With the perfection of the violin and the other stringed instruments, about the beginning of the eighteenth century, solo playing became more and more artistic. With Corelli, sonatas and suites for one or more violins and clavier became the fashion. At this time the orchestra was well organized, so far as the true relation of the string band to the wind instruments is concerned. The cultivation of chamber music was encouraged by titled and fashionable people, and virtuosos on various orchestral instruments appeared. Thus instrumental music began to be cultivated independent of the opera and church music. [Illustration: CHARLES PHILIPPE EMMANUEL BACH] The three-movement form suggested by the overture was the type of this independent orchestral music, under the names of symphony, concerto, or suite. Such were the orchestral symphonies of Sammartini, the famous Milanese conductor of the first half of the eighteenth century. His is the first prominent name in this field. He was soon followed by German composers, among whom were Stamitz, J. C. Bach, Abel, Wagenseil, Cannabich and Emanuel Bach. Among noted German instrumental soloists of this period were Johann Georg Pisendel (1687–1755), who was celebrated as a violinist, and composed concertos for solo violin and string quartet, which were considered as among the best of that time. Franz Benda (1709–86), Georg Benda and Ignaz Holzbauer (1711–83) were likewise able masters of the violin, and had large experience as orchestral musicians. Under Stamitz and Cannabich the Mannheim orchestra became a famous organization. Johann Karl Stamitz, who was born in 1719, became in 1745 director of music for the Elector of Mannheim. His works have no interest for the hearers of to-day, but in the characteristic elements of the modern form, they represent a distinct advance over those of his predecessors. In general, they are imitations of the symphonies of Sammartini. The pupil and successor of Stamitz, Christian Cannabich, was born in 1731. Considering the superlative praise which Mozart bestowed upon this conductor, we cannot doubt that the playing of the Mannheim band was of great service to Mozart in his orchestral works, by increasing his knowledge of instrumental expression. In 1756, the year of Mozart’s birth, this orchestra had two concert masters, ten first and ten second violins, four violas, four violoncellos, two contra-basses, two flutes, two oboes, two bassoons, four horns, twelve trumpets, two kettle drums, two organists, besides twenty-four singers. About 1767 clarinets were added, and years later Mozart learned how to use the clarinets from hearing them in the Mannheim orchestra.