CHAPTER XIX
HAYDN. THE SONATA AND THE ORCHESTRA
143. General Survey.—The half-century following 1750
proved to be in several ways extremely important in music-history,
but we look in vain for much evident connection between
its events and those of general history, or rather, to put it
more exactly, the conditions of the time affected music most on
its lower and commonplace level, which was not the plane upon
which vigorous and constructive geniuses were at work. The
latter were the agents that made the period memorable, simply
because they rose so much above their fellows.
The world of politics was full of turmoil, but with little effect upon musical
art except to subject its exercise to local and temporary interruptions,
as, for example, in parts of Germany and Austria during the exhausting
Seven Years' War (1756-63), and at Paris at the time of the Revolution
(1789-95). The effects of the latter upon art in general, as of the complications
connected with the achievement of American Independence
(1761-83), were naturally not apparent until after 1800.
The long reigns were those of Louis XV. of France (1715-74), Maria
Theresa of Austria (1740-80), Frederick the Great of Prussia (1740-86),
George III. of England (1760-1820), Catharine II. of Russia (1762-96),
and Louis XVI. of France (1774-92). The remarkable figure of Napoleon
appeared in 1795, but his accession as emperor did not come till
1804.
The time was one of controversy and criticism in the world of thought,
with a tendency to negations rather than construction. Morals and manners
were artificial, and religion tended to lapse into deism or atheism.
The average pessimism was relieved only by the display of ideality or of
practical efficiency on the part of individuals. Altogether, the period was
not one that might be supposed favorable for important artistic advance.
Yet, on the other hand, it was precisely here that the truly modern spirit
took its rise, breaking away from outgrown formulæ, throwing off restraints,
and catching sight of far-off goals.
Briefly summarized, the chief movements of the period in music were these—the establishment of the principles of what is now called 'classical' form by a group of masters of whom Haydn and Mozart are typical examples; the reformation of
