Strings and Percussion
At the start of the Classical period, string instruments dominated the symphony. This
was largely due to their relatively advanced construction compared to wind and
percussion instruments, as well as the greater technical ability of string players at the
time. Percussion was extremely limited, with timpani being the only regular percussion
instrument used. As the period progressed, however, both strings and percussion
underwent significant development, reflecting the increasing size of the orchestra and
the growing expressive ambitions of composers.
Early Classical symphonies clearly demonstrate string dominance. Stamitz’s Symphony
Op. 3 No. 2 (c.1750) is a prime example, with strings carrying the melodic material for
almost the entire work. This reflects the gallant style, characterised by light textures and
clear melodies. Stamitz also demonstrates techniques developed at the Mannheim
court, such as the Mannheim crescendo at the start of the first movement, which
revolutionised string playing by increasing clarity, precision and dynamic control. In
contrast, percussion remains minimal, limited to simple timpani writing. Similarly, C. P.
E. Bach’s Symphony in E minor shows strong string dominance, particularly in the first
and third movements. Haydn’s early symphonies also reflect this trend; in Symphony
No. 2, the lower strings (cellos and double basses) often double one another, providing
simple bass lines rather than independent material. This shows the lingering influence
of the Baroque basso continuo, where lower strings were not yet fully emancipated.
However, Haydn’s later symphonies demonstrate significant development in percussion
writing. In Symphony No. 94 (“Surprise”), Haydn includes one of the earliest examples
of retuning the timpani within a movement, while Symphony No. 100 (“Military”)
features one of the first prominent solo timpani passages, highlighting the growing
importance of percussion in the Classical orchestra. In Symphony No. 104, Haydn still
relies heavily on string dominance, but he increasingly allows other instruments to take
melodic roles. For example, in the second movement a complex flute cadenza idea is
features at bar 130, dominating the sound of the passage. This reflects the improved
construction and technical ability of wind instruments, reducing the orchestra’s
dependence on strings alone.
Moving into the late Classical and early Romantic periods, the symphony expanded
significantly in size and expressive range. Although Mozart’s Symphony No. 40 uses a
relatively small orchestra, it demonstrates advanced string writing, particularly in its
dramatic and emotionally charged melodies. Developments in bow design allowed for a
wider dynamic range, making effects such as the interrupted string passages in the
codetta possible, increasing dramatic tension.
At the start of the Classical period, string instruments dominated the symphony. This
was largely due to their relatively advanced construction compared to wind and
percussion instruments, as well as the greater technical ability of string players at the
time. Percussion was extremely limited, with timpani being the only regular percussion
instrument used. As the period progressed, however, both strings and percussion
underwent significant development, reflecting the increasing size of the orchestra and
the growing expressive ambitions of composers.
Early Classical symphonies clearly demonstrate string dominance. Stamitz’s Symphony
Op. 3 No. 2 (c.1750) is a prime example, with strings carrying the melodic material for
almost the entire work. This reflects the gallant style, characterised by light textures and
clear melodies. Stamitz also demonstrates techniques developed at the Mannheim
court, such as the Mannheim crescendo at the start of the first movement, which
revolutionised string playing by increasing clarity, precision and dynamic control. In
contrast, percussion remains minimal, limited to simple timpani writing. Similarly, C. P.
E. Bach’s Symphony in E minor shows strong string dominance, particularly in the first
and third movements. Haydn’s early symphonies also reflect this trend; in Symphony
No. 2, the lower strings (cellos and double basses) often double one another, providing
simple bass lines rather than independent material. This shows the lingering influence
of the Baroque basso continuo, where lower strings were not yet fully emancipated.
However, Haydn’s later symphonies demonstrate significant development in percussion
writing. In Symphony No. 94 (“Surprise”), Haydn includes one of the earliest examples
of retuning the timpani within a movement, while Symphony No. 100 (“Military”)
features one of the first prominent solo timpani passages, highlighting the growing
importance of percussion in the Classical orchestra. In Symphony No. 104, Haydn still
relies heavily on string dominance, but he increasingly allows other instruments to take
melodic roles. For example, in the second movement a complex flute cadenza idea is
features at bar 130, dominating the sound of the passage. This reflects the improved
construction and technical ability of wind instruments, reducing the orchestra’s
dependence on strings alone.
Moving into the late Classical and early Romantic periods, the symphony expanded
significantly in size and expressive range. Although Mozart’s Symphony No. 40 uses a
relatively small orchestra, it demonstrates advanced string writing, particularly in its
dramatic and emotionally charged melodies. Developments in bow design allowed for a
wider dynamic range, making effects such as the interrupted string passages in the
codetta possible, increasing dramatic tension.
