From Philidor to Boieldieu, French orchestration was still somewhat heavy, though of dramatic effectiveness. The scoring of Méhul and Lesueur was powerful and dignified, that of Boieldieu, Berton, Grétry, supple and dramatic. Finally, in the first part of the nineteenth century French orchestration became still more varied and rich. It is now time to turn our attention to the rise of the Romantic Movement, and with this subject the next chapter properly begins. (Summary on page 69.) SUMMARY OF PART II. CHAPTER V. BACH'S orchestration was essentially polyphonic. He contrasted his differentiated groups of instruments _en masse_, and laid the foundation for effective orchestral solo writing. HÄNDEL represents solidity and sonority, and obtained the best results when employing the orchestra for massed effects in conjunction with the chorus. Bach's contemporaries in Italy were engaged in composing church music and in writing operas that should satisfy the existing demands for vocal virtuosity. With few exceptions, they did little to advance the standard of instrumentation, although Pergolesi's writing for string orchestra was progressive. In Germany, regard for Italian opera was fostered by establishing a permanent home for it at Hamburg; but the evolution of orchestration was but little benefited thereby. Em. Bach did good service for the cause of independent instrumental music. Credit is due to Hasse for his efforts in behalf of the Dresden orchestra, and Graun added his mite to the development of symphonic form. After Lulli, and before the advent of Gluck, Rameau stands as the exponent of French opera, from which French orchestration was then inseparable. Rameau's reputation rests upon his harmonic innovations, the enhanced effectiveness of his chorus, and his improved orchestration. Impelled by the enthusiasm of the philosopher, Rousseau, a number of composers paved the way for Grétry by departing from tradition and inaugurating a lighter style, since known as the _opéra comique_. CHAPTER VI. GLUCK, engrossed in resuscitating and furthering the principles promulgated by Peri and Lulli, used the orchestra primarily as a dramatic interpreter, and his scoring is conspicuous for the use of suitable instrumentation, and for the portrayal of genuine pathos. At about the time that Gluck captured the Parisian stage, native French music received a powerful impulse from Grétry, who established _opéra comique_ upon a permanent basis. In spite of this achievement, his contributions to orchestration are not important. Meanwhile, Italy remained true to her traditions, both as to form and contents of opera, as well as instrumentation. An exception is to be found in the scores of Jomelli. An adaptation of the _opéra comique_ in the garb of the Singspiel soon sprang up in Germany.