<P> Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most other composers . His position also gave him the ability to shape the forces that would play his music, as he could select skilled musicians . This opportunity was not wasted, as Haydn, beginning quite early on his career, sought to press forward the technique of building and developing ideas in his music . His next important breakthrough was in the Opus 33 string quartets (1781), in which the melodic and the harmonic roles segue among the instruments: it is often momentarily unclear what is melody and what is harmony . This changes the way the ensemble works its way between dramatic moments of transition and climactic sections: the music flows smoothly and without obvious interruption . He then took this integrated style and began applying it to orchestral and vocal music . </P> <P> Haydn's gift to music was a way of composing, a way of structuring works, which was at the same time in accord with the governing aesthetic of the new style . However, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto . Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life of cities, playing for the general public . This meant he needed to write operas and write and perform virtuoso pieces . Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience . Mozart wanted to achieve both . Moreover, Mozart also had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole . He found, in Haydn's music and later in his study of the polyphony of J.S. Bach, the means to discipline and enrich his artistic gifts . </P> <P> Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music . In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource . The learning relationship moved in both directions . Mozart also had a great respect for the older, more experienced composer, and sought to learn from him . </P> <P> Mozart's arrival in Vienna in 1780 brought an acceleration in the development of the Classical style . There, Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness that had been brewing for the previous 20 years . His own taste for flashy brilliances, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness . It is at this point that war and economic inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras . This pressed the Classical style inwards: toward seeking greater ensemble and technical challenges--for example, scattering the melody across woodwinds, or using a melody harmonized in thirds . This process placed a premium on small ensemble music, called chamber music . It also led to a trend for more public performance, giving a further boost to the string quartet and other small ensemble groupings . </P>

When did the style of the eighteenth century first become known as classical style