Project Three: Musical Performance in the Classical Era

Having studied the changes in musical performance in the 19^th century in my last assignment, I was interested to develop a deeper understanding of this subject in the previous century.

According to the OCA course material, the 18^th century had already seen an enormous rise in the freedom of musical performance.  Having studied a little on Haydn’s employment by Prince Esterhazy, I was aware of the limitations placed upon musicians employed by royal courts and wealthy families.  Indeed, the description in the course material of the clauses of the contracts, such as the composers inability to compose for other parties and the insistence of the employers on pre-approval of any travel plans, demonstrates the importance of composers such as Mozart ‘breaking free’ of these ties. 

My earlier biographical research into the life of Mozart described his unhappiness at working within the constraints of a contracted position and his bold move to freelance work.  Of course, it could be argued that Mozart’s fate is possibly closely tied with this change of direction as he died in relative poverty. 

However, Johann Peter Saloman, a German born violinist and composer, seemed to find better fortunes as a freelance composer and concert organiser.  The course material writes that Saloman created an orchestra of freelance players producing an ensemble of around 50 musicians.  Which, at this time, would have been rare given the cost implications.

The Orchestra of the Age of Enlightment (n.d.) writes that Saloman ‘lured’ a very famous Haydn to London to assist him in directing many concerts and that the two had a close relationship that Haydn recalled fondly.   During this time Haydn composed his London Symphonies (1791-95), which Saloman later arranged for flute, string quartet and piano. The article further describes the important contribution Saloman made to English music as one of the founders of the Philharmonic Society.

The Royal Philharmonic Society (n.d.) further adds that Saloman ‘had a hand’ in the composition of what is thought to be Haydn’s ‘masterpiece’, an oratorio entitled The Creation (1796-98).