:Mozart did not add any new instruments. His great merit i- the development of the clari nets as permanent orchestral instruments. In fact, Haydn himself admits that lie learned the use of not only the clarinets, but of several other instruments, from the considerably younger Thi zart. Strange to say. _Mozart does not employ clarinets in his Jupiter Symphony. It the score of the G Minor the clarinets were added later. In his first two symphonies Beet hoven employs the same instruments as Ilaydn in his last, with the addition of two trumpets. In the Eroica (1503) Beethoven separates the 'celli and basses and introduces a third horn. In all subsequent symphonies the master continues to separate the 'celli and double-basses. but re turns to the use of only two horns. In his last symphony, the Ninth, the orchestra is eonsider ably increased. This score calls for 2 1 piccolo, 2 oboes, 2 clarinets, 2 bassoons. 1 double bassoon. 4 horns. 2 trumpets, 3 trombones. ket tle-drums, c•vmbals. triangle, bass drum, and the regular strings. This is the grow/ sym phon y orchcstra of to-day. All composers since Beet hoven (Sehubert. Schumann., Slendelssohn. Brahms, Tschaikowsky, Dvol.fik) have used it, the only addition being the bass tuba as the low est instrument of the trombone choir.
The modern opera orchestra is still larger and employs ninny other instruments to obtain spe cial characteristic effects. This colossal combi nation of instruments was developed by two then. almost independently of one another_ Wagner and Berlioz. Wagner started with the
grand symphony orchestra of Beethoven. Since Tannhauscr (1845) the division of violins into four parts has been frequently employed. In Tristan Wagner divides the strings into no less than li/teen parts: Since Lohengrin (1850) the opera orchcstra consists of three of each family of the wood-wind instruments. The number of flutes and bassoons is increased to three; to the two oboes is added the nor anglais (q.v.) (an alto oboe) ; to the two clarinets the bass clarinet. This increase naturally calls for an increase in the number of the strings. For the Ring des ungen Wagner requires 3 large flutes. 1 pic colo, 3 oboes, 1 English horn, 3 clarinets, 1 bass clarinet. 3 bassoons, 1 contra-bassoon, S horns, 3 1 bass trumpet, 2 tenor tromhones,1 bass trombone, 1 contra-bass trombone, 4 tubas (spe cially constructed for Wagner, 1 tenor, 2 bass, and 1 contra-bass), 6 harps, 2 pairs of kettle drums. I glockenspiel, bass and snare drums, cymbals, tamtam, and even tuned anvils. It goes without saying that the number of strings must be in proportion. Wagner demands as a mini mum 3-1 violins (18 first, 16 second). The de mands made by Berlioz in his Requiem are unique. He calls for 4 flutes. 2 oboes. 2 clari nets, S bassoons, 12 horns, 4 cornets, 12 trumpets, 16 trombones, 4 ophicleides, and pairs of kettle drums, and indicates the strength of the strings by demanding Is double-basses.
The following table shows the number of in struments composing some of the most celebrated orchestras of to-day: