![]() The composition of early symphonies was centred on Milan, Vienna and Mannheim. Haydn, Mozart and their contemporaries restricted their use of the four-movement form to orchestral or multi-instrument chamber music such as quartets, though since Beethoven solo sonatas are as often written in four as in three movements (Prout 1895, 249). Variations on this layout, like changing the order of the middle movements or adding a slow introduction to the first movement, were common. The normal four-movement form became (Jackson 1999, 26 Stein 1979, 106): "Normative macro-symphonic form may be defined as the four-movement form, in general, employed in the later symphonies of Haydn and Mozart, and in those of Beethoven" (Jackson 1999, 26). This symphonic form was influenced by Germanic practice, and would come to be associated with the classical style of Haydn and Mozart. The four-movement symphony became dominant in the latter part of the 18th century and most of the 19th century. The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Haydn and Mozart, whose early symphonies were in this form, eventually replaced it with a four-movement form through the addition of a second middle movement (Prout 1895, 249). The terms "overture", "symphony" and "sinfonia" were widely regarded as interchangeable for much of the 18th century (Larue, Bonds, Walsh, and Wilson 2001). It is this form that is often considered as the direct forerunner of the orchestral symphony. ![]() The opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements: fast, slow, fast and dance-like. ![]() In the 17th century, for most of the Baroque period, the terms symphony and sinfonia were used for a range of different compositions, including instrumental pieces used inoperas, sonatas and concertos-usually part of a larger work. Except for Viadana's collection, which contained purely instrumental and secular music, these were all collections of sacred vocal works, some with instrumental accompaniment. 6, and Symphoniarum sacrarum secunda pars, op. 18, published in 1610 and Heinrich Schütz's Symphoniae sacrae, op. 16, published in 1607 Lodovico Grossi da Viadana's Sinfonie musicali, op. In the sense of "sounding together," the word begins to appear in the titles of some works by 16th- and 17th-century composers including Giovanni Gabrieli's Sacrae symphoniae, and Symphoniae sacrae, liber secundus, published in 15, respectively Adriano Banchieri's Eclesiastiche sinfonie, dette canzoni in aria francese, per sonare, et cantare, op. In German, Symphonie was a generic term for spinets and virginals from the late 16th century to the 18th century (Marcuse 1975, 501). In late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. 1155 to 1377 the French form symphonie was the name of the organistrum or hurdy-gurdy. In the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously (Brown 2001). Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, and from c. ![]() In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία ( diaphōnia), which was the word for dissonance (Brown 2001). However, more recent scholarly opinion points out that the word in the Book of Daniel is siphonia (from Greek σίφων siphōn, "tube", "pipe"), and concludes that the bagpipe did not exist at so early a time, though the name of the "zampogna" could still have been derived from this word (Marcuse 1975, 501 & 597). This Greek word was used to describe an instrument mentioned in the Book of Daniel, once believed by scholars to have been a bagpipe-the word was identified, for example, as the root of the name of the Italian zampogna ( Stainer and Galpin 1914, 145–46). The word symphony is derived from Greek συμφωνία ( symphonia), meaning "agreement or concord of sound", "concert of vocal or instrumental music", from σύμφωνος ( symphōnos), "harmonious" ( Oxford English Dictionary).
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