Johann Stamitz was influential in the Mannheim School
, a group of 18th-century composers in Germany, and helped shape the form of the sonata, paving the way for Haydn's and Mozart's efforts in that genre.
The Mannheim School as a "technical term" appeared in music history at the beginning of the 20th century and went on to become the focus of lively discussions and polemics that occupied music historians most intensely roughly up to the seventies, when the various different opinions and conflicts settled into a kind of compromise position.
The Mannheim School in the sense of the phenomenon that is our subject here was formed in the environment of the Elector Palatine's Orchestra in Mannheim in the course of the 1740s.
Stamic and Richter came from the Bohemian Lands, which meant that the "Czech Question" was a major issue in discussion of the Mannheim School from the very beginning.
Throughout the 19th century the phenomenon of the Mannheim School was only mentioned in outlines of musical history as primarily a matter of the performance style of "Stamic's" Mannheim orchestra.
The Mannheim School Becomes a Subject of Academic Debate
It was in this context that the phenomenon of the Mannheim School once again came to the fore, this time primarily as a school of composition.
CONCERTOS OF THE MANNHEIM SCHOOL (DG Eloquence): With Christmas carols coming at you from every quarter for weeks on end anyway, why not opt instead for some really stylish music to accompany your Christmas dining?
Furi is also one of several soloists in concertos by composers of the crack mid-18th century Mannheim school, centred on a phenomenal orchestra whose discipline, attack and wizardry had such an influence on Mozart in his early 20s.
The techniques of the Mannheim school
, especially the orchestral "rocket" and "sigh," were perfect matches with this new style of dramatic ballet.
In part one, for example, Rudolf Pecman begins his article on "The Mannheim School
and Josef Myslivecek" by stating flatly that to his knowledge there are no connections between Mannhelm and Myslivecek; and of the eight articles on melodrama in part two, only one, Joachim Veit's fine study of Georg Joseph Vogler's Lampedo of 1779, actually concerns itself with Mannheim - and that mainly because Vogler was a Mannheimer; the work itself was written for the court at Darmstadt.
When John Newhill wrote that "the clarinet concerto as we know it today originated at Mannheim" ("The Contribution of the Mannheim School
to Clarinet Literature," The Music Review 40 : 90), he referred to the coincidence of many disparate factors to make such an inception possible.