Note 8 — Chapter V · BACH, HÄNDEL, AND THEIR CONTEMPORARIES.

It should be borne in mind that the "heresy" of the present writer is chargeable only when consideration of Bach's music comes before or takes the place of what Bach did in the development of orchestration, which is the first consideration of this book. Of course, it is beyond question that in his instrumentation as distinct from orchestration, Bach added to the possibilities of the instruments existing at that time,—notably as shown by the obbligato wind parts, the gamba and 'cello solos, etc., in the Masses, the Passions and the Church Cantatas. These prove a much larger appreciation of orchestral color than was known in music for three-quarters of a century after him. Nevertheless it must not be forgotten that for many years Bach's music obtained for itself only restricted recognition, which therefore justifies the above made statement that Bach was not a direct evolutionist of the symphonic orchestra.