_The Orchestra as an instrument; instruments of the Sixteenth Century,—Chitaroni, theorbo, lutes; Claudio Monteverde (1567-1643); Marc Antonio Ingegneri; Orchestra of Orfeo; Chitaroni; Il Combattimento di Tancredi e Clorinda; Incoronazione di Poppea; Adrianna; Vergilio Mazzocchi (1593-1646), and his music school; Stefano Landi; Orchestras in Rome; Orchestras in Venice; Antonio Cesti and his opera, “Il Pomo d’ Oro”; Cardinal Mazarin; growing popularity of the violin; the first French Orchestra—the Twenty-four Violins of the King; Bocan’s playing; anecdote of Cardinal Richelieu; Louis XIV and his magnificence; Twenty-four Violins of the King; amateur orchestras; instrumental musicians; Jean Baptiste Lully (1632-1687); La Grande Mademoiselle; the “Petits Violons”; Lully and Molière; death of Lully; Lully, the first real conductor; Lully’s Orchestra; Descoteaux, the famous flute-player and tulip-fancier; Philbert; quotation from La Bruyère; La Bas, the bassoon-player; Verdier; Jean Baptiste Marchand, the lute-player; Teobaldo di Gatti, the basse de viole; Jean François Lalouette; Pascal Collasse; Marin Marais; La Londe, the violinist; pay-roll of Lully’s men; Orchestra of Charles II of England; Thomas Baltzar of Lübeck; music in England in the Seventeenth Century; quotation from Anthony Wood; quotation from Dr. Burney; Corelli; Amati and Stradivari; development of the violin; Giovanni Baptista Bassani; Corelli’s great vogue; Geminiani’s estimate of Corelli; Corelli’s Orchestra and conducting; Corelli’s compositions and their influence on violin-playing; Alessandro Scarlatti, “the Father of Classical Music”; Francischello’s violoncello-playing; importance of strings in Scarlatti’s compositions; Domenico Scarlatti, originator of the Sonata form; Rameau and what he did to develop the Orchestra; the North-German Chorale; Johann Sebastian Bach, the “Musicians’ Musician”; Bach’s contribution to the Orchestra; Handel and his treatment of instruments; Handel’s Orchestra; Handel’s conducting; Handel’s use of the horn, violoncello, bassoon and kettledrums; neutral tints of the Orchestra of Bach and Handel; Handel’s great use of crescendo and diminuendo; Gluck’s devotion to Handel; Gluckists and Piccinists; Gluck’s contribution to the Orchestra; Gluck’s dramatic sense; Gluck’s ballet-music; Haydn; Prince Esterhazy; the second and “magnificent Prince Esterhazy”; “Papa Haydn,” the “Father of the Orchestra”; Haydn’s Orchestra; Haydn’s knowledge of the kettledrums; quotation from Stendhal; how Haydn composed; Dr. Burney’s estimation of Haydn and his new style of music; a modern critic on Haydn’s style; Mozart, the supreme genius; Stendhal on Mozart; Mozart’s gift to the Orchestra,—tone-color; influence of Mozart and Haydn upon each