Stamitz’s masterpiece of Op.3 No.

2 in D major is a wonderful showcase of the musical ideas

that existed as the classical era transitioned into action. Written in 1750, baroque music was
still at large, which is extremely visible, along with the musical norms of the classical period,
such as one of the first emergences of sonata form. The symphony is written in a typical
mannheim style, which in hindsight makes sense - as Stamitz himself composed at the
Mannheim academy, using techniques of said style throughout; Mannheim rollers and grand
pauses were used at large in this symphony. It also brings in elements of Style Galante, with
an abundance of Melody-Dominated Homophony, being even more at large in the second,
more lyrical movement. The symphony overall is unsurprisingly harmonically simple,
especially taking into consideration that he was writing for musicians at the Mannheim court
weekly, therefore not allowing them to be extremely revolutionary, nor in any way completely
refined. However, Stamitz does use the Mannheim and Galante styles to introduce
revolutionary musical ideas that echo for years to come.

The first movement of this symphony is exultant and energetic, though still remaining
harmonically simple. It introduces an early version of sonata form; a general structure of an
exposition containing two ideas, a “classic” show of a development, followed by a
recapitulation, but shows some differences to the sonata form we know now, showing its
infancy. The harmony, as mentioned before, is simple and direct, utilising primary chords,
paired with tonic and dominant pedals throughout. This straightforward harmony is
immediately noticeable, especially with the movement, and entire symphony beginning with
a forte, homophonic section that is introduced with three tonic chords, followed by three
dominant chords. Stamitz, through the use of said chords, immediately establishes a
functional relationship between the tonic and dominant of this key. The movement then
continues with the exposition, launching itself into the first subject at full pelt. This first
subject utilises the Mannheim roller, a technique essential to the Mannheim style, that the
listener gets used to hearing throughout the entirety of the symphony. The Mannheim roller
is where an ascending melodic idea is played over a tonic pedal, and in this case, a D major
scale spanning two octaves over a tonic pedal D, almost polarising itself. This is
accompanied by another Mannheim technique that we also see later, but not nearly as often
due to the limitations of the still at large Baroque era. This technique is the mannheim
crescendo, where a regular crescendo is further amplified by adding more instruments to the
texture. This was done, as during the baroque era, instruments were limited to the range of
dynamics that were available to them - something that young musicians now will most likely
never have to deal with or experience. This introduced something called terraced dynamics,
something that we will see later in the symphony. The Mannheim roller and crescendo are
extremely common in Stamitz’ work, and essential to his core style of composing, therefore
understandably used throughout. After a dramatic passage with semiquaver rife, large leaps
and copious amounts of tremolo, the second subject is introduced. This theme is in the
dominant - A major (another early sign of the sonata form emerging). The theme uses
several more Mannheim techniques - such as the Mannheim sign, and birds - and is a lot
more lyrical than the first. We also see a two part counterpoint between the two violin parts
at the start of this theme, for the first time in the symphony. The movement then transitions
into a short development-like section, similar to the sonata form we know now, but instead
modulates back to the tonic key, reinforced by the use of a dominant pedal. The
recapitulation that follows, again has some differences to the developed and widely used
sonata form we know now. First of all, both subjects are now back in the tonic of D major,
but have been flipped - the second theme of the exposition comes first, and the first theme
comes after that. However, the second theme as we know it in the exposition is mostly just
transposed, giving a sense of no break from the original key. As this section is in D major,
the woodwind and brass are able to contribute, so stamitz gives them the melody - a highly
uncommon, but not unusual, practice of the time. This gives a nice change of pace from the
violin-only rendition that was heard in the original recapitulation, fully completing the feeling
of a development section. The first movement is in no means revolutionary harmonically
wise, and the same goes for the following three movements also, but Stamitz seemingly
enjoys playing around with a few musical conventions of the time through his signature
Mannheim style.

The second movement is in a very loose but rounded binary form, with two clear, but highly
lyrical and ornamented sections. This movement is most like Style Galante, with a Melody-
Dominated homophony texture throughout. Written in the subdominant key of G, it provides
a feeling of stepping back - further reinforced by Stamitz moving the opposite way around
the circle of fifths to what we would expect. The movement is reminiscent of a concerto for
two oboes, due to them almost solely having the melody; an extremely textural change, from
the frantic and exultant first movement - another one of Stamitz’ revolutionary ideas of the
times. As mentioned before, woodwind were sometimes, but very rarely given melodic lines
in a symphony, so Stamitz is constantly revolutionising a new timbre in the melody lines with
this symphony alone. In nature, the section has one theme - typical for a second movement
at the time; slower, more lyrical and with many ornaments that keep Stamitz’ signature
Mannheim style constant throughout - even in a seemingly intimate passage.

The third movement is a dance, in minuet and trio form. The minuet was a popular dance in
1750, an elegant couple dance that dominated aristocratic european ballrooms at the time.
Arriving back in the tonic key of D major, we also find ourselves in 3 - a classic characteristic
of minuet dances, Large leaps, copious amounts of appoggiaturas and more in the melody,
give it an energetic, dance feel whilst echoing the already exposed themes of the first
movement, The melody dominated the texture, bringing back the melody-dominated
homophony we saw not long ago in the previous movement. We also see a triplet motif
return from the andantino section. After the two minuet sections repeat, we are transitioned
into the trio section. The “trio” derives from the three distinct lines that are heard - which
evolved into the trio sonata. In our case, our string parts play the bass line and emphasise
cadences, especially those of a IV-V-I structure, and our horns and oboe lines play the
melody - the third time this symphony that the woodwind are given the melody. This even
further emphasises Stamitz’ revolutionary ideas that influenced composers for decades,
even millenials to come. The minimising texture of the minuet contrasts with the trio, giving
an intimate feel - emphasised by a small excursion to E minor in the second theme of the
trio. The harmony is yet again, but unsurprisingly simple, with the bass line moving almost
solely in step or arpeggios. The minuet and trio form is stately, matching the form of the
stately dance of the time.

The fourth, and final movement of the symphony, is a frantic and exuberant showcase of
mannheim and galante styles that have been so prominent and repeated throughout the
previous movements. Stamitz writes this finale in an extended binary form, with many
noticeable similarities to the first movement; for example, the vast energy created by large
leaps in melody and scalic semiquaver passages - which are further emphasised in this
movement. The use of Style Galante is immediately made clear with tremolo arpeggios that
open the movement - a staple of the genre. Repetitive episodes of Melody-Dominated
homophony add tho the galante atmosphere, seemingly more intimate moments between
parts, marked piano. Galante techniques aren’t the only thing on show here - in classic
Stamitz fashion, Mannheim techniques are also used, especially the Mannheim rollers. The
movement is yet again harmonically simple, but understandable due to the fast turnarounds
of his compositions for the Mannheim players. There is a small excursion to the dominant, as
in every movement, and the dynamic fluctuate very frequently - showing the baroque
techniques of terraced dynamics and very few gradual dynamic changes - these, however
add more to the already intense drama and energy it holds. The movement finishes with a
barrage of trills and semiquavers, then a flurry of tonic chords - a well fitting ending to a well
written symphony.

In the interest of transparency, I will completely admit to using Michael’s essay for help - not
a lot, but mostly the introductory paragraph, and to round up the ends of movement
summaries - this is something I’m working on though!