Famous composers and their works, Vol. 3

by Unknown

Franz Benda (1709–86), Georg Benda and Ignaz Holzbauer (1711–83) were likewise able masters of the violin, and had large experience as orchestral musicians.

Under Stamitz and Cannabich the Mannheim orchestra became a famous organization.

Johann Karl Stamitz, who was born in 1719, became in 1745 director of music for the Elector of Mannheim. His works have no interest for the hearers of to-day, but in the characteristic elements of the modern form, they represent a distinct advance over those of his predecessors. In general, they are imitations of the symphonies of Sammartini. The pupil and successor of Stamitz, Christian Cannabich, was born in 1731. Considering the superlative praise which Mozart bestowed upon this conductor, we cannot doubt that the playing of the Mannheim band was of great service to Mozart in his orchestral works, by increasing his knowledge of instrumental expression.

In 1756, the year of Mozart’s birth, this orchestra had two concert masters, ten first and ten second violins, four violas, four violoncellos, two contra-basses, two flutes, two oboes, two bassoons, four horns, twelve trumpets, two kettle drums, two organists, besides twenty-four singers. About 1767 clarinets were added, and years later Mozart learned how to use the clarinets from hearing them in the Mannheim orchestra.

Burney says of the Mannheim orchestra, “This is the birthplace of the crescendo and diminuendo”; and the philosopher, Schubart, is recorded as saying of the orchestra under Cannabich, “Here the forte is a thunder, the crescendo a cataract, the diminuendo a crystal stream babbling away into the far distance, the piano a breeze of spring.” As for the symphonies of Cannabich, they do not seem to represent any advance toward the establishment of modern form.

From the preceding account it will be seen that the external form of the symphony was already partly determined when Haydn began his artistic career. Under his treatment and that of his successors its growth, in all respects, was marvellous.

Haydn is justly called the real creator of the modern symphony and string quartet. He enlarged the works, as a whole, extended the separate movements in their larger and smaller divisions, and developed the so-called art of free thematic treatment. He first gave musical clearness, order and variety to the form, and adapted it to the expression of the multitude of different phases of musical thought. The stricter thematic imitations of the older masters gave way to that free thematic play which has been an element of all concert music since his time.

In Haydn’s development of this principle we recognize a power of invention and fertility of imagination only equalled by few others. The originality of Haydn cannot be over-estimated. He discovered a new world in music. An infinite variety of musical effect was produced by his new art of motive-building. Haydn also laid the foundation of modern orchestration. He understood, as no one before his day, the true scope of the combined stringed instruments. In his string quartets, even more than his symphonies, his mastery of the technical effects of the solo strings is most complete; for though the possibilities of tone-color are greater with the full orchestra, yet in Haydn’s quartets there is a wealth of musical expression and a certain charm of style which place them beside those of Mozart and Beethoven.

The tragic fire and grandeur of thought so characteristic of Beethoven have their counterpart in the geniality, humor and playfulness of Haydn. The symphonies of Beethoven may be compared with tragedies, Haydn’s with comedies. “Papa” Haydn is never tragic nor sarcastic. His seriousness is imbued with contentment, never tinged with despair. He overflows with good humor, and is fond of a musical joke now and then; yet he is intensely serious at heart, and his mirthful compositions never leave the impression of superficiality. Haydn prepared the ground for Mozart and Beethoven. One master cannot be considered without reference to the other. Mozart and Beethoven obtained the form of the symphony from Haydn; on the other hand, it was not until Mozart’s last works had appeared that Haydn produced his finest symphonies and quartets. In his use of the wind instruments, Mozart was the indispensable teacher of both Haydn and Beethoven.