[30] Riemann cites Scheibe in the _Kritische Musikus_ to the effect that symphonies with drums and trumpets (or horns) were already common in 1754, but we may safely assume that they were not symphonies in our sense--orchestral sonatas--for it must be recalled that the word _Sinfonia_ was applied to pieces of various kinds, from a note-against-note canzona (seventeenth century) to interludes in operas, oratorios, etc., and more especially to the Italian operatic overture as distinguished from the French. The German dance-suite, too, from 1650 on, had a first movement called _Sinfonia_, which was superseded by the overture (in the French style) soon after. In the early eighteenth century the prevailing orchestral piece was an _overture_, usually modelled after the Italian Sinfonia. Not this, indeed, but the chamber-sonata was the real forerunner of the symphony, as our text has just shown. [31] _Handbuch der Musikgeschichte_, II². We are indebted to Riemann for this entire question of Stamitz, whose findings are the result of very recent researches. [32] The first four piano concertos ascribed to Mozart in Koechel’s catalogue have now been proved to be merely studies based on Schobert’s sonatas. Cf. T. de Wyzewa et G. de St. Foix: _Un maître inconnu de Mozart_. [33] The majority of madrigals were, however, written in five parts. [34] This education he owed to the magnanimity of Prince Joseph of Hildburghausen, whom in his youth he attended as page. In 1761 the prince secured him a place in the Vienna court orchestra which he held till his engagement in Grosswardein. [35] Born, Vienna, 1715; died there 1777. CHAPTER III THE VIENNESE CLASSICS: HAYDN AND MOZART Social aspects of the classic period; Vienna, its court and its people--Joseph Haydn--Haydn’s work; the symphony; the string quartet--Wolfgang Amadeus Mozart--Mozart’s style; Haydn and Mozart; the perfection of orchestral style--Mozart and the opera; the Requiem; the mission of Haydn and Mozart. I