In the use of the brass Haydn was conservative. Trombones were absent from his symphonic scheme, and the province of trumpets, if they were used at all, was exceedingly primitive, so that only the horns gained greater freedom of treatment. Thus, for example, the valuable and eventually common custom of strengthening the bass by sustained tonic and dominant horn parts was employed by Haydn in his symphony in D, No. 2 (Breitkopf & Haertel). But more than two real parts for horns are not to be found in any of his works, and the demand for four horns in the Hunting Chorus in his "Seasons" will, at a glance, be recognized as having for its purpose the reduplication of two-part writing, so as to obtain a clearer melodic delineation. And although prominence of metallic quality was thus acquired, the rich chord effect of later times is conspicuous for its absence. When Haydn wrote his first symphony at the time when Mozart was in his infancy, he employed, in addition to strings, only two oboes and two horns. By the end of the eighteenth century, the normal symphonic orchestra had been increased so as to include strings, two flutes, two oboes, two bassoons, two horns, two trumpets and kettle-drums. To these were quite occasionally added two clarinets. The rôle of the trumpets as well as of kettle-drums was to augment the effectiveness of climaxes, to emphasize rhythm, to add virility, or to suggest martial portraiture. But the harp shared the fortunes of the trombones in that it was as yet denied admittance to the symphonic phalanx. Of incidental interest is the characteristic deployment of bassoons in the slow movement of the symphony in D already referred to; and the introduction into the orchestra of massed short chords struck simultaneously by all the strings must also be attributed to Haydn. Finally, his "Creation" embodies successful expedients for descriptive writing. In this masterpiece, the strings, together with a full complement of wind instruments in pairs, are further augmented by the usual kettle-drums, a double-bassoon, and three trombones,--an aggregation which, apart from the manner of using it for the purpose of tone-painting, is typical of Beethoven's enlarged orchestra as employed in his crowning graphic movements. However, this demand for so huge an apparatus as the assistant to Haydn's mightiest choral and embryo-romantic composition was exceptional, and as the corollary of his orchestration, when reviewed as a whole, one might say that he worked with simple means, and although his pages do not present delicate combinations, he obtained vigorous and fresh results.[16] [Footnote 16: Ex. 10, 12, 17.] II.