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The '''Mannheim School''' refers to an orchestra and opera company which was based at the elector's court at Mannheim, [[Germany]] from 1720 to 1781, as well as the style of composition which flourished from 1750 under the direction of Johann Stamitz. Made up of some of the finest musicians in all of Europe, the Mannheim court orchestra was renowned for its precision and [[dynamics|dynamic]] control;<ref>http://www.hoasm.org/XIIA/XIIAMannheimSchool.html</ref> Charles Burney, a contemporary writer and critic, called it "an army of generals," referring to the fact that so many of the musicians were excellent soloists and composers in their own right. Since their period of activity comes between the end of the [[Baroque period (music)|Baroque]] and the beginning of the [[Classical period (music)|Classical period]], their innovations in playing technique and pan-European musical cosmopolitanism were symptomatic of, if not an important influence on, the general change which was occurring in musical style during the mid 18th-century that would culminate in the classical stye.

The '''Mannheim School''' refers to an orchestra and opera company which was based at the elector's court at Mannheim, [[Germany]] from 1720 to 1781, as well as the style of composition which flourished from 1750 under the direction of Johann Stamitz. Made up of some of the finest musicians in all of Europe, the Mannheim court orchestra was renowned for its precision and [[dynamics|dynamic]] control;<ref>http://www.hoasm.org/XIIA/XIIAMannheimSchool.html</ref> Charles Burney, a contemporary writer and critic, called it "an army of generals," referring to the fact that so many of the musicians were excellent soloists and composers in their own right. Since their period of activity comes between the end of the [[Baroque period (music)|Baroque]] and the beginning of the [[Classical period (music)|Classical period]], their innovations in playing technique and pan-European musical cosmopolitanism were symptomatic of, if not an important influence on, the general change which was occurring in musical style during the mid 18th-century that would culminate in the classical stye.

==Mannheim Mannerisms==

==Mannheim "Mannerisms"==

The orchestra's famed dynamic control took on two aspects which represented an advance over Baroque instrumental practices. First was the ability of the full orchestra to accompany a soloist without covering them, which requires that every member of the orchestra master playing with utmost softness without sacrificing clarity. In the Baroque period, composers avoided this difficulty by reducing the instrumentation of solo passages, but since the Mannheim orchestra members were all virtuosi, the composers who wrote for them were able to create new orchestral sounds by capitalizing on this new development. The second innovation was the famed "Mannheim crescendo," where the whole orchestra would transition from very soft to very loud within a very short time. In contrast, Baroque music's dynamics were mostly uniform, either ''piano'' or ''forte'', but without effects such as crescendo or diminuendo.  

The orchestra's famed dynamic control took on two aspects which represented an advance over Baroque instrumental practices. First was the ability of the full orchestra to accompany a soloist without covering them, which requires that every member of the orchestra master playing with utmost softness without sacrificing clarity. In the Baroque period, composers avoided this difficulty by reducing the instrumentation of solo passages, but since the Mannheim orchestra members were all virtuosi, the composers who wrote for them were able to create new orchestral sounds by capitalizing on this new development. The second innovation was the famed "Mannheim crescendo," where the whole orchestra would transition from very soft to very loud within a very short time. In contrast, Baroque music's dynamics were mostly uniform, either ''piano'' or ''forte'', but without effects such as crescendo or diminuendo.

 

The other famous technique associated with Mannheim was the "Mannheim Steamroller,"<ref>This English term (which is a loose translation of the German ''Walze'', which simply means "roller") may seem anachronistic, as the steamroller had not been invented in the 18th century, but the names for many of these effects date from the early 20th century, and were given by the German musicologist Hugo Riemann.</ref> which combined this crescendo with [[tremolo]] effects in the strings and a rising [[scale]].<ref>http://www.music.vt.edu/musicdictionary/textm/Mannheim.html</ref> Other important techniques which would be utilized by classical composers were the "Mannheim Rocket," which is a quickly rising [[arpeggio]], and the "Mannheim Sigh," an effect created by a falling interval intended to depict an exhalation.

==References==

==References==