Turkish music (style)

[citation needed] Eventually it became possible to write music with bass drum, triangle, cymbals, and piccolo without evoking a Turkish atmosphere, and in the later 19th century symphonic composers made free use of these instruments.

Turkish music also appears in works of Jean-Philippe Rameau, Michael Haydn (Marcia turchesca, MH 601), Gioacchino Rossini, Ludwig Spohr, in two operas of Gluck – Die Pilger von Mekka (1764) and Iphigenie auf Tauris (1779) – and in Symphony No.

Paul Wranitzky, who in his lifetime was one of Vienna's most famed composers also wrote Turkish influenced music, including a large-scale symphony.

Franz Xaver Süssmayr, best known for completing Mozart's unfinished Requiem, also composed several Turkish works, including operas and symphonies (his "Sinfonia turchesca" for example).

Other composers who have written excellent examples of Turkish music include Joseph Martin Kraus, Ferdinand Kauer, Carel Anton Fodor ("Rondo alla turque" from his concerto for keyboard Op.

[citation needed] Thus, in the finale of Beethoven's Ninth Symphony, the Turkish march serves as a period of lowered intensity between two more massive and emotionally charged sections.

Turkish music commonly is found in finales, which (as Charles Rosen point out) are typically the most relaxed and loosely organized movements of Classical works.