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 –17 7CL ASSICAL 1750 –1820
Many of the works played by
Stamitz’s Mannheim orchestra
were symphonies, a form that had
originated in Italy as the prelude,
or overture, to operas but had now
become part of the Baroque concert
repertoire. These works usually
consisted of three movements:
one slow between two fast.The symphony reinvented
In the Symphony in E-flat, and other
works, Stamitz took hold of the
symphony form and transformed
it, creating many of the features
that distinguish its musical style.
He added an extra movement: a
minuet with a contrasting section,
called a “trio” because it was
originally meant to be played by
three musicians. He also adopted
the sonata form, used in the
opening movement of the E-flat
symphony, in which the first
theme, played in the home key
(E-flat) by the full orchestra is
contrasted with a second theme,
here played by the oboes, in the
dominant key (B-flat). This is
followed by a development section,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)
became the template for symphonic
writing in the Classical period,
particularly in first movements.Musical fireworks
An even more striking feature of
Stamitz’s symphonies, including
the E-flat—and of the Mannheim
school in general—was the use
of strong, dynamic contrasts.
Sometimes a sudden fortissimo
appears in a passage of soft music,
sometimes a dramatic crescendo,
in which the orchestra’s sound
gets gradually louder and louder,
to exhilarating effect. Another
favorite mannerism was the
“Mannheim rocket,” a rapidly rising
melody or phrase accompanied by
a crescendo. Combined with the
Mannheim orchestra’s varied
instrumental palette of strings and
wind instruments, symphonies like
those of Stamitz thrilled audiences
and pointed the way to a more
dramatic, emotional music.
The E-flat symphony was one
of Stamitz’s last orchestral works,
but his legacy lived on through
his two composer sons, Carl and
Anton. They and others, such as
Christian Cannabich (1731–1798),
who led the Mannheim orchestra
after Stamitz’s death, developed
his style, and soon court composers
all over Europe were writing new
symphonies to entertain their
employers. The Mannheim
composers impressed the young
Mozart, who admired their
orchestra and adopted some of
Stamitz’s compositional techniques
in his own music. ■Johann Stamitz
Born in Neˇ mecký Brod (now
Havlícˇku ̊ v Brod), Bohemia, in
1717, Stamitz learned music
from his father, an organist
and choirmaster, before
attending a Jesuit school in
Jihlava and university in
Prague. He probably worked
as a violinist before arriving
in Mannheim in the early
1740s, rising rapidly to the
court post of director of
orchestral music in 1750.
Stamitz lived most of his
working life in Mannheim,
although he also spent a year
in Paris, in 1754–1755, where
he was already celebrated as a
composer and performed in
a series of successful concerts.
Stamitz wrote church music
and many chamber works,
but he is best remembered for
his orchestral pieces, which
include violin concertos and
many symphonies, of which
58 survive. He returned from
Paris to Mannheim in 1755
and died there in 1757.The wind instruments could
not be used to better
advantage; they lift and carry,
they reinforce and give life to
the storm of the violins.
C.F.D. Schubart
Poet, organist, and composerOther key worksc.1745 Three Mannheim
Symphonies (in G major,
A major, and B-flat major)
c.1750 Mass in D major
1754 Flute concerto in C majorUS_116-117_Stamitz.indd 117 26/03/18 1:00 PM