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 Mozart rapidly came to Haydn's attention, who hailed the new composers, studied his works, and considered the younger man his only true peer in music. Their letters to each other are filled with the kind of asides that only two people working at a higher plane than their contemporaries, can share. From Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource - the learning relationship moved in two directions.
 
The arrival in Vienna by Mozart in 1780 marked the acceleration of the development of the classical style, here, Mozart absorbed the fusion of italianate brilliance and germanic cohesiveness which had been brewing for the previous 20 years. His own taste for brilliances, rhytmically complex melodies and figures, long catilena melodies, virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. Strangely enough, it is at this point that war and inflation halts a trend to larger and larger orchestras and forces the disbanding or reduction of many theatre orchestras. This presses the classical style inwards: towards seeking greater ensemble and technical challenge. For example, scattering the melody across woodwinds, or using thirds to create a melody between them. This process placed a premium on chamber music for more public performance, giving a further boost to the string quartet and other small ensemble groupings. 
 
It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a higher standard of compostion. When Mozart arrived at age 25, the dominant styles of Vienna were recognizably connected to the emergence of the early classical style in the 1750's. By the decades end, changes in performance practice, relative standing of instrumental and vocal music, technical demands on musicians and stylistic unity had become established in a composers who imitated Mozart and Haydn. During this decade Mozart would compose his most famous operas, his six symphonies which would help redefine the genre, and a string of piano concerti which are still among the pinnacle works of the form.
 
One composer who was influential in spreading the more serious style which Mozart and Haydn had formed is [[Muzio Clementi]], a gifted virtuoso pianist who dueled Mozart to a draw before the emperor in playing compositions. His own sonatas for the piano circulated widely, and he became the most successful composer in London during this decade.
 
 ===The Late Classical Style (1790-1825)===
 
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 Mozart rapidly came to Haydn's attention, who hailed the new composers, studied his works, and considered the younger man his only true peer in music. Their letters to each other are filled with the kind of asides that only two people working at a higher plane than their contemporaries, can share. From Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource - the learning relationship moved in two directions.
 
The arrival in Vienna by Mozart in 1780 marked the acceleration of the development of the classical style, here, Mozart absorbed the fusion of italianate brilliance and germanic cohesiveness which had been brewing for the previous 20 years. His own taste for brilliances, rhythmically complex melodies and figures, long catilena melodies, virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. Strangely enough, it is at this point that war and inflation halted a trend to larger and larger orchestras and forces the disbanding or reduction of many theatre orchestras. This presses the classical style inwards: towards seeking greater ensemble and technical challenge. For example, scattering the melody across woodwinds, or using thirds to create a melody between them. This process placed a premium on chamber music for more public performance, giving a further boost to the string quartet and other small ensemble groupings. 
 
It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a higher standard of compostion. When Mozart arrived at age 25, the dominant styles of Vienna were recognizably connected to the emergence of the early classical style in the 1750's. By the decades end, changes in performance practice, relative standing of instrumental and vocal music, technical demands on musicians and stylistic unity had become established in a composers who imitated Mozart and Haydn. During this decade Mozart would compose his most famous operas, his six late symphonies which would help redefine the genre, and a string of piano concerti which are still among the pinnacle works of the form.
 
One composer who was influential in spreading the more serious style which Mozart and Haydn had formed is [[Muzio Clementi]], a gifted virtuoso pianist who dueled Mozart to a draw before the emperor in playing compositions. His own sonatas for the piano circulated widely, and he became the most successful composer in London during this decade. The stage was set for a generation of composers, having absorbed the lessons of the new style earlier, and having clear examples to aim at, who would take the classical style in new directions.
 
 ===The Late Classical Style (1790-1825)===
 
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