ABSTRACT
The first part of Chapter 1 examines the birth of the symphony in the early 18th century, its evolution from several Baroque genres (including the concerto grosso, trio sonata, Italian opera overture and the Baroque dance suite), and the relationship of the early symphony to 18th-century Enlightenment philosophy. This chapter also includes a discussion of the emergence of the orchestra as a standardized performance medium for the symphony. Musical examples are drawn from the works of Domenico Scarlatti, Giovanni Pergolesi, and Giovanni Sammartini, all of whom composed symphonies in a galant style.
The second part of Chapter 1 traces the migration of the symphony north to Germany, and examines the important contributions of Stamitz in Mannheim and C.P.E. Bach in Berlin. The development of the four movement symphony with the addition of the minuet, as well as the inclusion of the clarinet as a new member of the orchestra are important aspects of the growth of the symphony in Germany, as is the emergence of a rudimentary sonata form principle. Other specific aspects of the Manheim style include the “rocket” theme, the Mannheim “steamroller,” and the use of the Seufzer. The discussion of Bach’s symphonies includes an explanation of the Empfinsam Stil.
The final part of Chapter 1 outlines Haydn’s choir-school education and early career working for Count Morzin and then Prince Nikolaus Esterhazy. Haydn’s use of the galant style, his sense of musical humor, and his adoption of the Empfindsam Stil is discussed. Haydn’s use of monothematic sonata forms is an important part of the discussion of his approach to symphonic structure.
