=Germany.= The seed of the new movement in France soon bore fruit in Germany in the form of the Singspiel, which, however, sturdily maintained its indigenous characteristics, since not the form but the spirit only of the French comic opera with spoken dialogue had been accepted. J.A. Hiller, as the prime mover in thus establishing a national form of operetta, was emulated by Dittersdorf, who learned much from the French composers, though more from Haydn, as is evidenced by the form and instrumentation of his symphonies. The climax of German operatic enterprise in the eighteenth century was reached when in 1778 the "Deutsches Nationalspiel" was founded in Vienna, bringing to that city lasting prominence in dramatic affairs. For the liberal spirit that was shown in throwing open its doors to all worthy applicants, irrespective of nationality or style of writing, attracted such composers as Gluck, Dittersdorf, Salieri, Mozart. And the eclecticism in objective, in form, in orchestration, that consequently pervaded the artistic atmosphere which Beethoven was soon to breathe, must have unconsciously struck a sympathetic chord in the insatiable longings of Beethoven's soul to find food for his selective and synthetical methods of procedure. V. =The Concert Orchestra.= Meanwhile the concert orchestra was rapidly winning wider recognition, since Haydn and his contemporaries, Sammartini, Gossec, Grétry, had already excited marked attention. In 1770 the "Concerts des Amateurs" were founded by Gossec, followed shortly by his reorganization of the "Concerts spirituels." And but a few years later the Leipzig Gewandhaus, of which Hiller was the first conductor, was placed on a permanent basis, being largely due to his untiring efforts in behalf of orchestral concerts. Although the permanent bulwark of modern instrumentation was reared by Haydn, important experiments were successfully developed by the Milanese, Sammartini, and the Bohemian, Stamitz, both of whom were born at the same period with Gluck; further by the German, Cannabich, and the Belgian, Gossec, both born in the same decade as Haydn; finally, by the Frenchman, Grétry. Thus representatives of five nationalities were simultaneously engaged in carrying on the same work, their fields of activity being, moreover, widely dispersed. Sammartini, also noted as the teacher of Gluck, remained loyal to his own city; Gossec and Grétry were occupied in Paris; Stamitz and Cannabich, conductors rather than composers, were successively settled as directors of the Electoral band at Mannheim.[9] [Footnote 9: To this list might properly be added the name of the Italian, dall'Abaco, since his scores, being now also available for study, reveal many interesting traits pointing toward originality and progress. He is to be classed among the earlier composers of this period, for he was prominently associated with the musical life of Munich during the first part of the eighteenth century.]