Baroque orchestra and/or pipe organ. In the Baroque period, the orchestra was not standardised in size. There were large differences in size, instrumentation and playing styles – and therefore orchestral soundscapes and palettes – between the various European regions. The 'Baroque orchestra' ranged from smaller orchestras (or ensembles) with one player per part, to larger scale orchestras with many players per part. Examples of the smaller variety were Bach's orchestras, for example in Koethen where he had access to an ensemble of up to 18 players. Examples of large scale Baroque orchestras would include Corelli's orchestra in Rome which ranged between 35
Baroque music oratorios, respectively, and the Venetian Francesco Cavalli, who was principally an opera composer. Later important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella. The middle Baroque had absolutely no bearing on the theoretical work of Johann Fux, who systematized the strict counterpoint characteristic of earlier ages in his "Gradus ad Parnassum" (1725). One pre-eminent example of a court style composer is Jean-Baptiste Lully. He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished