ORCHESTRAL MUSIC FROM THE MANNHEIM SCHOOL

ORCHESTRAL MUSIC FROM THE MANNHEIM SCHOOL
In the mid 1700s, the Mannheim orchestra became a center for innovation in the development of the symphony. The Mannheim orchestra was known for its well-trained, virtuoso musicians, its extensive use of wind instruments, most notably the clarinet, exciting dynamic contrasts, and dramatic crescendos. Johann Stamitz (1717-1757) was the most famous composer at Mannheim and played a large role in developing the genre of the symphony, and other composers at the court continued these innovations. The record: Orchestral Music from the Mannheim School contains three symphonies by the composers Johann Christian Cannabich (1731-1798), Ignaz Holzbauer (1711-1783), and Franz Xaver Richter (1709-1789), performed by the Northern Sinfonia Orchestra under the baton of Boris Brott. These three pieces represent one stage in the evolution of the symphony from the brief, three-movement symphonies of Giovanni Battista Sammartini to the full-blown, complex symphonies of composers of the Classical Period such as Haydn and Mozart. They display the balance, symmetry, and simplicity that were so valued by composers of the Rococo while showing the germs of the symphonic forms would became standard in the Classical Period. All of the pieces make extensive use of sudden dynamic contrasts, crescendos, caesuras, virtuosic string writing, and other dramatic effects. Mannheim composers were especially known for writing crescendos, often a rising line over bass pedal point, which gave added dramatic effect (Grove Music Online s.v. “Mannheim Style”).
Holzbauer’s Symphony in E-flat, Op. 4 No. 3 is unlike the other two symphonies on this album because it has four movements instead of three, a practice that would eventually become standard. It calls for a string section with the addition of pairs of bassoons, oboes, and horns. The first movement, Allegro Non Troppo opens with a stately legato theme and seems to be an early version of Sonata-Allegro form, with an exposition containing two themes, a development, and a recapitulation. I was surprised by how brief the development was in this movement and all the sonata form movements on this recording. These developments usually stray into arpeggios in several different minor keys for about a minute, before returning to the tonic for the recapitulation. Unlike later symphonies of Haydn, Mozart, and Beethoven, where the development section is the most crucial part of the piece, these Mannheim composers almost treat the development as an afterthought—a bridge to be crossed as quickly as possible on the way to the recapitulation. The dark minor passages and strategic use of dissonance and suspensions lend a sense of emotional urgency to the Adagio Grazioso which moves almost immediately into the Minuet where the bassoons and oboes play a dominant role in the Trio. Rounding out the symphony is the exciting La Tempesta del’Mar which contains a wide array of dramatic effects. It is full of virtuosic string runs in both the violins and the cellos, sudden changes of dynamics, and the famous Mannheim crescendos. This was one of my favorite movements in the recording. It made me appreciate the fact that Mannheim’s orchestra was famous for its well-trained, technically precise players. Although this movement sounds relatively tame when compared to the final movements of Mozart and Beethoven, audiences who had never experienced such musical fireworks must have been stunned.
Richter’s Sinfonia in G-Major contains only three movements and does not call for any wind instruments. The opening Allegro contains an exposition, a development and a recapitulation, with the violins as the primary carriers of the melody. Another contrast between these Mannheim pieces and the symphonies of Haydn and Mozart is the quantity and quality of melodic material. Richter, Holzbauer and Cannabich write pleasant melodies, but they don’t have as much depth, balance, and sense of direction as those of later classical composters. Each piece usually contains only two or three main melodic ideas which are developed throughout the piece as opposed to the endless stream ideas that characterize the music of Mozart. These Mannheim works contain all the elements of the standard classical symphony, but in a smaller, less developed form. Cannabich’s Sinfonia No. 5 in B-flat is interesting because it is the only piece on this record that requires a pair of clarinets in addition to bassoons, horns, and string section. The clarinets are usually scored in thirds and play a prominent role throughout all of the movements in either carrying the melody line or embellishing it. The most interesting features of the Allegro are the crescendos and dynamic contrasts. Cannabich adds tension by using rising sequences and running eighth notes under the moving lines. Especially climactic is when a large Mannheim crescendo at the end of the development leads to a dramatic pause, and then the start of the recapitulation. The lengthy Andante is followed by a playful Allegro with a driving eighth note accompaniment. There is a plethora of dominant seventh chords scattered throughout this movement, and a pizzicato string accompaniment section gives the texture some variety.
I found these symphonies interesting, if not always very exciting. It is obvious that these pieces were written while the symphony as a genre was still in the developmental stage. Phrases and harmonies are simple and predictable, development sections are small and restricted, and wind writing is conservative. At times, these symphonies sound similar to the early symphonies of Haydn. While symphonies by Mannheim composers are interesting when viewed as a milepost in the evolution of the symphony, they do not have enough merit to stand on their own when compared to the later classical symphonies. The Mannheim works contain all the elements of great symphonies, but the works of Mozart, Haydn, and Beethoven represent the full flowering of these elements. When compared to the later classical symphonies that have such beautiful and balanced melodies, extended and suspenseful developments and dramatic and conclusive recapitulations, these works from Mannheim lose much of their luster. There are simply so many great symphonies already in the canon that there is no room for anything mediocre. These symphonies are interesting, but not good enough to be included in the canon.