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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.
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.
==Mannheim's Influence on the Classical Style==
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 music 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.
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 "the definitive precedent to Haydn" in Johann Stamitz. 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.
In truth, the relationship was more complicated. Mannheim's success was at the time mostly local, and music from Mannheim was not published and circulated. It is therefore not likely that Haydn, who did not travel far from [[Vienna]] or Eisenstadt until his old age, had ever heard their music. Mozart, on the other hand, visited Mannheim several times beginning in 1777, and wrote the opera ''Idomeneo'' in 1781 with this orchestra in mind (though they had relocated to [[Munich]] by this time).
==References==
==References==