The writer of musical history is confronted at every point with the problem of classification. The men whom we have discussed can, though united by ties of nationality and even family, hardly be considered as of one school. We have taken them as the representatives of the North German musical art; yet, as we were obliged to state, Southern influence affected nearly all of them. Similarly, we should find in analyzing the music of the Viennese that a more or less rugged Germanism had entered into it. J. J. Fux (1660-1741), the pioneer of the ‘Viennese school’; Georg Reutter, father and son (1656-1738, and 1708-1772); F. L. Gassmann (1723-1774); Johann Georg Albrechtsberger (1736-1809); Leopold Hoffman (1730-1772); Georg Christoph Wagenseil (1715-1777); and Carl Ditters von Dittersdorf (1739-1799), who, with others, are usually reckoned as of that school, are all examples of this Germanism. Indeed, these men assume a historic importance only in the degree to which they absorb the advancing reforms of their northern _confrères_. All of them are indebted for what merit they possess to the great school of stylistic reformers who, about the year 1750, gathered in the beautiful Rhenish city of Mannheim, and whose leader, Johann Stamitz, was, until recently, unknown to historians except as an executive musician. His reappearance has cleared up many an unexplained phenomenon, and for the first time has placed the entire question of the origins of the Classic, or Viennese, style, the style of Haydn, Mozart, and Beethoven, in its proper light. Much of the merit ascribed to Emanuel Bach, for instance, in connection with the sonata, and to Haydn in connection with the symphony belongs rightfully to Stamitz. We may now safely consider the Viennese school, like that of Paris, as an offshoot of the Mannheim school and shall, therefore, discuss both as subsidiary to it.