We have seen that Bach’s Orchestra and Handel’s Orchestra were both neutral in tint; or, if we prefer, black and white. The instruments all played their separate parts, but their individual _voices_ had as yet hardly been discovered. It is true that Bach and Handel had written solo parts for various instruments, but, as a general thing, the melodies could be sung by one instrument as well as any other. But Mozart had very different ideas regarding instruments. To him a violin was a violin, a flute was a flute, a bassoon was a bassoon and a clarinet was a clarinet. Each instrument had to _speak for itself and with its own true voice_, or _tone-color_. Mozart originated what we may call an _orchestral palette_. We have all seen a painter’s palette, with the colors arranged in groups of reds and blues and greens, and so on, in their different gradations, or shades. Mozart’s orchestral palette was arranged similarly, only instead of paints he grouped his instruments—his strings, his woodwind, his brass—as he pleased; and he mixed these tone-colors or conspicuously exhibited one of these splendid hues, keeping the others subordinate as an accompaniment. We all know that light—perfectly white light—can be divided into the seven colors of the rainbow and that all the manifold and varied tints that we see in the world of nature—in sky and earth and sea—in every flower and every fleeting hue that falls upon it—comes from those seven colors. Now Bach and Handel and all the other composers who lived before Mozart had never thought of music as anything but white, so to speak. It was Mozart who broke up this white light into its prismatic hues. It was Mozart who brought the new _beauty of color into music_. Although Mozart learned much from Haydn, Haydn learned more from Mozart. When Haydn wrote his first _Symphony_, Mozart was three years old. Mozart died while Haydn was enjoying his London triumphs. Haydn’s last _Symphonies_ show the influence of Mozart, though Haydn never reached Mozart’s glowing and brilliant color. It is singular to remember that Mozart wrote his first Symphony only five years after Haydn wrote his first; but then Mozart was only eight years old! It was, however, a real symphony, in three movements and scored for the usual Orchestra of two violins, viola, bass (violoncello), two oboes and two horns. Mozart had a very great advantage over Haydn in having heard so much music and so many different Orchestras. At this time there were a great many fine Orchestras in Europe and Mozart heard them all. Particularly notable was that of Mannheim, where Mozart first heard clarinets. “Oh, if we only had clarinets!” he wrote home in 1778. “You cannot think what a splendid effect a symphony makes with flutes, oboes and clarinets!” The Mannheim Orchestra was generally considered the best in Europe, though some critics thought those of Munich and Vienna were better.