It is still perplexing to note that although German-speaking
countries had been the birthplace of many great musicians and
composers before 1700, only in the 18th century did Germany
fully realize how important its role was on the musical stage
and it is no small paradox that the new cultural nationalism,
rather than fiercely opposing the presence of foreign elements,
chose instead to embrace the two dominant musical styles of the
times, Italian and French. For over a century, Italians favored
the voice and the violin. Sensitive and expressive vocal lines
were the norm, as was an unbridled, and at times extravagant
virtuosity. The French, who had perfected the flute and the
oboe, offered a lively, tender and concise music driven by the
characteristic and varied rhythmic patterns of the dance. In
other European countries, composers espoused one style or the
order according to taste of circumstance. Around 1710, however,
the idea that these various styles could coexist within a single
work became the core of a