We may recall how Jommelli introduced the ‘orchestral crescendo’ in the Strassburg opera. That he emulated the Mannheim orchestra rather than set an example for it seems unquestionable; for Stamitz had already been at his work ten years when Jommelli arrived. The gradual change from _piano_ to _forte_, and the sudden change in either direction to indicate a change of mood, not only within single movements, but _within phrases and even themes_, was bound to lead to important consequences. While fiercely opposed by the pedants among German musicians, the practice found quick acceptance in the large centres where Stamitz’s famous Opus 1 was performed. These Six Sonatas (or Symphonies), ‘_ou à trois ou avec toutes (sic) l’orchestre_,’ were brought out in 1751 at the _Concerts spirituels_ under Le Gros.[29] Stamitz’s ‘Sonatas’ were performed with drums, trumpets, and horns. Another symphony with horns and oboes, and another with horns and clarinets (a rare novelty), were brought out in the winter of 1754-55, with Stamitz himself as conductor. These ‘symphonies’ were, as a matter of fact, trio-sonatas in the conventional form--two violins and Figured Bass--such as had been produced in great number since the time of Pergolesi. But there was a difference. The Figured Bass was a fully participating third part, not depending upon the usual harpsichord interpretation of the harmony. The compositions were, in fact, true string trios. But they were written for (optional) orchestral execution, and when so performed the added wind instruments supplied the harmonic ‘filling.’ This means, then, the application of the classic sonata form to orchestral music, and virtually the creation of the symphony.[30] While not, by a long way, parallel with the symphonies of Haydn, Mozart, and Beethoven, these works of Stamitz are, nevertheless, true symphonies in a classic style, orchestral compositions in sonata form. They have the essential first-movement construction, they are free from the fugato style of the earlier orchestral pieces, and, instead of the indefinite rambling of passage work, they present the clear thematic phraseology, the germination of ideas, characteristic of the form. Their sincere phraseology, says Riemann, ‘their boldness of conception, and the masterly thematic development which became an example in the period that followed ... give Stamitz’s works lasting value. Haydn and Mozart rest absolutely upon his shoulders.’[31]