In contrast, for octave overblowing contraptions, an device in C with few keys could much more without difficulty 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 maximum and hence brightest of the 3—fell out of favour as the other two could cover its range and their sound was regarded better. While the clarinet in C began to fall out of standard use around 1850, some composers persisted 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 intentionally reintroduced it to take capabilities of its brighter tone, as in Der Rosenkavalier 1911.