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Christian Cannabich
Christian Cannabich, born in 1731 in Mannheim, Germany spent many of his early years in the palatinate court of elector Carl Theodor, where Johann Stamitz was the instrumental director. He studied violin with his father, Martin Friedrich. He studied with Niccolò Jommeli in Rome and Stuttgart from 1752-1754. From 1754-1756, Cannabich studied with Giovanni Batista Sammartini in Milan. After Stamitz died in 1757, Cannabich became the leading violinist, composer, pedagogue, and director in the Mannheim court. In 1772, he won first prize at with his Simphonia Concertante at a competition. Cannabich moved his musicians to Munich after Carl Theodor became elector of Bavaria. His job became more difficult because he had to manage two combined orchestras. He also had limited funding and weekly concerts to put on, leaving little time for composition.

Compositions and Style
Cannabich's compositions helped define the style of the late eighteenth century, with sonata form, influences from Italian opera, and innovative orchestra techniques. During his first period (1755-1762/3), he used crescendos, 16th note turns, dramatic chordal endings and beginnings, double bars, repeat signs, and triad based themes. He wrote 24 works, 19 of which have four movements. During the second period (1762-1766/7), he published 11 symphonies, and moved away from four movement symphonies to 3 movement symphonies. During his third period (1767-1772), Cannabich wrote 7 symphonies and 2 symphony concertante. The fourth period (1773-1778) consisted of 13 symphonies and a pastoral symphony. These were Cannabich’s last 5 years as director and composer for Mannheim. These symphonies contained more minor keys and he writes more for the winds. 18 symphonies were composed during the 5th period (1778-1794), after the court moved to Munich. Only the first 6 of the 18 manuscripts and the last symphony have been found as copies outside of Munich. Cannabich developed a more mature style of composition during these five periods. This included greater clarity of contrasting thematic material in a more structured and tonally derived sonata form, chromaticism, more grace transitions, and richer orchestration.

Symphony in G Major (1760)
His symphony in G major opens with melody in the violins and woodwind embellishments and doubling. Instruments often play in thirds with many moving notes. There is a lot of conversation between the woodwinds and violins. He often resolves the phrase on the same chord as the starting chord and stands on the dominant before returning to the recapitulation. Most of the movements end with a call and response section between the woodwinds and violins. Cannabich also uses relating motifs to build tension. His use of orchestral techniques and form are very straight forward but create beautiful symphonies

I. Allegro

 * Dev in D Major
 * Modulation using lots of 16ths in strings
 * Then melody in flutes back to g major, and recap
 * Stand on dominant and expansion of theme
 * Repetition of motifs and ascending/descending contour help building tension and resolve movement

II. Andantino

 * Exposition
 * AB and repeats


 * Development
 * Modulatory
 * Melody comes back

III. Minuet & Trio

 * Minuet Exposition
 * AB then stand on dominant after repeat, and back to A


 * Again repeats motif of ascending half note and quarter note in trio section


 * Conclusion

'''IV. Presto Assai'''


 * Opens in G major and modulates
 * many moving notes in violins
 * call and response between woodwinds and strings