Passing reference is due to three further German contemporaries of Händel who were slaves to Italian principles. These were Hasse (1699), Graun (1701), Naumann (1741). After the downfall of the Hamburg stage, two distinct efforts were made to establish Italian opera at Dresden. Now the Dresden orchestra is over three hundred and fifty years old, and the interest attached to the name of Hasse is due to his prominent connection with that organization and the constitution of the same under his management. This band had been noted for its excellence already in the earlier stages of its existence, and even at the time of Monteverde it enrolled no less than thirteen strings and ninety-three instruments of wood, brass, and percussion. These dimensions were of gigantic proportions for those days, indeed, they compare favorably with the present size of the Dresden orchestra. That of Hasse was but half as large, but the distribution of parts was, of course, infinitely superior, and an orchestra of even fifty instruments, of which only half were strings, could readily have overpowered singers of Italian opera, had it not been for the subservience of the accompaniment to "il bel canto," the meagre quality of tone of the wood-wind, and the "thin" scoring then in vogue. It consisted of twenty-five strings in judicious apportionment, two flutes, five oboes, five bassoons, two horns, besides trumpets, trombones, kettle-drums and two clavichords. The prominence of reed quality and the incorporation of two clavichords, from one of which Hasse conducted, was in accord with the usages which Händel accepted. Hasse stands as the most successful native exponent of extraneous ideas, and, like his method of conducting which originated in Italy, his harmonic progressions as well as his instrumentation are of the simplest kind and disclose the same influence. Graun achieved renown first as an opera singer, next as an opera composer; but of more enduring worth are his sacred compositions. Nevertheless he and Hasse were for a time the only _maestri_ who wrote for the Berlin Opera, and the orchestral scores of Graun are considered by some to suggest a transition from the earlier symphonies to those of Haydn. One of his cantatas is scored for three flutes, three oboes, two violins, one viola, a bassoon, and a chorus in six parts. To this series of composers belongs properly the name of Naumann, even though he was born in the following generation; he displayed a fatal facility in expressing himself in conventional formulas, and his career was interrupted only by the ascendency of Gluck and Mozart. V.