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_.