This increased level of patronage caused the explosion of music in the classical style in Vienna. The newly developed secular genres of ballet, opera, instrumental music and keyboard music all enjoyed huge popularity. The rise of symphonic music, chamber music, and the use of sonata form were also hugely significant in the popularity of music. This huge breadth of musical variety was crowned in the works of Josef Haydn (1732-1809) and Mozart, and it was Mozart’s work in particular which was used as the yardstick by which all others were measured until his death in 1791. Beethoven was generally regarded as the leading contemporary composer after the death of Haydn in 1809, and it was because of the contemporary nature of his music, and his blending of the classical style with elements of the new Romantic musical language, that he was considered problematic by some. Schubert (1797-1828) was Beethoven’s equal in Vienna, producing work of exceptional quality, and his very short life of just 32 years deprived the city of who knows what. With the deaths of Beethoven and Schubert in 1827 and 1828 respectively, the great period of Viennese classicism came to an end, and Vienna lost much of its musical influence over other European cities. It was not for another forty years until the mature periods of Brahms (b. 1833), Bruckner (b. 1834) and Mahler (b. 1860) and the advent of the so-called “Second Viennese School” of Schoenberg (b. 1874), Berg (b. 1885) and Webern (b. 1883), that Vienna became home again to the most eminent living composers of the day.