Until the Philharmonic Society was founded by a few enthusiasts in 1813, there was no permanent orchestra devoted to the performances of abstract music in the country. Such bands as there were, consisted of small bodies of performers whose duties were principally confined to the playing of accompaniments, and were generally found in the theatre. For especial occasions, such as the appearance of a celebrated foreign composer, singer or player, an orchestra would be temporarily formed, and many of the best musicians of the day would gladly volunteer their services to do honour to the distinguished visitor. I forbear to speak of Handel in this connection, since the band he required bore little or no approximation to the modern orchestra, and was used, generally, in conjunction with the organ, in the production of his operas or oratorios. The orchestra, as we know it to-day, is of altogether a later date. However, the popularity and frequent performances of his oratorios doubtless proved a great factor in arousing interest in the instrumental playing connected with them, and thus laid the seed that was to bear such golden fruit in the near future. Handel died in 1759, and there is little to record of special interest, until the arrival of Haydn in 1791. With this event may be associated the birth of the modern orchestra, in this country. That which Handel had employed seems amazing to modern ideas. To think of a band that contains as many oboes as violins is enough to take one's breath away, without insisting on other quaint details; yet up to Haydn's visit this was what musical people were accustomed to. The revolution he brought about, the great increase in the number of stringed instruments, the limitation of the number of oboes to two, and the many other changes of a like nature, may seem at first rather startling; a little consideration, however, may perhaps suggest a quite simple explanation. In those days it was customary for the great nobles of central Europe to keep a resident band in their palaces, and it is only reasonable to think that instruments of less piercing tone than that of the oboe, would be preferred for _salon_ performances. Haydn had been in the service of Prince Esterhazy for thirty years, had written most of his music for performance in the palace, and thus when he came to London at the instigation of Saloman, a Jewish concert agent, he naturally introduced this new type of orchestra which, with the occasional addition of novel instruments, has remained to the present day. Haydn's visit constituted an epoch in the history of music in England, for it served to stimulate and give impetus to the interest in abstract orchestral music, which was hitherto either absolutely wanting or quite latent. This interest was, happily, either created or aroused, and soon culminated in the founding of the Philharmonic Society.