Відео

Henri Joseph Rigel is also very underrated

Totally agree, don't forget about Pleyel.

@@jorgegrajales7695 Yes. I’m so sorry I knew him about only his pianos. However, because of your answer, I’ve listened into some of his works, and I have to thank you for these gems.

@ you're so welcome, He was pupil of Haydn, you can hear that influence in his music.

Have you ever heard the Andante Grazioso from the symphony in C major by Carl stamitz?

who? Stamitz? He himself kind-of pushed the idea of p and f to be integral to classical music. p and f IS Stamitz.

Stamitz invented the modern symphony. Haydn perfected it.

@@ridwancoding5646 Stamitz was a very important figure in the birth of the symphony, but he did not invent it, no one single composer can claim to have done so; Haydn’s role in the development of the 18th century symphony was unmatched by any other single composer, especially as Mozart’s contribution is limited really only to the last six symphonies written post-1781 and his move to Vienna. The symphony originated in Italy from the sinfonia* avanti l’opera (operatic overture) but composers started to write three-movement works as independent concert pieces rather than introductions to operas; as Italian composers and musicians were to be found in every country in Europe, the sinfonia was thus exported all over the continent (as was the the word adapted into the local languages, a factor alone indicating the origins of the form). Some composers worth investigating if interested in the development of the early symphony from about 1740 are: Sammartini and Brioschi in Milan Wagenseil and Monn in Vienna Johann Stamitz, Richter, Holzbauer, and Fils in Mannheim. There are others as well, plus it is probably worth mentioning Locatelli’s VI Introduttioni teatrale (sic) Opus 4 published in Amsterdam as early as 1735 which are three-movement quick-slow-quick works with nothing to do with the opera, and which are a sort of hybrid opera overture and concerto grosso. Hope that’s of some interest to yourself, and anyone else passing by. * Sinfonia is pronounced correctly ‘Seen-foh-*nee*-ah’.

I really appreciate this "attempt" at an analysis but I see some inaccuracies. Firstly, the feature is called the "Manheim roller" - not - the "Manheim Steam roller". Secondly, movement two modulates into G major (IV of I), not into A major like you suggested. There is also "harmonic instability" and if you believe so, please define what you mean by instability. The rest of the analysis seems vaguely correct but please add proof e.g. bar 23.2 and put the proof at the bar it occurs. Thank you for your contribution and I hope you continue to make analyses on pieces you enjoy listening to.

every a level music student thanks you <3

@@josephl2786 I think both roller and steam roller are accepted.

@@josephl2786🤓

The composers of today that you mention rely as much on clichés and formulas as the old composers. They have even 200 more years to choose material from. Film music is depending massively on formulas from the 19th century. Wagner in particular.

You are correct! This is essentially the "initial sound" which we identify with Mozart and Haydn. All the signatures (techniques, including Symphony and Sonata) of that sound can be found in the Mannheim School (i.e. Haydn and Mozart often sound like Stamitz....but in their best work they simply go beyond). Also interesting and developing in a different way are composers such as C.P.E. Bach and W.F. Bach (J.Christian seems to follow more Stamitz et. al): they are true geniuses, but eclipsed by their father. Their best work (keyboard and other instrumental concertos) stands alongside the best the 18th century had produced: what we see is that this rich century musically cannot be just encapsulated by Haydn and Mozart. There are a number of excellent composers (Quantz, Vanhall, Richter, etc.) worth hearing.

webadas dices

@@robertoalexandre4250 You get it. Truly, you do. Thank you for restoring my sanity.

Tremendous composer Stamitz, some melodies and motifs ( really sublime ) where used by Haydn, Mozart, Myslivecek, JC Bach and many others. This set of symphonies was the real origin of the classical symphony in the galant era.

@@robertoalexandre4250 I can't agree I'm afraid; I find this music dull by comparison to Haydn and Mozart - even their less interesting pieces are considerably more imaginative. I would not wish to detract from anyone else's enjoyment of it though, and I appreciate the posting.

One of Haydn's inspirations, I think?

@@clawsoon taught at the mannheim school

same aber andere Schule xD

Probably too late for ya, but I found it on IMSLP. Lots of older scores there, might not be perfect, but it's free to everyone and a great resource to find older music :D

imslp.org/wiki/Sinfonien_der_pfalzbayerischen_Schule_(Riemann%2C_Hugo) It's harder to find on imslp because this version is in a compilation of Mannheim Symphonies by Hugo Riemann, it starts on page 114 if you download the PDF. You want to download the "Erster Theil".

cheers mate

Yo, con la maestra Toña

en serio ?

there doesn't need to be, the harpsichord was in the process of dying out and being replaced by the fortepiano around the time Stamitz wrote this symphony

@@dukeofcurls3183 this was probably composed in the 1740s harpsichords were still used

@@CivilWarBuff82 it was composed in the early 1750s, and regardless, it isn't that common for classical-period music to be performed with harpsichords

@@dukeofcurls3183 The keyboard part ‘Klavierauszug’ here is confusing and would have been better removed. It is not an eighteenth century continuo part, but simply a piano reduction of the whole score - if played as written, it would destroy the symphony.

You might find my comment above of interest.