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.

The growth of independent orchestral music was aided by such composers and directors as Sammartini, Gossec, Grétry, Stamitz, and Cannabich, being, moreover, fostered by such organizations as the "Concerts des Amateurs," the "Concerts spirituels," the Electoral band at Mannheim, the Leipzig Gewandhaus, and the Dresden orchestra.