The orchestral canvas of the Fifth, C minor, presents the coöperation of a piccolo flute, a contra-bassoon, and three trombones; all of these, however, remain silent until the victorious entrance of the Finale. To the Sixth--the Pastoral--are added a piccolo flute and two trombones instead of three, whereas in the Ninth, the usual symphonic cohort is supplemented by a piccolo, a double-bassoon, four horns, three trombones, and human voices. It is worthy of note that this new departure of employing a second couplet of horns in the symphonic scheme concludes the evolution of the classical orchestra. For the incorporation into the concert orchestra of the oboe da caccia, resuscitated in the form of the English horn, of the modern bass-clarinet, of the opheicleide and the usurper of its functions, the bass-tuba, was an outgrowth of the Romantic Movement. Likewise the harp, in spite of its venerable origin and perennial usage, was, during the eighteenth century, an adjunct to the operatic orchestra only, for histrionic effects and historic representations. The scores of no other composer can be more profitably studied than those of Beethoven, and a high percentage of the examples set forth in all standard treatises on instrumentation are drawn from his works. Apart from the fact that his orchestration not only embodied but improved upon and matured the orthodox style of writing as bequeathed to him by Haydn and Mozart, his pages abound in daring innovations, bold and startling; in subtle combinations, delicate and pathetic; a kaleidoscope of sequent effects now contemplative and restful, now tender and languishing, impetuous and fiery, at times even jocose, weird, bizarre. And throughout is manifested the depth of his nature, the nobility of his purpose. In writing for the strings, Beethoven attained a degree of excellence that has never been surpassed. He fulfilled every requirement, whether of solidity, sonority, flexibility, or delicacy.[27] With bold and vigorous strokes, he infused warmth and increased vitality into the inner and lower voices, and the quartet being thereby more closely knit together, the resultant effect was that of breadth and power. He was the first to carry the orchestral violins into the ethereal domain of their highest range in the overture to "Egmont." Incomparable is the boisterous string passage toward the close of the "Leonora" Overture, No. 3, as well as the fughetta in the Scherzo of the Fifth Symphony, where the double-basses are for the first time allowed unfettered license.[28] Finally, Beethoven elevated the violoncello once for all to its proper sphere as an emotional and heroic interpreter, of which the C minor Symphony affords a favorite example in that the 'cellos, assisted by the violas, usher in the opening theme of the slow movement.[29] The violas likewise gained in individuality, and in the last movement of the Ninth Symphony even divided viola parts are to be found. [Footnote 27: Ex. 30, 31, 33.]