The above epitome presents the historical aspect of orchestral development. Due credit has been given to those men who particularly helped to forge the connecting links in the evolutionary chain, irrespective of the intrinsic value of their own instrumentation. In antithesis to the above historical aspect, the following synopsis presents the purely practical aspect of orchestration proper as developed by thirteen men whose contributions thereto would appear to be of chief importance. They are named in chronological order without regard to evolutionary sequence or nationality. It is from their works that the specimens of orchestral scoring in the appendix to this book have been chosen. These thirteen representatives are: Monteverde, Scarlatti, Haydn, Mozart, Beethoven, Weber, Berlioz, Mendelssohn, Wagner, Saint-Saëns, Tschaikowsky, Dvo[vr]ák, Richard Strauss. Monteverde aimed to obtain expressive and dramatic effects, established the orchestra on a permanent basis of stringed instruments played with a bow, and realized the necessity for an individualistic and differentiated style of writing for voices and instruments. Scarlatti divided his strings into four parts, properly dispersed and balanced, readjusted the relation of the wind instruments to the rest of the orchestra by employing them in pairs, strengthened and extended the structure of his opera-symphonies. Haydn established a perfectly balanced orchestra as a whole, realized the value of the wood-wind in their capacity of lending warmth and color to the orchestral canvas, employed them systematically in pairs, and regulated the proportion of the brass to the strings and wood. Mozart infused into the orchestra vitality and warmth, exploited the proper functions of the wood-wind with especial attention to those of the clarinet, and was the first to consistently mix the tonal colors of the orchestra. The evolution of the classic orchestra culminated in the symphonic writings of Beethoven. His scoring not only embodies the ideals of his predecessors, but treats each instrument also with characteristic individuality, subordinated, however, as a means for faithfully depicting the details of the composition proper. He pointed the way for the subsequent romanticists, and his descriptive music proves that even with comparatively simple means gorgeous tone-painting can be attained. Weber initiated a novel style of dramatic orchestration and contributed substantially to the independence of the wood-wind. Berlioz was the first of the great modern symphonists and represents the ultra-realistic school of orchestral program-music. He combined both dramatic and symphonic principles but also applied tone-color in its own right. His unique genius disclosed itself in the discovery of new combinations, new effects, new treatment, and in his power of musical description. The orchestration of Mendelssohn is invaluable for its finish of detail. It is buoyant, transparent, delicate, and perfectly balanced.