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[ A summary of the Mannheim Kapelle for 1756 is given in Marpurg's Kritischen Beiträgen, II., p. 567, and one for 1767 in Hiller's Wöchentl. Nach-richten, II., p. 177; in the latter the clarinets are included. Mozart writes to his father (November 4,1777): "The orchestra is very good and strong; on each side are ten or eleven violins, four tenors, two oboes, two flutes and two clarinets, two horns, four violoncelli, four bassoons, four double-basses, and trumpets and drums." Two platforms were erected in the opera hall for the trumpet chorus.]
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[ Originally the clarinet was, as the name shows, closely allied to the trumpet, the soft tones of which skilfully applied were almost identical with the clarinet. Its use was afterwards extended from military and wind bands to the grand orchestra. Hiller remarks upon clarinets as an innovation in Agricola's "L' Amore di Psiche" (Wöchentl. Nachr., 1769, Anh., p. 87). In older scores, even in some of Mozart's, the clarinets are sometimes placed with the brass instruments, and are gradually transferred to the wood, until finally they are employed independently in the blending of the tone-colouring. Cf. Adam, "Dem. Souv. d'un Music.," 181.]
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[ Burney, Reise, II. p. 74.]
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[ Burney, Reise, II., 74. Schubart, Selbstbiogr. 14,1., p. 212. A. M. Z., I., p. 882.]
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[ Reichardt says (Briefe eines aufmerksamen Reisenden, I., p. 11) of the Berlin orchestra: "I must not speak in this place of the masterly effects produced in the Mannheim orchestra by the swelling and diminution of a long note, or of several successive notes, which gives, if I may so speak, to the whole colouring a darker or a lighter shade. This would be considered too great an innovation by Hasse and Graun." He relates that the first time Jomelli made use of the crescendo, the audience gradually rose from their seats, and at the diminuendo they began to breathe freely, and became conscious of having stopped their breath; and he declares that the same effect was produced upon himself at Mannheim.]