Between the years 1790 and 1830 the art of music experienced a significant shift of emphasis from the disciplined forms of the Age of Reason to patterns of considerably greater freedom and individuality, even eccentricity. The limited scope of carefully controlled early symphonies gave way, by stages, to the seductive call of Romanticism. The development was stimulated by the social emancipation of the composer, whose status advanced from that of household retainer to independent artist.

The musician of 1790 was still principally an artisan. Prince Esterhazy, often graciously described as Haydn's patron, was in reality his employer. Like the pastry cook whose products must satisfy the princely palate, Haydn had his duties as a member of the domestic staff, including the composition of suitable music for various functions. Mozart, in his rebellion against this sort of relationship, and his determination to be his own master, brought upon himself poverty, overwork, and ultimately an early death. A few years later Beethoven could support himself without any permanent attachment. This was partly due to the growing interest of the bourgeoisie, for their active support not only augmented the income from public concerts but also increased the demand for printed music and so helped to establish the artist's independent rank. At the same time, respect for the musician's role in society had reached a stage where the Viennese nobles now tolerated Beethoven's forthright behaviour which, at times, could only be described as boorish. The acceptance of the artist on his own terms was accompanied by a growing self-consciousness on the part of composers concerning their art and, as a result, many felt inclined to air their views on music and aesthetics.