It is almost superfluous to say that HAYDN[11] (1732-1809), the true father of the modern symphony and string quartet, was, after Monteverde and Scarlatti, the most potent factor in establishing a perfectly balanced orchestra as a whole. Indeed, one might modify the eulogy previously bestowed upon Monteverde, and say that whereas _he_ may be looked upon as the father of modern instrumentation, _Haydn_ was the father of modern orchestration. Like Monteverde, he was constantly experimenting, being, moreover, aided by his exceptionally favorable position at the court of Prince Esterhazy. To such an extent are his achievements known to all, that it is permissible to but touch upon the vital landmarks which constitute the distinguishable features of his quasi-created cyclic forms. This term is used advisedly, for although he accepted the erudite forms of his predecessors and contemporaries, and, like them, devolved the symphony from the earlier _concerto_ for several instruments, he improved upon these forms to such a degree, that they emerged from their archaic chrysalis in rejuvenated attire. [Footnote 11: See Appendix of Musical Illustrations, Examples 10 to 17.] Lack of space forbids more than a passing reference to the coevolution of the string quartet, that momentous vehicle for the sonata form, whose growth was concurrent with that of the symphony. But in both these branches of art Haydn left his indelible stamp upon the creations of Mozart and Beethoven, indeed Mozart, though more emotional and impressive, did not enlarge upon Haydn's form, and even Beethoven, the tone-poet, remained to the last true to its substance. Parenthetically it should be remembered that on the other hand Haydn's quartets and symphonies were in turn influenced by Mozart, from whom, moreover, both he and Beethoven acquired a more subtle insight into the skilful handling of the wood-wind. The symphonies of Haydn and Beethoven have been felicitously compared by styling those of the former, comedies, those of the latter, tragedies. Finally, the extent to which the reputation of Haydn's symphonies travelled is discovered in the already mentioned performances thereof in Paris (at the "Concerts des Amateurs," founded by the Belgian Gossec, for which organization Haydn specifically composed several symphonies), not to speak of his triumphs in London as well as in the musical centres of his native land. These rather extended references to the rise of symphonic music are surely justifiable in that from it dates the dynasty of monarchical orchestration.[12] [Footnote 12: It is not intended to belittle the original and valuable efforts of the Mannheim composer, Stamitz, and of the several other representatives of various nations as referred to on pages 42 and 43, even though preëminence in the development of orchestration and form is accorded to Haydn and Mozart.]