Berault and Sieber publishers, see also the section Sources), of which more than 80 are symphonies concertante (he wrote more of these than any other French composer of the time, becoming a champion of the genre). Polemic with Mozart His success in composing for the sinfonia concertante genre inspired the rivalry of Wolfgang Amadeus Mozart, who in 1778 accused Cambini of having obstructed the performance of his Sinfonia Concertante for Four Winds KV 297b at the Concert Spirituel, because Cambini was jealous of its perfection. The skepticism with regard to Cambini is not observed from any other composer who dealt with him. Conversely, Gluck, in the same years, often recommended him as an upstanding and honest man. Therefore, it is probable that the Salisburg expressed exaggerated feelings toward Cambini. Alternating Parisian fame The accusation by Mozart is not especially valid partially because the power of Cambini in Paris did not reach the level that Mozart claimed. In fact, the musical press paid less than gratifying attention to Cambini's vast production. He was cited relatively few times in the contemporary critiques, and his career as a violinist is less appreciated than other contemporary soloists of the time. His greatest successes, as aforementioned, were the sinfonie concertanti and his quartets, which even Mozart praised. His easy style, attractive and brilliant, open only just enough to innovation, rendered him a sort of protector of the galant Parisian style, and many of his pieces were favorably accepted in London as well as in America (some actively participated in defining the so-called forma sonata), but his theatrical works, operas, were almost always torn to shreds. Moreover, from 1785 it was affirmed in France of the more complex Viennese style, to which he tried to awkwardly join, undermining his fame, and damaging his reputation in the press of the German area. The Revolution In 1788, he became manager of the Théâtre Beaujolais, and he worked there during the revolutionary turmoil until 1791. His endurance permitted continuity of a high-quality operatic offering even in the years of the Republic. During the time of the Terror, beginning in 1791, he directed the Théâtre Louvois, which due to the economic crisis caused by the war was forced to close in 1794. The crisis affected many, as well as the estate of Cambini, and it constrained him to find very different work opportunities. Beginning in 1794, he accepted a salary