The Rise of The Symphony 1

The Rise of the Symphony
Part 1
The Origins of the Symphony
The story of the emergence of the symphony is complex.
It concerns the evolution of the form as well as the
emergence of Classical musical language from the
Baroque idiom of the early part of the 18th Century.
Some of the differences of style between Baroque and

Classical can be clearly seen from a casual comparison of
two examples of score, the first from one of Bach’s
Brandenburg Concerto’s (1721) and the second from
Mozart’s Piano Concerto in A major (K448, 1786).
J.S.Bach: Concerto No.3
Mozart: Piano Concerto in A Major K488
What can you see?
The whole concept of the music is different.
In the Bach everyone is busy all of the time.
All the parts are equally weighted and equally

important.
The mood is set and stays that way.

What about the Mozart?
It is precisely and exactly scored in a more selective
and economical way.
The melody is of paramount importance.
The accompaniment is sensitive and expressive.
There are touches of chromaticism that add subtlety to

an apparently simple melody and accompaniment.
It is highly personal.
Baroque forms
Between 1700-1750 by far the most popular form in
orchestral music was the CONCERTO. As the century
progressed opera symphonies or overtures, or incidental
music, also became popular forms for concerts. These
opera overtures were the obvious predecessors of the
symphony.
French form – slow intro. Followed by fugal allegro.

Coda.
Italian form – Fast-slow-fast.
Overture and symphony at this time were synonymous.

Opera symphonies were soon composed without reference
to an opera!
The Symphonic ‘Schools’
The Italian School
The Viennese School
The Mannheim School
The North German School
The Paris School
The London School

Mannheim
It is said that the symphony was ‘born’ at Mannheim. The
musical establishment there consisted of the most gifted
musicians anywhere in Europe – composers and performers.
They came from Bohemia, Austria and Italy. So, the Mannheim
school was a hybrid that resulted from working together over
many years in a stimulating and nurturing environment.
The Mannheimers developed a reputation for excellence in

ensemble, bowing, dynamics and phrasing. More importantly
the Mannheim composers, and in particular Johann Stamitz,
their first leader, firmly established and stabilized a new
orchestral form and idiom in the symphony.
Mannheim (2)
Their orchestral playing, with all its subtleties, was
merely the means of interpreting and faithfully
performing their new style of composition.
Of course, parallel and equally important developments

were being made at other musical centres, but Mannheim
was certainly important in its tradition and influence, and
it is hard to resist the glamour that appears to have
surrounded it. The young Mozart was clearly very
impressed when he visited, and was seduced by the sound
of the orchestra.
Early Symphonies
Were in either 3 or 4 movements.
Were simple and unsophisticated in form.
Task: Look at this early symphony by Stamitz.
1. What form is it in? What evidence can you glean to

support your conclusion?
2. What is characteristic about the instrumental layout?

Task 1
Compare this early (1745) score with that of the first
movement of the Symphony in Eb (1755) La Melodia
Germanica No.3.
What has changed?
Why?
What is the result?

Performance Practice
By ‘performance practice’ we mean the way in which the
music is performed. In the 18th Century this specifically
refers to:
1. Distribution of parts
2. Phrasing and bowing
3. Continuo
4. Ornamentation
Evidence
A valuable source of information on ‘performance practice’
is surviving performing parts which were published at the
time. They show that:
1. Symphonies, Overtures, Concertos & Suites were sold as

parts only. Full scores were hardly ever published.
2. Parts for ‘optional instruments’ that might not normally

be part of the orchestra were sold separately. e.g. An
advert offered - “6 Symphonies in four parts, with
optional parts for horns, by M. Stamitz. The horn parts
are available separately”. (1755)
Common Performance
Practice between 1700-1750
Violin parts were doubled on oboes
‘Cello parts were doubled on bassoon
Violas often doubled the bass line at the octave
Horns and trumpets were interchangeable
Keyboard parts were used in all symphonic works
The harpsichord was expected and would have been

missed from the total tonal sonority.
The Conductor
The idea of a conductor as an interpreter had its roots in the early
years of the development of the symphony but it wasn’t until the 19th
Century that the art of conducting grew in importance, particularly in
Germany.
During the middle of the 18th Century opera performances were

directed from the harpsichord.
Instrumental music, however was usually directed by the 1st Violin

from his leader’s place. Stamitz did this at Mannheim. When Haydn
visited London in 1791 and 1794 he shared the directing with Haydn
on the keyboard and Salomon on the violin. Bach, Handel, Mozart
and Beethoven were all accomplished keyboard and violin players.
Technological Development
and Orchestration
The Handel/Bach type of orchestration in the 1700-
1750 period was completely changed by Haydn and
Mozart.
The new style of orchestration grew up gradually

along with the change of musical style and the waning
popularity of contrapuntal music.
The new style of Haydn and Mozart was completely

dependent on the new harmonic style of the Classical
composers.
The Baroque Orchestra was variable and erratic.
Brass and woodwind instruments were used

melodically and not for harmony. Therefore their use
was not consistent.
Look at the first few bars of Bach’s Suite no.4 in D

major for trumpets, drums, oboes, bassoon, strings
and continuo.
At the opening all the instruments join in the

contrapuntal movement regardless of their suitability
or the balance between the parts.
A new idea…
Was to use instruments to sustain harmony,
accompany other melodic instruments, give
background harmonic energy or join forces to create
the Orchestral tutti …
Look at this page of a score from Stamitz’ Symphony

in G major opus 3 no.1.
The new stylistic concept of a tune and

accompaniment provided opportunities for the
invention of all sorts of variations in accompanying
figures.
New possibilities…
Chords could be sustained/repeated/broken into figurations or
rhythmical patterns
Textures could be varied by using pizzicato, detached chords or

sustained unmoving harmony (harmonic pedals).
Timbre could be considered for its own sake and colour explored
through combining different instruments.
The basso continuo began to be dropped.
‘Senza cembalo’ (without harpsichord) can now be found in scores.
Harmonic support was no longer needed…

The ‘plucked-string’ tone colour became foreign to
the new orchestral sonority.
Some composers began to specifically exclude it e.g.

J.C. and C.P.E. Bach.
Horns were used to add colour and cohesion as well

as volume.
Listen to this example from J.C. Bach’s Symphony in Eb

major:
https://www.youtube.com/watch?v=-EAgHS5dGAU
Classical Style…
The term ‘Classical’ in music came to refer to a style starting
around 1740 and was used to describe the music composed
particularly by C.P.E. and J.C. Bach.
It can be divided into 2 phases: the first from about 1740 until the
1770s and the second until the 1800s.
The first includes the galant style as well as the Sturm und Drang.
(Galant style is characterised by melodic complexity and
embellishment supported by simple harmony)
The second might be called the ‘high’ classical style. This

included the works of Mozart and the middle and late works of
Haydn.
Case Study 1 – Sammartini:
Symphony in G major (1744)
Sammartini was born and lived in Milan. Principally
he was known as a composer of church music until he
turned his attention to the symphony in about 1730.
Not only was the school he headed one of the earliest,

but it was also the only Italian-based one.
His first symphony was written in 1734 and was a

huge success in his home city of Milan.
He lived from 1700-1775

The Symphony in G major, which we are going to
look at, was first published in Paris in 1744.
It is scored for strings only.
Originally it was a 3 movement work, ending with a

typical finale in 3/8.
A minuet, borrowed from an early trio sonata by the

same composer, was inserted as a third movement
(bringing the total to four) by a copyist.
We are going to look at the first movement.

Exercise 1
Listen to the first movement and follow the score
closely.
Can you recognise any characteristics, either Baroque

or galant, in the string writing, typical of the period?
(consider: sequences, ornaments, cadences, function
of the bass etc.)
Discussion
Characteristic Baroque method of keeping the
opening busy and exciting over static harmony (b1-2).
Galant cadence from bar 3-4 as well as 4-5 using a tie

in the melody line over the bar. Type of cadence?
Sequential figuration between the upper strings at bars

6-7.
‘Circle of 5ths’ in the bass part.

Structure
You will hopefully have worked out that the movement is in two
sections, with the second longer than the first, and each repeated.
On the surface this looks like Baroque binary form.
However, in the second half of bar 34 there is a recapitulation of

the opening in the tonic and from bar 46 onward the key is
confirmed.
With a move to D major at bar 12 (by means of a galant cadence)

and a repetition of this section in G major at bar 46 we have a hint
of an embryonic second theme.
In other words this is an early example of Sonata Form.

Exercise 2
Look at the section between bars 25 and 33.
What techniques does Sammartini use to heighten

tension?
What contributes to the feeling of unity in this

movement?
Are there moments of surprise, or do you anticipate

the steps it takes?
Discussion
Constant moving bass, with quaver movement
accelerating to semi-quavers.
Harmony in the upper parts changing over a bass part

which is offset by one beat.
A similar effect in bars 27-32 where the two violin

parts force each other down with ‘suspensions’.
More interesting and possibly surprising harmonic

moves – especially in bars 29-31.
Conclusions
As a symphony this is of a rudimentary nature.
Its importance lies in what it points towards, particularly the

development of Sonata Form.
It is a hybrid of Baroque energy and expansiveness and

Classical structure and complexity.
The graceful Italian melodies are evident but there is less

ornamentation and more a sense of direction.
There is less imitative counterpoint and more unity and purpose

achieved through thematic development and structure.
Case Study 2 - Stamitz:
Symphony in Eb major
(1755)
Johann Stamitz was born near Prague in 1717. His father was
an organist and composer. Johann was the oldest of 11
children. He went to Prague to study music. The Bohemians
were said to be ‘the most musical nation in the whole of
Europe’. Music education was available to all school children!
“his genius was original, bold and powerful”
Stamitz wanted to be a virtuoso violinist. He went to

Mannheim and became the first court violinist. He wrote
music for the theatre, the chapel as well as for symphonic and
chamber concerts.
The orchestra consisted of over 50 players and in
1750 Stamitz became orchestral director.
Trips to Paris in 1751 and 1754 cemented his

reputation as a symphonist.
In the 1754-5 Paris season the publisher Bayard

published a series of symphonies under the title La
Melodia Germanica. This title acknowledged the
importance of the ‘Mannheim School’ in the
development of the symphony.
Stamitz died in Mannheim in 1757.

The importance of being
Stamitz..
He was the most important virtuoso orchestral leader
of the eighteenth century.
His influence on orchestral playing was huge…
Style, virtuosity, tonal colours and dramatic dynamics.
Revolutionised the use of melodic sequence,

particularly in development sections. These sections
became full of expression and tension.
Managed to dispose of the harpsichord!

Stamitz the pioneer..
Formally and orchestrally, Stamitz had little to build
on. Much of his work was innovatory.
The form of this first movement might seem unusual

and experimental. It is irregular
It is in an early version of Sonata form
Have a listen, follow the score and try and work out
the structure…Bar, Key, Section. Create a table to
draw your thoughts together.
Exercise
This movement abounds in those characteristics that
make Stamitz so important. What are they?
(i) The nature of themes
(ii) Use of devices (tremolo, crescendo, figurations)
(iii) Orchestration
(iv) General Style

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The Rise of the Symphony

Some of the differences of style between Baroque and

In the Bach everyone is busy all of the time.

All the parts are equally weighted and equally

The mood is set and stays that way.

The melody is of paramount importance.

The accompaniment is sensitive and expressive.

There are touches of chromaticism that add subtlety to

French form – slow intro. Followed by fugal allegro.

Italian form – Fast-slow-fast.

Overture and symphony at this time were synonymous.

The Viennese School

The Mannheim School

The North German School

The Paris School

The London School

The Mannheimers developed a reputation for excellence in

Of course, parallel and equally important developments

Were simple and unsophisticated in form.

Task: Look at this early symphony by Stamitz.

1. What form is it in? What evidence can you glean to

2. What is characteristic about the instrumental layout?

What has changed?

What is the result?

2. Phrasing and bowing

1. Symphonies, Overtures, Concertos & Suites were sold as

2. Parts for ‘optional instruments’ that might not normally

‘Cello parts were doubled on bassoon

Violas often doubled the bass line at the octave

Horns and trumpets were interchangeable

Keyboard parts were used in all symphonic works

The harpsichord was expected and would have been

During the middle of the 18th Century opera performances were

Instrumental music, however was usually directed by the 1st Violin

The new style of orchestration grew up gradually

The new style of Haydn and Mozart was completely

Brass and woodwind instruments were used

Look at the first few bars of Bach’s Suite no.4 in D

At the opening all the instruments join in the

Look at this page of a score from Stamitz’ Symphony

The new stylistic concept of a tune and

Textures could be varied by using pizzicato, detached chords or

The basso continuo began to be dropped.

‘Senza cembalo’ (without harpsichord) can now be found in scores.

Harmonic support was no longer needed…

Some composers began to specifically exclude it e.g.

Horns were used to add colour and cohesion as well

Listen to this example from J.C. Bach’s Symphony in Eb

The second might be called the ‘high’ classical style. This

Not only was the school he headed one of the earliest,

His first symphony was written in 1734 and was a

He lived from 1700-1775

It is scored for strings only.

Originally it was a 3 movement work, ending with a

A minuet, borrowed from an early trio sonata by the

We are going to look at the first movement.

Can you recognise any characteristics, either Baroque

Galant cadence from bar 3-4 as well as 4-5 using a tie

Sequential figuration between the upper strings at bars