In distinction, for octave overblowing devices, an device in C with few keys could much more comfortably be played in any key. Difficult key signatures and a large number of accidentals were thus in large part avoided. The lower pitched clarinets sound "mellower" less bright, and the C clarinet—being the highest and therefore brightest of the three—fell out of favour as any other two could cover its range and their sound was considered better. While the clarinet in C began to fall out of ordinary use around 1850, some composers persevered to jot down C parts after this date, e. g. , Bizet's Symphony in C 1855, Tchaikovsky's Symphony No. 2 1872, Smetana's overture to The Bartered Bride 1866 and Má Vlast 1874, Dvořák's Slavonic Dance Op. 46, No. 1 1878, Brahms' Symphony No. 4 1885, Mahler's Symphony No. 6 1906, and Richard Strauss deliberately reintroduced it to take potential of its brighter tone, as in Der Rosenkavalier 1911.