An important aid to characterisation and colouring was found by Mozart in the orchestra. We know by what means he had prepared and cultivated every part of a full orchestra as a means of characteristic expression and euphonious charm. His contemporaries were particularly impressed by his use of wind instruments, and in point of fact they were little likely ever to have experienced before the sensations produced by the tender interweaving of the wind instruments in Cherubino's romanze (Act II., 2), or their soft, melting sounds in his air (Act I., 6). In these days we should, indeed, appreciate rather Mozart's moderation in the employment of wind instruments. Trombones are never used, and trumpets and drums only in the overture the march with a chorus (Act III., 7), the closing passages of the finales, and in three airs: those of Bartolo (Act I., 4), Figaro (Act I., 9), and the Count (Act III., 2). This is not saying much; true moderation consists, not so much in {THE ORCHESTRA.} (111) abstaining from certain methods, as in the way in which those which are employed are held in check. Equally admirable is the masterly treatment of the stringed instruments which form the groundwork of the orchestra, at the same time that the independent movements of the separate instruments develop a fresh and ever-varied vivacity. Mozart has striven above all to preserve a healthy balance of sound effects, and a unity of treatment which never aims at brilliant effects brought about either by an ostentatious extra vagance or an exaggerated economy in the use of his resources; the right effect is produced at the right point, and in the simplest manner, regard being always had to the laws of climax. The simplicity of the voice parts necessitates a corresponding simplicity in the instrumental parts! most distinctly appreciable where they occur obbligato. A comparison with "Idomeneo" and the "Entführung" in this respect will bring out the difference very strongly. The orchestra in the "Entführung" is treated more easily and simply than in "Idomeneo"; in "Figaro" the highest degree of clearness is united with abundant fulness and intensive force of instrumental colouring. The position here accorded to the orchestra may be regarded as not so much an improvement on earlier operas as an essentially new conception of its powers and functions.[43] The orchestra appears For the first time not only as an integral part of the whole, but as one with equal rights, taking an independent and active part in the musical-dramatic representation. Such a conception could only be realised when the orchestra and instrumental music had been developed and cultivated as they were by Haydn and Mozart. In this independent position it is neither above nor in opposition to the voices, but each is indispensable to the due effect of the other.