Bach's Magnificat, BWV 243 (1723) features muted strings doubled by flutes, a subtle combination of mellow instrumental timbres. A particularly imaginative example of Bach's use of changing instrumental colour between orchestral groups can be found in his Cantata BWV 67, Halt im Gedächtnis Jesum Christ. In the dramatic fourth movement, Jesus is depicted as quelling his disciples’ anxiety (illustrated by agitated strings) by uttering Friede sei mit euch ("Peace be unto you"). The strings dovetail with sustained chords on woodwind to accompany the solo singer, an effect John Eliot Gardiner likens to "a cinematic dissolve." The orchestral introduction to the opening chorus of J. S. Bach's epiphany Cantata Sie werden aus Saba alle kommen BWV 65, which John Eliot Gardiner (2013, p. 328) describes as "one of the crowning glories of Bach’s first Christmas season" further demonstrates the composer's mastery of his craft. Within a space of eight bars, we hear recorders, oboes da caccia, horns and strings creating a "glittery sheen" of contrasted timbres, sonorities and textures ranging from just two horns against a string pedal point in the first bar to a "restatement of the octave unison theme, this time by all the voices and instruments spread over five octaves" in bars 7-8: Igor Stravinsky (1959, p45) marvelled at Bach's skill as an orchestrator: "What incomparable instrumental writing is Bach's. You can smell the resin [(rosin)] in his violin parts, [and] taste the reeds in the oboes." Rameau Jean Philippe Rameau was famous for "the eloquence of [his] orchestral writing which was something entirely new... - with a feeling for colour [(i.e., tone colour or timbre)] that is altogether 'modern'." In 'The Entrance of Polymnie' from his opera Les Boréades (1763), the predominant string texture is shot through with descending scale figures on the bassoon, creating an exquisite blend of timbres:In the aria ‘Rossignols amoureux’ from his opera Hippolyte et Aricie, Rameau evokes the sound of lovelorn nightingales by means of two flutes blending with a solo violin, while the rest of the violins play sustained notes in the background. Haydn Joseph Haydn was a pioneer of symphonic form, but he was also a pioneer of orchestration. In the minuet of Symphony No. 97, "we can see why Rimsky-Korsakov declared Haydn to be the greatest of all masters of orchestration. The oom-pah-pah of a German dance band is rendered with the utmost refinement, amazingly by kettledrums and trumpets