Traditional - Finnegans Wake

In his early symphonies, influences of sacred and secular music, dating back to the Baroque and the gallant style, crossed. The beginning of G.'s fame dates back to the 1750s. The composer's identities showed most prominently in the productions associated with everyday music, in divertissements and in strings that grew out of this genre. quartet.In these compositions and in the lame demon Singspiel (post. 1752, not preserved), commissioned by comedian J. F. Kurtz (Bernardon), sprouts of the most important features of the composer's mature work were revealed: realistic. imagery, ease in using folk song and dance. folklore, a tendency to humorous. effects. Essential to strengthen the stylistic. G.'s independence was the mastery of the motive-thematic principle. development. Mfr. G. 60s. in this sense are still dual. A decisive shift that separates the years of apprenticeship from the period of crystallization of property. style, occurred in con. 1760s., After G., who served since 1761 with the princes Esterhazy as a bandmaster, gained experience in composing instruments. cycles, and especially symphonies. In the production. this time - symphonies NoNo 39 (c. 1770), 44 (Mourning symphony, c. 1771),45 (Farewell Symphony, 1772), 49 (Suffering, 1768), quartets op. 17 (1771) and op. 20 (1772) and others - lyrically dramatic are clearly manifested.