![\"The](\"http:\/\/www.philpaine.com\/wp-content\/uploads\/2008\/10\/erasmus-experience-mannheim-germany-7126c277d38469d548c05882d8814f1c.jpg\")
<\/a>The palace of the Elec\u00adtor of the Palati\u00adnate at Mannheim, where its res\u00adi\u00addent orches\u00adtra was the heart of the \u201cMannheim School\u201d.<\/p><\/div>\n
Haydn and Mozart did not trans\u00adform baroque music in a vac\u00aduum. Change was in the air, and a num\u00adber of minor com\u00adposers con\u00adtributed to it. Among them were the men clus\u00adtered in the court of the Elec\u00adtor Carl Philipp, at Mannheim. The best musi\u00adcians from across north\u00adern Europe were drawn there in the mid 1700\u2019s. Com\u00adposers of the Mannheim school intro\u00adduced a num\u00adber of nov\u00adel ideas into orches\u00adtral music, such as a more inde\u00adpen\u00addent role for wind instru\u00adments, adding the new\u00adly invent\u00aded clar\u00adinet, and much more vari\u00adable dynam\u00adics (the orches\u00adtral crescen\u00addo is a Mannheim inven\u00adtion). Haydn picked up on these tech\u00adniques. As a mat\u00adter of fact, his famous \u201cParis\u201d sym\u00adphonies were com\u00admis\u00adsioned for the Mannheim orches\u00adtra. I\u2019m lis\u00adten\u00ading to a rep\u00adre\u00adsen\u00adta\u00adtive selec\u00adtion of Mannheim orches\u00adtral music by the Cam\u00ader\u00adata Bern, under the direc\u00adtion of Thomas F\u00fcri: Die Mannheimer Schule<\/em>, a 1980 box set from Archiv. It includes Franz Xaver Richter\u2019s Sin\u00adfo\u00adnia in B\u2011flat<\/em>, and his Con\u00adcerto for Flute and Orches\u00adtra in E minor<\/em>; Johann Stamitz\u2019s Vio\u00adlin Con\u00adcerto in C<\/em>, and Orches\u00adtral Trio in B\u2011flat, Op.1<\/em>; Anton Filtz\u2019s Vio\u00adlin Con\u00adcerto in G<\/em>; Ignaz Holzbauer\u2019s Sin\u00adfo\u00adnia Con\u00adcer\u00adtante in A<\/em> and Sin\u00adfo\u00adnia in E\u2011flat, Op.4<\/em>; Chris\u00adt\u00adian Cannabich\u2019s Sin\u00adfo\u00adnia Con\u00adcer\u00adtante in C<\/em> and Sin\u00adfo\u00adnia in B\u2011flat<\/em>; and Lud\u00adwig August LeBrun\u2019s Oboe Con\u00adcerto in D minor<\/em>. Johann Stamitz, the effec\u00adtive founder of the school, stands out as the most imme\u00addi\u00adately enjoy\u00adable in this set. His superb vio\u00adlin con\u00adcerto mer\u00adits com\u00adpar\u00adison with Mozart\u2019s. It\u2019s loaded with vir\u00adtu\u00ados\u00adity, sim\u00adplic\u00adity, free\u00addom and feel\u00ading, char\u00adac\u00adter\u00adis\u00adtics we asso\u00adciate with the next age. Tedious bas\u00adso con\u00adtinuo and for\u00admal orna\u00adment are nowhere to be heard in it. I was also charmed by Cannabich and LeBrun\u2019s warm oboe con\u00adcerto. Oth\u00ader Mannheim com\u00adposers of note, not rep\u00adre\u00adsented in this set, were Franz Ignaz Beck, and Johann\u2019s son Carl Stamitz.<\/span><\/p>\n <\/p>\n <\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Haydn and Mozart did not trans\u00adform baroque music in a vac\u00aduum. Change was in the air, and a num\u00adber of minor com\u00adposers con\u00adtributed to it. Among them were the men clus\u00adtered in the court of the Elec\u00adtor Carl Philipp, at \u2026<\/p>\n