Mozart 's Symphonies Were More Single And Special

1308 Words Dec 1st, 2015 6 Pages
Widely distributed, Haydn 's symphonies challenged his contemporaries and aroused his juniors — notably Mozart, whose first important symphonies date from the mid-1770s: the ‘Little’ G minor and No.29 in A. Haydn went on producing two or three symphonies a year, whether for his Esterházy patrons or for the new public concerts in Paris (Nos.82–7, 1785–6) and London (Nos.93–104, 1791–5). The rise of the symphony was accelerated by the arrival of public concert-giving, and several of Haydn 's contemporaries, among them Canna- bich and Gossec, were also vigorously active in these years of their comparative maturity. Mozart 's symphonies were more single and special, promp- ted by concerts in Paris (No.31, 1778), Linz (No.36, 1783), Prague (No.38, 1786) and Vienna (Nos.39-41, 1788), or by the wish to retrieve music from a serenade (No.35, 1782). As with the string quartet, he may have felt uncharacteristically cautious in a genre that his great compeer had virtually invented. But he found his own ways to make it work, more lyrically and perhaps more privately.

Haydn 's last symphonies came after Mozart 's death, but now there was a new young colleague in Vienna, Beethoven. With rather few exceptions Beethoven wrote for the Classical ORCHESTRA that had served Haydn and Mozart since around 1780, with pairs of woodwind, horns and trum- pets, timpani and strings. But the sound was new fuller and richer and larger in its harmonic implications, suggesting development over a longer…
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