Birth of the Symphony
The opera overture leaves the stage, and the symphony becomes an independent public genre.
Related
Time and place
Milan, Mannheim, Vienna and Eszterháza, from the 1730s to the 1760s. The symphony was not invented by one composer; it grew out of the Italian opera overture and the trio sonata.
What happened
The overture before an opera was once merely a warm-up, its fast-slow-fast shape gradually detached and played on its own. Sammartini in Milan and Stamitz at Mannheim divided the orchestra into strings, winds and brass, using crescendo and disciplined bowing to make a new mass of sound. Haydn wrote his first symphonies for Count Morzin and the Esterházy court, and the four-movement pattern with a minuet slowly settled.
What changed
The orchestra stopped being a singer's backdrop and became the subject of the work. Composers could write pure instrumental music without words, stage or liturgy, and concerts and publishers had a repertory to sell. The symphony became the yardstick for orchestral writing, a line that Beethoven, Brahms and Mahler would extend.
Listen to the turn
Begin with Haydn's early Symphony No. 2, small in forces and still courtly in tone. Then Mozart's Symphony No. 29, whose finale binds the four movements with counterpoint. End with Haydn's Symphony No. 100, written for a ticketed London concert, drums and triangle pushing the sound to the back of the hall.
Related
This turn belongs to Classical; see Symphony and Sonata Form.
Listen in the library
All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).
Sources
- Taruskin, Music in the Eighteenth Century(Oxford, 2005),用于核对交响曲早期形态与曼海姆乐队,本文为原创表述
- Grove Music Online 的 Symphony 与 Stamitz 条目,用于交叉核对年代与体裁细节
Used for fact-checking only; all prose is original.