades before (i). It should be the other way around, right?

Reproducing part of the description given at Grove:

"Sampson [first name unknown] (fl c1516). ?English composer. Two compositions attributed to ‘Mr Sampson’ appear in GB-Lbl Roy.11.e.xi, dated 1516: a Psallite felices in honour of Henry VIII, and a five-voice Marian antiphon: Quam pulcra es, amica mea. In his use of declamation, brief motifs treated in imitation, and general avoidance of lengthy melisma, Sampson showed much greater acquaintance with continental techniques – particularly Flemish – than any other English composer of the period.
The only plausible candidate for identification with the composer yet suggested is Richard Sampson, dean of the Chapel Royal from 1523 to 1540. There is nothing in his known biography to suggest that he was in any way a musician, but it is known that he spent the years from 1507 to 1513 studying law in Paris, Perugia and Siena, and was in Antwerp in 1511; between 1514 and 1517 he was Thomas Wolsey's vicar-general in the diocese of Tournai. If he were the composer, these long years abroad could explain the continental style of his writing. Nevertheless, his known career was that of a lawyer, and then a diplomat and trusted official of Cardinal Wolsey and Henry VIII, for whom composition can at best have been no more than a hobby. He died in September 1554.
"In all likelihood, the composer whose works arose in this English milieu must be distinguished from a continental contemporary also known only as Sampson (or Samson), several of whose works appeared in German printed collections: a song in 1549, a mass cycle on the same song in 1541 (both of them strongly retrospective collections) and four motets in 1537, 1538, 1541 and 1546."

Based on this, we could also name the other one Mr Sampson (Richard Sampson is already taken by another composer), or keep him as Sampson and rename this one as Samson. Just more ideas... —Carlos (talk) 13:23, 21 May 2013 (UTC)