Page 119 - (DK) The Classical Music Book - Big Ideas Simply Explained

CLASSICAL 1750–1820 117

See also: Mozart’s Symphony No. 40 in G minor 128–131 ■ Symphonie fantastique
162–163 ■ Schumann’s Symphony No. 1 166–169 ■ Faust Symphony 176–177

with the first movement concluding
on a recapitulation of the second
theme, this time in the home key.
This sonata form (usually with a
recapitulation of the first theme)
The wind instruments could became the template for symphonic
not be used to better writing in the Classical period,
advantage; they lift and carry, particularly in first movements.
they reinforce and give life to
the storm of the violins. Musical fireworks
C.F.D. Schubart An even more striking feature of Johann Stamitz
Poet, organist, and composer Stamitz’s symphonies, including
the E-flat—and of the Mannheim Born in Neˇmecký Brod (now
school in general—was the use Havlícˇku˚ v Brod), Bohemia, in
of strong, dynamic contrasts. 1717, Stamitz learned music
Sometimes a sudden fortissimo from his father, an organist
appears in a passage of soft music, and choirmaster, before
sometimes a dramatic crescendo, attending a Jesuit school in
Many of the works played by in which the orchestra’s sound Jihlava and university in
Stamitz’s Mannheim orchestra gets gradually louder and louder, Prague. He probably worked
were symphonies, a form that had to exhilarating effect. Another as a violinist before arriving
originated in Italy as the prelude, favorite mannerism was the in Mannheim in the early
1740s, rising rapidly to the
or overture, to operas but had now “Mannheim rocket,” a rapidly rising court post of director of
become part of the Baroque concert melody or phrase accompanied by orchestral music in 1750.
repertoire. These works usually a crescendo. Combined with the Stamitz lived most of his
consisted of three movements: Mannheim orchestra’s varied working life in Mannheim,
one slow between two fast. instrumental palette of strings and although he also spent a year
wind instruments, symphonies like in Paris, in 1754–1755, where
The symphony reinvented those of Stamitz thrilled audiences he was already celebrated as a
In the Symphony in E-flat, and other and pointed the way to a more composer and performed in
works, Stamitz took hold of the dramatic, emotional music. a series of successful concerts.
symphony form and transformed The E-flat symphony was one Stamitz wrote church music
it, creating many of the features of Stamitz’s last orchestral works, and many chamber works,
that distinguish its musical style. but his legacy lived on through but he is best remembered for
He added an extra movement: a his two composer sons, Carl and his orchestral pieces, which
minuet with a contrasting section, Anton. They and others, such as include violin concertos and
called a “trio” because it was Christian Cannabich (1731–1798), many symphonies, of which
58 survive. He returned from
originally meant to be played by who led the Mannheim orchestra Paris to Mannheim in 1755
three musicians. He also adopted after Stamitz’s death, developed and died there in 1757.
the sonata form, used in the his style, and soon court composers
opening movement of the E-flat all over Europe were writing new
symphony, in which the first symphonies to entertain their Other key works
theme, played in the home key employers. The Mannheim
(E-flat) by the full orchestra is composers impressed the young c.1745 Three Mannheim
contrasted with a second theme, Mozart, who admired their Symphonies (in G major,
here played by the oboes, in the orchestra and adopted some of A major, and B-flat major)
c.1750 Mass in D major
dominant key (B-flat). This is Stamitz’s compositional techniques 1754 Flute concerto in C major
followed by a development section, in his own music. ■

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