Having briefly studied the Mannheim School in my research into Johann
Stamitz, I was eager to learn more of the Mannheim musical thought. The OCA course material describes the city of
Mannheim in Germany as being a important centre of 18th century
music, particularly after 1748. At this
time Karl Theodor, the Elector of the Palatinate, held festivals, parties,
operas and masquerade balls, and held a court of talented musicians and
composers such as Johann Baptist Wendling and Anton Fils. By 1778, Theodor’s court included 78 singers
and musicians. Unlike earlier employers
such as Prince Esterhazy, Mannheim court provided good terms of employment,
rates of pay and its employees were treated with respect.
O'Rourke-Jones & Summers (2013:121) write that the term Mannheim School refers to a group of
composers and musicians such as Stamitz, Holzbauer, Cannabich and Richter. They
state that:
“Their unique approach to
performance and composition has two far reaching consequences. The Mannheim Orchestra was soon known and
emulated across Europe, and the symphony dominated orchestral music for a
century.”
O’Rourke-Jones & Summers (2013:121) describe the Mannheim School’s
development of the Baroque symphony from three to four movements, and the use
of trademark motifs such as the Mannheim Rocket, inspired by Roman Candle,
which is a “swiftly ascending melody”
and the Mannheim Crescendo which saw a “gradual
build up in volume by the entire orchestra, often followed by an abrupt piano (quiet) or long pause”. The Mannheim Roller, Sigh and Bird were
also famous motifs and the Mannheim School was responsible the addition of
sudden loud changes in dynamic, the rapid playing of chord arpeggios to create
urgency and the use of tremolos. In
addition the Mannheim Court also featured chamber and church music, concerts
and operatic performances.
Exercise: The Mannheim
School
Although I would consider myself reasonably well practiced in reading a
score of up to 4 staff, I will admit that I found following the score of
Mozart’s Flute Concerto quite challenging.
However, I was able to vaguely follow the melodic movement and pick up
on a number of techniques intrinsically linked to the Mannheim School.
Throughout the composition there were numerous solo sections,
demonstrating its homophonic nature.
Dramatic sudden changes and a vast use of dynamics across numerous lines
provide great textural elements and the heavy uses of tremolos add sustain to
the notes and heighten the virtuoso style of the piece. I found it interesting that the first and
second violins and the viola played the ‘back-up’ element of the piece,
supporting the winds in their solo sections.
Although I found it hard to follow the score, it was an extremely
useful exercise in introducing numerous classical techniques, such as changes
in tempo, solo sections and slow rates.
However, it was these stylistic changes that made it difficult for me to
read, as I was not necessarily able to follow a clear beat pattern (and in turn
the bars) throughout.
No comments:
Post a Comment