The Orchestra left by Mozart and Haydn consisted of the four stringed instruments, two flutes, two oboes, two bassoons, two horns, two trumpets, kettledrums and, occasionally, two clarinets. Neither Mozart nor Haydn ever used trombones in their _Symphonies_. Haydn had used as an exceptional matter in his _Military Symphony_ a big drum, a triangle and cymbals. The _First Symphony_ is written for two drums (in C and G), two trumpets, two horns, two flutes, two oboes, two clarinets, two bassoons, first and second violins, violas and basso. There are one flute and one clarinet more than Mozart used in his _Jupiter Symphony_. One flute only is used in the _Andante_. Beethoven also for the first time in the history of the Orchestra tuned the kettledrums in the key of the dominant instead of in the key of the movement. In the _Second Symphony_ the Orchestra is still the ordinary Haydn-Mozart Orchestra without trombones, but _with the addition of clarinets_. In the _Eroica_ (the _Third_) _Symphony_ we find something new—_three horns_. It was, perhaps, the first appearance of three horns in the Orchestra. In passing, we may recall that in 1805 when Prince Lobkowitz was entertaining Prince Louis Ferdinand of Prussia at his castle in Bohemia, to honor his guest, who was a remarkable musician and connoisseur, Lobkowitz ordered a performance of the new _Eroica_, by his Orchestra which always attended him. When the _Symphony_ was finished Louis Ferdinand begged to have it repeated, and on the second performance begged to hear it again. “Certainly,” replied Lobkowitz, “only we must first give the Orchestra some supper!” In the _Fourth Symphony_ only one flute is used. It is scored for two drums, two trumpets, two horns, one flute, two oboes, two clarinets, two bassoons, first and second violins, violas, violoncello and double-bass. This _Symphony_, lovely as it is, was severely criticised. No one was more satirical than Weber, who was then a young man. He wrote a sketch in which he imagined himself as seeing in a dream all the instruments of the Orchestra grouped around the violins. The double-bass speaks: “I have just come from the rehearsal of a Symphony by one of our newest composers; and though, as you know, I have a tolerably strong constitution, I could only just hold out. Five minutes more would have shattered my frame and burst the sinews of my body. I have been made to caper about like a wild goat and to turn myself into a mere fiddle to execute the no-ideas of Mr. Composer. I’d sooner be a dancing master’s kit at once.”