He understood their problem and it helped galvanize him to volunteer to help them.
Richard Strauss, in his edition of Berlioz's works on Instrumentation, paradoxically characterizes the classical orchestral style as that which was derived from chamber-music. Now it, is true that in Haydn's early days orchestras were small and generally private; and that the styles of orchestral and chamber music were not distinct; but surely nothing is clearer than that the whole history of the rise of classical chamber-music lies in its rapid differentiation from the coarse-grained orchestral style with which it began.
The beginning of Mendelssohn's F minor quartet is, again, a case usually, but perhaps wrongly, condemned for its orchestral appearance on paper.
Orchestral Schemes Typical of Dif f erent Periods.
With modern orchestral conditions the text seems positively to demand an unecclesiastical, not to say sensational, style, and probably the only instrumental Requiem Masses which can be said to be great church music are the sublime unfinished work of Mozart (the antecedents of which would be a very interesting subject) and the two beautiful works by Cherubini.