Mannheim school refers to both the orchestral techniques pioneered by the court orchestra of Mannheim in the latter half of the 18th century as well as the group of composers who wrote such music for the orchestra of Mannheim and others.
The court of the Elector Charles III Philip moved from Heidelberg to Mannheim in 1720, already employing an orchestra larger than that of any of the surrounding states. The orchestra grew even further in the following decades and came to include some of the best virtuosi of the time.
Ler mais
Mannheim school refers to both the orchestral techniques pioneered by the court orchestra of Mannheim in the latter half of the 18th century as well as the group of composers who wrote such music for the orchestra of Mannheim and others.
The court of the Elector Charles III Philip moved from Heidelberg to Mannheim in 1720, already employing an orchestra larger than that of any of the surrounding states. The orchestra grew even further in the following decades and came to include some of the best virtuosi of the time. Under the guidance of Kapellmeister Carlo Grua, the court hired such talents as Johann Stamitz, who is generally considered to be the founder of the Mannheim school, in 1741/42, and he became its director in 1750.
The most notable of the revolutionary techniques of the Mannheim orchestra were its more independent treatment of the wind instruments, and its famous whole-orchestra crescendo.
Members of the Mannheim school included Johann Stamitz, Franz Xaver Richter, Carl Stamitz, Franz Ignaz Beck, Ignaz Fränzl, and Christian Cannabich, and it had a very direct influence on many major symphonists of the time, including Joseph Haydn and Leopold Hofmann. (Cannabich, one of the directors of the orchestra after the death of J. Stamitz, was also a good friend of Wolfgang Amadeus Mozart from the latter's visit to Mannheim in 1777 onwards.)
Johann Stamitz visited Paris, and the Mannheim school had an influence on the Concert Spirituel Sacred Concert since 1754. When Joseph Le gros took over the Parisian concert series Concert Spirituel, the relationship with the Mannheim School flourished and the music of Haydn became extremely popular in Paris. Prominent concerts in Paris during the 1770s were the Concert de la Loge Olympique (Concert of the Olympic Lodge) and the Concert de Amateurs (Concert for the Fans) which may have been part of the Concert Spirituel.[1]
Claude-François-Marie Rigolet (the Comte d'Ogny) commissioned Joseph Haydn's six "Paris Symphonies", Nr. 82-87, for performance by Concert de la Loge Olympique. Chevalier de Saint-Georges conducted for their world premiere. The influence of the Mannheim school is evident in these symphonies.
Musical Innovations
Composers of the Mannheim school introduced a number of novel ideas into the orchestral music of their day: sudden crescendos – the Mannheim Crescendo (a crescendo developed via the whole orchestra) – and decrescendos; crescendos with piano releases; the Mannheim Rocket (a swiftly ascending passage typically having a rising arpeggiated melodic line over an ostinato bass line); the Mannheim Sigh (a mannered treatment of the Baroque practice of putting more weight on the first of two notes in descending pairs of slurred notes); the Mannheim Birds (imitation of birds chirping in solo passages) and the Grand Pause where the playing stops for a moment, resulting in total silence, only to restart vigorously. The Mannheim Rocket can be a rapidly ascending broken chord from the lowest range of the bass line to the very top of the soprano line. Its influence can be found at the beginning of the 4th movement of Mozart's Symphony No. 40 as well as the very start of Beethoven's Piano Sonata No. 1 in F minor, Op. 2, No. 1.
