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[[Image:Mozart_Lacrimosa2.jpg|thumb|600px|right|Mozart's expressive use of the "Mannheim Sigh" in the "Lacrimosa" of his unfinished ''Requiem in d minor'', here illustrating the lamenting character of the movement's text. Incidentally, these measures were the last he composed before his death.]]

[[Image:Mozart_Lacrimosa2.jpg|thumb|600px|right|Mozart's expressive use of the "Mannheim Sigh" in the "Lacrimosa" of his unfinished ''Requiem in d minor'', here illustrating the lamenting character of the movement's text. Incidentally, these measures were the last he composed before his death.]]

Before the early 20th century, music historians were unable to explain the temporal and stylistic gap between the Baroque and Classical periods. In other words, with early historians' focus on a succession of great composers, there was a gap between the death of [[Johann Sebastian Bach]] in 1750 and the creative activity of [[Haydn]] and [[Mozart]], which did not begin in earnest until the late 1760's. Moreover, their styles of composition were so different from Bach's (whose music was likely not well known to them until much later), it was obvious that some intermediary figure had to have influenced them.<ref>Larsen, 303: ''Als in der zweiten Hälfte des 19. Jahrhunderts die Evolutionslehre Darwins einen weitgehenden Einfluß auch auf historische Wissenschaftszweige gewann, enstand der Gedanke, es sei notwendig, sozusagen eine Entwicklungsreihe von Komponisten aufzustellen, die den Werdegang der klassischen Musik darstellen könnte. Die drei Namen Haydn - Mozart - Beethoven ließen sich schon in einer aufstiegenden Linie bequem unterbringen, aber vor Haydn fehlt etwas, eine Vermittlung zwischen Spätbarock (Bach) und Frühklassik (Haydn).'' <br />"In the late 19th century, as Darwin's Theory of Evolution began to exert a wide influence over historical disciplines as well, there arose the idea, regarded as necessary, to line up an evolutionary order (so to speak) of composers which would be capable of dramatizing classical music's progression. The three names of Haydn, Mozart, and Beethoven comfortably accomodated this ascending progression, but something was lacking before Haydn, an intermediary between late Baroque (Bach) and early classical (Haydn)."</ref>

Before the early 20th century, music historians were unable to explain the temporal and stylistic gap between the Baroque and Classical periods. In other words, with early historians' focus on a succession of great composers, there was a gap between the death of [[Johann Sebastian Bach]] in 1750 and the creative activity of [[Haydn]] and [[Mozart]], which did not begin in earnest until the late 1760s. Moreover, their styles of composition were so different from Bach's (whose music was likely not well known to them until much later), it was obvious that some intermediary figure had to have influenced them.<ref>Larsen, 303: ''Als in der zweiten Hälfte des 19. Jahrhunderts die Evolutionslehre Darwins einen weitgehenden Einfluß auch auf historische Wissenschaftszweige gewann, enstand der Gedanke, es sei notwendig, sozusagen eine Entwicklungsreihe von Komponisten aufzustellen, die den Werdegang der klassischen Musik darstellen könnte. Die drei Namen Haydn - Mozart - Beethoven ließen sich schon in einer aufstiegenden Linie bequem unterbringen, aber vor Haydn fehlt etwas, eine Vermittlung zwischen Spätbarock (Bach) und Frühklassik (Haydn).'' <br />"In the late 19th century, as Darwin's Theory of Evolution began to exert a wide influence over historical disciplines as well, there arose the idea, regarded as necessary, to line up an evolutionary order (so to speak) of composers which would be capable of dramatizing classical music's progression. The three names of Haydn, Mozart, and Beethoven comfortably accomodated this ascending progression, but something was lacking before Haydn, an intermediary between late Baroque (Bach) and early classical (Haydn)."</ref>

Hugo Riemann, a German musicologist and music theorist who is credited with the invention of roman-numeral analysis (still taught in music schools internationally), published a series of articles in the first decade of the 20th century claiming to have found "Haydn's long-sought precedent" in Johann Stamitz.<ref>Riemann 1902, IX: ''Johann Stamitz ist der so lange gesuchte Vorgänger Haydns.''</ref> In the course of several publications of Mannheim orchestral music, Riemann was tireless in proclaiming the Mannheim school the ultimate source of the classical style.

Hugo Riemann, a German musicologist and music theorist who is credited with the invention of roman-numeral analysis (still taught in music schools internationally), published a series of articles in the first decade of the 20th century claiming to have found "Haydn's long-sought precedent" in Johann Stamitz.<ref>Riemann 1902, IX: ''Johann Stamitz ist der so lange gesuchte Vorgänger Haydns.''</ref> In the course of several publications of Mannheim orchestral music, Riemann was tireless in proclaiming the Mannheim school the ultimate source of the classical style.

==Bibliography==

==Bibliography==

Note: Unfortunately, the literature on the Mannheim school is overwhelmingly in German, aside from textbooks and encylopedias. The following are the most important historical works on the Mannheim School.

Note: Unfortunately, the literature on the Mannheim school is overwhelmingly in German, aside from textbooks and encyclopedias. The following are the most important historical works on the Mannheim School.

*Adler, Guido. Preface to ''Wiener Instrumentalmusik vor und um 1750'', ed. by K. Horwitz and K. Riedel. Vienna, 1908, IX-XIII.

*Adler, Guido. Preface to ''Wiener Instrumentalmusik vor und um 1750'', ed. by K. Horwitz and K. Riedel. Vienna, 1908, IX-XIII.

*Grout, Palisca, Burkholder. ''A History of Western Music'', 7th ed. Part IV, Chapter 21: Instrumental Music: Sonata, Symphony, and Concerto at Mid-Century. (outline available online at http://www.wwnorton.com/college/music/grout7/outlines/ch21.htm)

*Grout, Palisca, Burkholder. ''A History of Western Music'', 7th ed. Part IV, Chapter 21: Instrumental Music: Sonata, Symphony, and Concerto at Mid-Century. (outline available online at http://www.wwnorton.com/college/music/grout7/outlines/ch21.htm)

==External Links==

==External links==

*[http://www.schloss-mannheim.de/en/palace-mannheim/Home/268156.html Mannheim Palace - Official Website]

*[http://www.schloss-mannheim.de/en/palace-mannheim/Home/268156.html Mannheim Palace - Official Website]

[[Category:Musical style]]

[[Category:Musical style]]