Mozart had a gift for absorbing and adapting the valuable features of others' music. His travels helped in the forging of a unique compositional language.. Discussion of the sources of style as well as his early imitative ability. In London as a child, he met J. C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy, he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J. C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.
Mozart had a gift for absorbing and adapting the valuable features of others' music His travels helped in the forging of a unique compositional language Discussion of the sources of style as well as his early imitative ability In London as a child he met J C Bach and heard his music In Paris Mannheim and Vienna he met with other compositional influences as well as the avant-garde capabilities of the Mannheim orchestra In Italy he encountered the Italian overture and opera buffa both of which deeply affected the evolution of his practice In London and Italy the galant style was in the ascendent simple light music with a mania for cadencing; an emphasis on tonic dominant and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements Some of Mozart's early symphonies are Italian overtures with three movements running into each other; many are homotonal (all three movements having the same key signature with the slow middle movement being in the relative minor) Others mimic the works of J C Bach and others show the simple rounded binary forms turned out by Viennese composers