Interesting are the comparisons between the constituency of the Dresden orchestra in 1732 and that of Mannheim in 1756. It will be remembered that when referring to Hasse, the Dresden Opera was cited as harboring twenty-five strings, wood-wind instruments to the number of twelve, two horns, a number of trumpets and trombones, besides kettle-drums and two clavichords--in all some fifty instrumental performers. And, as already enumerated, the orchestra at Mannheim was comprised of thirty-two strings, six wood and sixteen brass instruments, as well as kettle-drums and organ, making a total of about sixty. All in all, the venerable operatic orchestras during the eighteenth century were the fuller and richer in resources, and were in possession of a larger numerical disposition of wood and brass even if inadequately supplied with strings. But the tendency to correct this deficiency in the constitution of concert orchestras resulted in the acquirement of greater elasticity and transparency, which was of all importance for the interpretation of the works of the great classicists whose servitor the orchestra was soon to become. And subsequently in writing for specific orchestras for which a sufficient number of strings had not yet been supplied, it may be that these masters intuitively presaged that this much needed metamorphosis of internal organization would gradually take place as the direct reflex of their own exalted demands for improved instrumentation and artistic rendition. Fortunately, sentient appreciation for careful rehearsal leading to a high standard of rendition had already found a champion in Emanuel Bach, and this objective was jealously fostered by Gossec, Stamitz and Cannabich, all of whom devoted themselves assiduously to the obtainment of purity of tone, equality of dynamic force, precision and coöperation, elasticity, phraseology, _nuance_. Naturally, the violin, by virtue of artistic merit and paramount importance, received their most careful attention, in consequence of which the standard of the strings as a whole was elevated to that proficiency which made it possible for the classicists to employ them with such freedom as had never before been essayed. The aim of this comparative survey of orchestras and orchestration as related with the complex phases of musical progression during the careers of Bach, Händel and Gluck has been to elucidate the artistic situation as found by the three succeeding masters. (Summary on page 68.) CHAPTER VII. HAYDN, MOZART, AND BEETHOVEN. I.