Interlude 2. From Antonio Soler… Its style is clearly reflective of the mature Haydn and Mozart, and its instrumentation gave it a weight that had not yet been felt in the grand opera. Since there was a greater emphasis on a single melodic line, there was greater emphasis on notating that line for dynamics and phrasing. B.Sacred music was written during the Baroque period but stopped completely during the Classical period. While counterpoint was less emphasised in the classical period, it was by no means forgotten, especially later in the period, and composers still used counterpoint in "serious" works such as symphonies and string quartets, as well as religious pieces, such as Masses. Greater knowledge of works, greater instrumental expertise, increasing variety of instruments, the growth of concert societies, and the unstoppable domination of the increasingly more powerful piano (which was given a bolder, louder tone by technological developments such as the use of steel strings, heavy cast-iron frames and sympathetically vibrating strings) all created a huge audience for sophisticated music. However, at the same time, complete editions of Baroque masters began to become available, and the influence of Baroque style continued to grow, particularly in the ever more expansive use of brass. Economic changes also had the effect of altering the balance of availability and quality of musicians. In 1772, Haydn completed his Opus 20 set of six string quartets, in which he deployed the polyphonic techniques he had gathered from the previous Baroque era to provide structural coherence capable of holding together his melodic ideas. Music from this era sounds almost boundless and free from any limitations of form. "[4], Musically speaking, this "dramatic action" required more musical variety. And finally Wilhelm Friedemann, J.S. Classical music, like classical architecture built its structures on symmetry and apparent simplicity. The Classical orchestra came to consist of strings (first and second violins, … Whilst, Schubert apart, these composers certainly knew each other (with Haydn and Mozart even being occasional chamber-music partners), there is no sense in which they were engaged in a collaborative effort in the sense that one would associate with 20th-century schools such as the Second Viennese School, or Les Six. By 1800, basso continuo was practically extinct, except for the occasional use of a pipe organ continuo part in a religious Mass in the early 1800s. In the Baroque era, there was more variety in the bowed stringed instruments used in ensembles, with instruments such as the viola d'amore and a range of fretted viols being used, ranging from small viols to large bass viols. Bach's eldest son, extended Baroque traditions in an idiomatic, unconventional way.[5]. While some scholars suggest that Haydn was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole. The Classical, or Baroque, period in Europe, which lasted from 1775 to 1825, was a time of musical, artistic and literary innovation, seeing Wolfgang Mozart's rise to fame and sudden death, Ludvig van Beethoven's arrival in Vienna and declarations from thinkers, such as Jean-Jacques Rousseau and Voltaire upon the sovereignty of the individual. This contrasts with the practice in Baroque music, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of counterpoint, while maintaining a consistent rhythm or metre throughout. The crucial differences with the previous wave can be seen in the downward shift in melodies, increasing durations of movements, the acceptance of Mozart and Haydn as paradigmatic, the greater use of keyboard resources, the shift from "vocal" writing to "pianistic" writing, the growing pull of the minor and of modal ambiguity, and the increasing importance of varying accompanying figures to bring "texture" forward as an element in music. Then a composer named Christoph Willibald Gluck introduced a new type of opera, making This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo—the rhythmic and harmonic ground of a piece of music, typically played by a keyboard (harpsichord or organ) and potentially by several other instruments.