By the mid-18th century, the bassoon's function in the orchestra was still mostly limited to that of a continuo instrument—since scores often made no specific mention of the bassoon, its use was implied, particularly if there were parts for oboes or other winds. Beginning in the early Rococo era, composers such as Joseph Haydn, Michael Haydn, Johann Christian Bach, Giovanni Battista Sammartini and Johann Stamitz included parts that exploited the bassoon for its unique color, rather than for its perfunctory ability to double the bass line. Orchestral works with fully independent parts for the bassoon would not become commonplace until the Classical era. Wolfgang Amadeus Mozart's "Jupiter" symphony is a prime example, with its famous bassoon solos in the first movement. The bassoons were generally paired, as in current practice, though the famed Mannheim orchestra boasted four.