Emanuel Bach (1714-1788) was also unquestionably attracted by the doctrines of this histrionic circle, although he was never directly associated with it. (Incidentally, therefore, it should be noted that he was not the successor of Telemann as director in operatic lines, a statement erroneously set forth by one historian of repute; he did succeed him as church musical director but not until later in life. In support of this correction it is but necessary to call attention to the fact that in 1738, the very year in which the degeneracy of the Hamburg operatic experiments culminated in the relinquishment of the enterprise, Emanuel Bach, being but twenty-four years old, went to Berlin, where two years later he became chamber cembalist to Frederick the Great.) The results of his efforts are of value to posterity in that he was instrumental in causing musical composition to be established on a more decidedly harmonic rather than contrapuntal basis. For although he honestly endeavored to fathom the profundity of his illustrious father, the subtle influence of his courtly surroundings and the effervescent superficiality of Neapolitanism could not but have its effect upon his art. Again, his early training was such as to foster a regard for what has been called the "gallant" style, and, as Dr. Riemann states it: "to this very tendency he owes his greatness, for by it he became the father of modern instrumental music, the precursor of Haydn, Mozart, and Beethoven in the department of the sonata, symphony, etc., which he clothed in more pleasing modern dress;" and thus "the son of the last master of the old school became the founder of the new school."