The later 18th century sees the establishment of forms and structures in the symphony, concerto, sonata and related compositions for various ensembles, that are to remain predominant. Austria and Southern Germany, with Haydn (1732-1809) and Mozart (1756-1791), offer important centres of musical activity, notably in Vienna and Mannheim. Italian opera finds, with Gluck (1714-1787) in Vienna, a new form of realism, furthered by Mozart in his Italian and German stage works. J.S.Bach's second son, Carl Philipp Emanuel Bach (1714-1788), succeeds Telemann as director of music in Hamburg, and his youngest son, Johann Christian Bach (1735-1782), establishes himself in London, at first as a composer of Italian opera. Both influence the young Mozart. Beethoven (1770-1827), moving from Bonn to Vienna in 1792, expands the forms inherited from Haydn and Mozart, suggesting a new course for music in his large-scale symphonies and innovative sonatas for the newly developing pianoforte and concertos. His only opera Fidelio, with a German libretto, draws on a French revolutionary subject and model. German opera continues with Carl Maria von Weber (1786-1826), whose opera Der Freischütz (The Marksman) contains the ingredients of romanticism. German song has, among its chief exponents, Franz Schubert (1797-1828), in Vienna, prefiguring here, and in orchestral, chamber and solo piano music, the future. By 1830 the career of Rossini (1792-1868) career as an internationally successful composer of Italian opera is over.
