The reason for regarding "Die Meistersinger" and "Parsifal" as representatives of a separate fourth group is that in the former, Wagner reverted to the orchestra of Groups I and II, whereas the number of instruments used in "Parsifal" correspond to those in "Tristan." Notwithstanding, the orchestration and the treatment of instruments for both "Die Meistersinger" and "Parsifal" embody a composite style that frequently suggests certain traits peculiar to the Tetralogy. They may, therefore, be rightfully regarded as belonging to a distinct group by themselves. We need not here concern ourselves again with the first mentioned philosophical and æsthetic classification. On the other hand, the purpose of these pages certainly demands some further analysis of the second orchestral classification. GROUP I. RIENZI; DER FLIEGENDE HOLLÄNDER; TANNHÄUSER. Strings; 1 or 2 harps. 1 piccolo flute (sometimes 2); 2 flutes; 2 oboes; 1 English horn (rarely 2); 2 clarinets; 1 bass-clarinet; 2 bassoons (sometimes 3 bassoons or an additional contra-bassoon). 4 horns (of which at least 2 are chromatic); 2 chromatic trumpets (often 3); 3 trombones (2 tenor, 1 bass); 1 bass-tuba. 2 kettle-drums (sometimes 3); further instruments of percussion. "Rienzi" was first given at Dresden in 1842. Of its orchestration little need be said. Being influenced by Meyerbeer and the French dramatic traditions, the scoring embodies much that is extravagant and bombastic, though many instrumental passages of surprising beauty are by no means absent. What might be called the composite of rich, velvet tone-color peculiar to Wagner's orchestral palette is already noticeable--a coloring that was not attained even by Spontini, Meyerbeer or Halévy. "Der Fliegende Holländer" (Dresden, 1843) revolutionized at one stroke the dramatic functions of orchestration as well as the treatment of instruments, even if the combinations themselves are not radically different from contemporary procedure. In this transition work Wagner revealed the future path he was destined to pursue. The innovation of continuity and alliance of music, poetry, scenes and action proved that his latent powers had already begun to unfold themselves. "Der Fliegende Holländer" is the direct successor to Weber's romantic operas, and in detail and color it resembles Marschner's "Hans Heiling." For the first time he made use of the German myth. He drew freely upon a naturalistic use of chromatics and of astounding brass effects for portraying the tempest, called into requisition the most characteristic accents of the wood-wind to depict the gloomy atmosphere of the Northern seas, and elaborated upon Weber's use of the horns for romantic episodes. His subsequent predilection for divided strings is already to be found in a modified form. In a word, the entire work is imbued with virile force and truthful expression. Its successor, "Tannhäuser"