Patronage
Across the period of 1750 to 1800, the people for whom composers wrote for varied
greatly. In the early classical period, composes normally wrote for a specific person or
group of people. However, as the Symphony developed, composes often started writing
for themselves to show off their own personal expression and emotion.
Stamitz was a prominent figure in the Mannheim court, and he wrote works for them,
such as his Symphony no 2, Op 3 in 1750. This piece evokes the typical gallant style of
the period that was preferred by the patrons at the Mannheim court through its use of
balanced phrases and simple triadic movements such as the three note motif at the
start of the third movement. CPE Bach, however, took a different approach as it is not
entirely clear for whom his Symphony in E minor was wrote for. It is presumed to be,
however, for the patron von Swieten, as it follows the style of emfindsamer stil. This
style introduced more dynamic contrast and chromaticism for greater emotional
expression. Swieten adored this style, so many musicologists argue that this piece was
written for one of his private concerts, as it's more advanced than typical of the period.
Hi, did as well, did it first right for one clear and specific person- the Esterhazy court. His
Symphony No 31 is a key example of this. It is titled Horn Signal due to its prominent use
of horns and hunting call like melodies in the third movement. Hayden did this because
the Carted recently gained a couple of new horn players in its orchestra, so they wanted
to show them off. This shows how patrons could influence composers not only in terms
of the style they were writing in, but also what they were writing for. His Symphony No 88
shows how the style composers wrote in possibly wasn't dependent on their patron, as
this was written away from the palace but is similar in many regards. It still includes
similar features to his earlier symphonies, such as fast semiquaver passages in the
finale of the fourth movement. Haydn's final Symphony, 104, was first performed in
London, hence the title “London”. It was commissioned as part of a series of London
symphonies to appeal to their audiences. To do this he used popular features such as a
Croatian folk melody in the fourth movement, e.g bars 3 to 5. These folk melodies were
very popular at the time. This shows are hiding and other composers would write music
to appeal to the mass audiences even without a strict singular patron.
Mozart wrote his final three symphonies in the summer of 1788. In quick succession. It
is argued that these were either wrote for the opening of a casino or simply for his own
personal expression. It is also argued he may have wrote them to play together as one
work itself, showing Mozart's personal creativity. His 40th Symphony emphasised this
idea that it was perhaps more for his personal expression. It is in G minor, which is very
unusual for a Symphony, emphasising perhaps the sorrow that he wanted to evoke
within it for himself rather than specifically a patron. This is foreshadowing later further
developments in the Romantic period where composers were more inclined to write for
their own personal expression.
Across the period of 1750 to 1800, the people for whom composers wrote for varied
greatly. In the early classical period, composes normally wrote for a specific person or
group of people. However, as the Symphony developed, composes often started writing
for themselves to show off their own personal expression and emotion.
Stamitz was a prominent figure in the Mannheim court, and he wrote works for them,
such as his Symphony no 2, Op 3 in 1750. This piece evokes the typical gallant style of
the period that was preferred by the patrons at the Mannheim court through its use of
balanced phrases and simple triadic movements such as the three note motif at the
start of the third movement. CPE Bach, however, took a different approach as it is not
entirely clear for whom his Symphony in E minor was wrote for. It is presumed to be,
however, for the patron von Swieten, as it follows the style of emfindsamer stil. This
style introduced more dynamic contrast and chromaticism for greater emotional
expression. Swieten adored this style, so many musicologists argue that this piece was
written for one of his private concerts, as it's more advanced than typical of the period.
Hi, did as well, did it first right for one clear and specific person- the Esterhazy court. His
Symphony No 31 is a key example of this. It is titled Horn Signal due to its prominent use
of horns and hunting call like melodies in the third movement. Hayden did this because
the Carted recently gained a couple of new horn players in its orchestra, so they wanted
to show them off. This shows how patrons could influence composers not only in terms
of the style they were writing in, but also what they were writing for. His Symphony No 88
shows how the style composers wrote in possibly wasn't dependent on their patron, as
this was written away from the palace but is similar in many regards. It still includes
similar features to his earlier symphonies, such as fast semiquaver passages in the
finale of the fourth movement. Haydn's final Symphony, 104, was first performed in
London, hence the title “London”. It was commissioned as part of a series of London
symphonies to appeal to their audiences. To do this he used popular features such as a
Croatian folk melody in the fourth movement, e.g bars 3 to 5. These folk melodies were
very popular at the time. This shows are hiding and other composers would write music
to appeal to the mass audiences even without a strict singular patron.
Mozart wrote his final three symphonies in the summer of 1788. In quick succession. It
is argued that these were either wrote for the opening of a casino or simply for his own
personal expression. It is also argued he may have wrote them to play together as one
work itself, showing Mozart's personal creativity. His 40th Symphony emphasised this
idea that it was perhaps more for his personal expression. It is in G minor, which is very
unusual for a Symphony, emphasising perhaps the sorrow that he wanted to evoke
within it for himself rather than specifically a patron. This is foreshadowing later further
developments in the Romantic period where composers were more inclined to write for
their own personal expression.
