Symphony in D Major, op. 3 no. 2, movement 1 by Johann Stamitz Sinfonia Ca. 1752-1755 Musical Characteristics/Associated Terms Mannheim Rocket And Mannheim steam roller Elements of sonata form Modulation from primary to secondary key area (mod. To A Major), confirmed by second theme area Period of harmonic instability Return to tonic at end BUT: no repeat signs, recap diffused, more transitional than developmental Elements of ritornello structure: Opening theme (ritornello) stated 2x in tonic, once in dominant Areas of harmonic instability and opposition between Mannheim rockets Mannheim steamroller
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.
00:52 : 2è thème en la majeur 01:16 1er thème en la majeur 02:05 : 2è thème en ré majeur 02:29 : 1er thème en ré majeur 03:08 : 2è mouvement 05:25 : 3è mouvement 08:34 : 4è mouvement
Рік тому+15
I think Johann Stamitz is the most underrated composer in the world. In fact, he invented the Viennese Classicism, Haydn, Mozart, and the others are his followers - and he is almost an unknown composer. This is shameful.
@@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.
Life can fall short of being "fair". This applies no less to artistic expression. I must consider J. A. Stamitz [The Elder] a genius on the order of Pergolesi, and yes, even Mozart. He puts the lie to textbook simplicity creating a dichotomy between Baroque and ("Viennese") Classical. HOW ON EARTH CAN SUCH SUPERIOR MUSIC NOT BE GIVEN ITS DUE?!
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.
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.
Written in the early 1750’s this symphony alone kills at one stroke the nonsense perpetuated by many that Haydn is the ‘Father of the Symphony’. Haydn wrote his *first* symphony in 1757 (several years *after* this work), which was also the year Stamitz died with about 60 similarly clearly modern Classical symphonies to this to his name.
@@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’.
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".
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 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.
Symphony in D Major, op. 3 no. 2, movement 1 by Johann Stamitz
Sinfonia
Ca. 1752-1755
Musical Characteristics/Associated Terms
Mannheim Rocket
And Mannheim steam roller
Elements of sonata form
Modulation from primary to secondary key area (mod. To A Major), confirmed by second theme area
Period of harmonic instability
Return to tonic at end
BUT: no repeat signs, recap diffused, more transitional than developmental
Elements of ritornello structure:
Opening theme (ritornello) stated 2x in tonic, once in dominant
Areas of harmonic instability and opposition between
Mannheim rockets
Mannheim steamroller
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
@@josephl2786 I think both roller and steam roller are accepted.
@@josephl2786🤓
II. mov. 3:08
III. mov. 5:25
IV. mov. 8:34
cheers mate
00:52 : 2è thème en la majeur
01:16 1er thème en la majeur
02:05 : 2è thème en ré majeur
02:29 : 1er thème en ré majeur
03:08 : 2è mouvement
05:25 : 3è mouvement
08:34 : 4è mouvement
I think Johann Stamitz is the most underrated composer in the world. In fact, he invented the Viennese Classicism, Haydn, Mozart, and the others are his followers - and he is almost an unknown composer. This is shameful.
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?
Life can fall short of being "fair". This applies no less to artistic expression. I must consider J. A. Stamitz [The Elder] a genius on the order of Pergolesi, and yes, even Mozart. He puts the lie to textbook simplicity creating a dichotomy between Baroque and ("Viennese") Classical. HOW ON EARTH CAN SUCH SUPERIOR MUSIC NOT BE GIVEN ITS DUE?!
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.
this is beatefull
en serio ?
Can't find that score. But I really need one!
Written in the early 1750’s this symphony alone kills at one stroke the nonsense perpetuated by many that Haydn is the ‘Father of the Symphony’.
Haydn wrote his *first* symphony in 1757 (several years *after* this work), which was also the year Stamitz died with about 60 similarly clearly modern Classical symphonies to this to his name.
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’.
Does anyone know where i can find these score and print them off so i can annotate them?
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".
wonderful music! that sounds like J. Haydn
One of Haydn's inspirations, I think?
@@clawsoon taught at the mannheim school
There is no harpsichord in these recordings? nevertheless thanks for the upload.
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.
Jmd von jhs hier?
Musik Unterricht bei Herrn von busch in corona Zeiten
same aber andere Schule xD
Hay alguien de 4ºA?
Yo, con la maestra Toña
Interesting that he doesn't know about p and f yet.
who?
Stamitz?
He himself kind-of pushed the idea of p and f to be integral to classical music.
p and f IS Stamitz.