SPOHR was instrumental in awakening a keener interest for the supernatural, and he aimed to illustrate certain definite ideas by means of musical expression. He contributed to the evolution of orchestration proper but little that was actually new, but his development of violin technique stimulated at least a freer and more elaborate manner of employing the strings. The equilibrium of his orchestra is admirably preserved and the general color-scheme enriched by frequent use of soft harmonies for the brass. WEBER'S true greatness lay in the power of orchestral portrayal and in rare appreciation of instrumental effects. Few composers contributed more than he to the independence of the wood-wind. He showed particular predilection for the clarinet as well as for horns, and was exceedingly modern in the use of small combinations. Weber's scoring is above all dramatic, and serves as a model for all later composers. SCHUBERT displayed rare skill in the handling of orchestral instruments, whether in solo passages or in combination. His was the hand of a master who without hesitation knew what effects he desired and how to obtain them. Novel was his manner of writing for trombones, and the contrast of solo wood-instruments in dialogue. MENDELSSOHN'S contributions to the details of instrumentation are both original and varied. The suavity of his melody, the purity of his form, and the delicacy of his scoring have been excelled by none. His orchestration is buoyant, transparent, and perfectly balanced. SCHUMANN holds the unusual position of being one of the few great masters who did not excel in orchestration. CHAPTER X. THE CLASSICAL ROMANTICISTS. The representatives of classical romanticism are Raff, Rubinstein, Goldmark, Brahms, Bruch, Rheinberger. Although all of these men displayed rare skill in the application of orchestral resources, none of them can take rank with the more conspicuous exponents of instrumentation. RAFF. Striking insignia of absolutely original scoring are not conspicuous in Raff's orchestration, but its entire character gives evidence of fertile imagination and sound judgment. RUBINSTEIN. The instrumentation of the Russian, Rubinstein, is not of distinctive significance. GOLDMARK, on the other hand, owes his reputation primarily to his gifts as an orchestrator. He atones for a certain lack of musical inspiration by mastery of material effects and power of vivid portrayal. BRAHMS considered glowing orchestral color and sensational dramatic effect of secondary importance. In spite of his otherwise comprehensive and titanic achievements, one cannot point to him as a model for invariably felicitous instrumentation. BRUCH possesses supreme command of modern orchestral resources, but is at his best in the art of accompaniment, which displays perfect taste, genuine expression and an abundance of energetic force.