Scan 38
A Dictionary of music and musicians : (A.D. 1450-1880), 1880
12 lines. Read by computer on 4 September 2026. No printed page number was found. See the scan on archive.org.
1SYMPHONY.
3Examples from the first movement of the fifth symphony of Stamitz's opus 9 illustrate both style and the degree of contrast between the principal subjects.
5'Symphony'; sometimes the same work is called by the one name outside and the other in; and this is the case also with some of the earlier and slighter symphonies of Haydn, which must have made their appearance about this period. One further point which it is of importance to note is that in some of Stamitz's symphonies the complete form of the mature period is found. One in D is most complete in every respect. The first movement is Allegro with double bars and repeats in regular binary form; the second is an Andante in G, the third a Minuet and Trio, and the fourth a Presto. Another in Eb (which is called no. 7 in the part-books) and another in F (not definable) have also the Minuet and Trio. A few others by Schwindt and Ditters have the same, but it is impossible to get even approximately to the date of their production, and therefore little inference can be framed upon the circumstance, beyond the fact that composers were beginning to recognise the fourth movement as a desirable ingredient.
7Another composer who precedes Haydn in time as well as in style is Emmanuel Bach. He was his senior in years, and began writing symphonies in 1741, when Haydn was only nine years old. His most important symphonies were produced in 1776; while Haydn's most important examples were not produced till after 1790. In style Emmanuel Bach stands singularly alone, at least in his finest examples. It looks almost as if he purposely avoided the form which by 1776 must have been familiar to the musical world. It has been shown that the binary form was employed by some of his contemporaries in their orchestral works, but he seems determinedly to avoid it in the first movements of the works of that year. His object seems to have been to produce striking and clearly outlined passages, and to balance and contrast them one with another according to his fancy, and with little regard to any systematic distribution of the successions of key. The boldest and most striking subject is the first of the Symphony in D:—
9style is a little heavy, and the motion rained, but the general character is solid dignified. The last movements of this period curiously suggestive of some familiar ex- es of a maturer time; very gay and obvious, very definite in outline. The following is characteristic of Abel:—
11is a noticeable fact in connection with genealogy of these works, that they are at as it: ently entitled 'Overture' as
The computer misreads some letters and numbers. Where a name matters to you, read the scan.