INSTRUMENTS OF THE

ORCHESTRA

AND THEIR USE

BY SPECIA L CHARTS IN CO L O R

V I CTO R RECORDS ON THEY MAY BE

Pu'blvs'

hed by the

EDUCAT IO NA L DEPARTMENT OF

V ICTOR TAL KING MACLI’

IINE=

Ci) .

Camden , N. J U . S . A .

CO l’Y l

't I 1918, BY THE V ICTO R TA L KING

INSTRUMENTS O F THE

O RCHESTRA

THE ORCHESTRAHAT is that pecul iar-sounding instrument"” we oftenwonder as w e l isten to the orchestra at the theatre

,opera

or symphony concert . It may be the veiled tone of the

viola , the nasal voice of the oboe , or the mellow notes of

the French horn . A more definite knowledge of theseinstruments would add greatly to our enjoyment .

The coming of the Victrola has greatly enlarged thefield of music appreciation . Now that Victor records bring

to every home and school the music of the greatsymphony orchestras , thel i stener needs al l the more to know someth ing about each orchestral instrument and the part i t plays in the full orchestra . This set of charts is designed

to give an idea of the form and color of each instrument , and isto be usedin conj unction with special records (35670 , 35671 , or 35236 , which

give solo passages by each , arranged according to its position in the Stri ng ,Woodw ind, Brass and Percussion sections of the orchestra . Inthis way , theeye may become familiar with the appearance of the instrument and themethod of playing it , whi le the ear may become famil iar with its voice .

Special attention is also called to complete selections in which the voices ofthe instruments are exhibited to advantage .

The orchestra takes its name from the place i t occupies in the moderntheatre . In the theatre of the ancient Greeks , the orchestra was the semicircular dancing space for the chorus , between the audience and the stage .

Early inthe '

n ineteenth century the name of the place was used to designatethe body of musicians who occupied it . This connection ofthe name withthe theatre i s s ign ificant , for the progress of modern orchestral music dateslargely from the performance of the first opera at F lorence in the year 1 600 .

Before the time of Opera'

i t was customary for groups of instruments to

support or respond to,music sung by a chorus . Instrumental music was

written in the old choral or polyphonic manner . The birth of opera was arevolt against the contrapuntal style . Opera brought into use a new melodics tyle in wh ichthe solo voice sang to the harmonic accompaniment of instruments chosen for their dramatic color . In those days many i nstruments o f

L

4 T H E O R C H E S T R A

the lute class , from which the mandolin and guitar are descended ,as well

as harpsichords and small organs , were in use . The need of a treble viol tosupport the high voices brought about the perfection of the violin about

1 650 . In this early development a very important part was taken by the

composer , hfontev erde, who made the violin a regular member , and the

strings the main body , of h is orchestra . As instruments improved the ten

deney grew to write for the orchestra without voices . This led to the S u itesor collections of dances for orchestra , a typical example of which is Bach’s“ D-Major Suite ”

(Records 35669, The su ite developed into thesymphony of Haydn , who , more than a century and a half ago , perfected the

symphony orchestra with its four groups of instruments . Haydn’

s orchestra

consisted of a string choir of first and second violins , V iolas , ’cellos and

double—bass ; these formed the“ backbone of the orchestra . The woodwind

included not more than two flutes , two oboes andtw o bassoons . Tw o natural

horns and two natural trumpets furnished the brass . The percussion consisted of a pair of kettledrums , with the occasional use of the triangle and

cymbals . Haydn’

s method of writing for these instruments may be heardin the Surprise Symphony (Records 35243, 35244) and in the Milita ry

Symphony (Records 3531 1 , Mozart , Haydn 3 friend and pupil ,added two clarinets to the woodwind ; in his opera music he also used

trombones . Mozart’

s fine instinct for orchestral coloring is shown intw o of

his greatest symphonies , the G Minor (Records 35482 , 35489) and the

Jupiter ” (Records 1 7707 , But the symphony orchestra owes its

greatest development to Beethoven , who used every instrument more

independently , bringing out its own individuality . In his great Symphony

No . 5 in C Minor ”(Records 1 81 24 , 35580, 18278 , three trom

bones,a piccolo and double-bassoon became established as regular members .

Then came the Romantic composers who sought new instruments and tonal

effects for emotional color . To this period belong Weber , founder of romantic

opera,Mendelssohn , one of the first to achieve fame as a conductor , and

Berlioz ,the great master of instrumentation . At this time the invention of

valves for the brass instruments , and an improved system of keys for

the woodwind,greatly increased their usefulness . The experiments and

innovations of Berlioz had the greatest influence on the composition of the

modern orchestra ; his ideas were closely followed and developed by Wagner

in his music-dramas . The harp was brought into the orchestra by thesecomposers

,as were also the English horn , the bass clarinet , and the bass

tuba . Instruments which were at first used in pairs were increased to g roups

of three,and in some cases a fourth in strument was added so that each group

T H E O R C H E S T R A 5

could play in four-part harmony . The modern school of Impressionistsuses orchestral color to convey every shade of emotional feeling . hi odern

composers require an orchestra of nearly one hundred pieces,about sixty

of which are strings . Comparing this grand symphony orchestra w i th

the small symphony orchestra of eighteen pieces with which Haydn began ,one may have some idea

of the progress of orches

tra l music inthe last onehundred and fifty years .

The orchestral conductor has at his com

mand the most wonderful and resourceful means

of musical expression inthe world . Building upon

the elements of rhythm ,

melody , harmony and

counterpoint , the com

poser for orchestra has

the colors of all the dif

ferentinstruments withwhich to weave his tex

ture . A lthough the voice

of the orchestra embraces

a compass only s lightly

greater than that of the

pianoforte , i t has powers

of expression which cover

the entire range of human

emotion , and a dynamic

power which extends

from a muted whisper to a deafening blast . A lmost every instrument may

be a soloist , with a harmonic background of the others . S ingle instr uments or choirs may alternate with one another for contrast , or they maybe combined in infinite variety . Then again , all the instruments may play

together in their combined strength . To the listener who is familiar withthe personality of each instrumen t and the emotional effect of its voice

,

Victor records of orchestral music reveal a living message from the master

m inds ofthe ages .

STRING S

HARP

HE HARP i s one of the oldest musical instruments,yet it

has only become a regular member of the symphony or

chestra i n the last half century . It IS pictured i n the Egyptian wall-paintings and bas rel iefs of three thousand years

ago . In those remote t imes bow shaped and triangular

forms of the harp were in common use . They lacked thevertical pi llar of the modern harp ; their form suggests

their origin in the huntsman s bow with its twan ging cord .

Egyptian forms of the harp were no doubt borrowed by the ancien t Hebrews

and Assyrians . The playing of the harp is always associated with the psalmsand rhapsod ies of the Hebrew prophets . We find the triangular harps

,in

company with the lyre and cythara , pictured in the vase paintings of the

ancient Greeks . From the sixth to the twelfth century the harp came into

great prominence in northern Europe , where it was used by the Troubadours ,lVIinnesingers and Norse Bards . From Europe it passed over into the British

Isles , where i t was given a Special place of honor among the Celtic peoples

of Ireland , S cotland and Wa les . The name itself comes from the AngloS axon word hearpe, a fact which emphasizes the importan t place the harp

held in the social life of the Anglo-Saxon people . The stories of A lfred the

Great , and of the poet Caedmon , and of the old—time Gleemen , add romance

to its early history . During the reign of Henry VIII of England the harp

appeared on the coat—of-arms of Ireland , and was afterwards made the

golden emblem on the green field of the national flag .

Few changes were made in the construction of the harp until about

1 720, when pedals were invented to raisethe strings a half-tone . In 1 810,ninety years later , Sebastian Erard perfected the pedal mechanism of hisdouble-action harp , which made it possible to shorten the strings so astoraise the pitch a half-tone or whole-tone , and to play in all keys .

As i t exists today , the harp consists of a_

vertical pillar , a slanting

sound-box,gracefully curved neck , within which is concealed the

“ comb ”

which holds the mechanism for shortening the strings , andthe pedal-box ,or round base . The pillar is hollow and holds the rods which connect the

string mechanism with the pedals . There are seven pedals which raise the

8 S T R I N G S

pitch of the strings . The harp is normally tuned to the key of C flat major .

When the seven peda ls are pressed down half way , the pitch is raised to Cnatural . Pressed down the whole way , the other extreme in the key of Csharp is obtained . A single pedal affects all the strings of the same name

which it controls ; the C pedal affects al l the C strings , the D pedal the Ds trin gs , etc . This mechanism somewhat limits the powers of modulation ,and makes it necessary for the composerto write carefully , adhering asclosely as possible to the diaton ic scale . (A Chromatic Harp , avoiding

this difficulty , has recently been invented , but has not come into genera l

use . ) There are forty-seven strings ; the eleven longest are wired , the othersare catgut . For the convenience of the player , the C

'

strings are colored red ,the F strings , blue . The harpist uses both hands in plucking the strings , and

the music i s written in the treble and bass clefs , the same as for pianoforte .

S ince only four fingers of_ each hand are used , and never the little finger ,

composers who write chords of ten notes show a lack of knowledge of the

instrumen t . The diatonic compass is about five octaves , extending from Cflat to G flat .

The character of the music best adapted -to bethe harp has received the Ital ian name for the

instrumen t , arpeggio, which is applied to the

broken chord effects so characterist ic of it . An

other device constantly employed is the smorzato,

which is obtained by plucking the strings , and bi )

then sudden ly pressing the hand against them , stopping the vibra

tions . Glissando passages are played by quickly sweeping the hand over

all the strings . When the strings are plucked near the sound board , a

metallic tone , l ike a banjo or guitar , i s produced . Harmonies are played on

the harp by pressing the hand lightly against the middle of the string , and

then plucking it with the thumb of the same hand . Berl ioz , who was a

pioneer in bringing the harp intothe orchestra , used the harmonics of theharp to give a delicate ethereal effect in the “Minuet of the lV ill-o’

-the

l V isps from the“Damnation of Faust (Record 35462-A ) . L iszt has made

a simi lar effective use of harp harmonics in“L es Preludes. Usuallytw o

harps are employed in the modern symphony orchestra . In the opera or

chestr a , the number varies according to the special demands upon it ;“l

agner calls for six harps in“The Ring . Its voice is not loud enough to

be heard to advantage with the full orchestra , so its most effective use is

in solo and duet passages , where its disti nct ive voice sounds in pleasing

contrast withthe other instruments .

H A R P 9

Thomas has introduced a very effective cadenza for harp at thebeginning of the overture to “Mignon ”

(Records 35670-A , 1 7909-A ) .

Tschaikow sky has made a similar use of the harp at the beginning of

the“Waltz of the Flowers from the “Nutcracker Suite .

” Bizet wrote

for the harp in a masterly style , using it to advantage in“ Carmen ,” and

in“ The Pearl Fishers .

” In the love song ,“Demon Amie, from the latter

w ork , a harp accompaniment is used with an oboe introduction (Record

Wagner used it for historic color in Tannh '

auser ” in the scene ofthe contest of the Minnesingers at the Wartburg , and thereafter greatlyamplified i ts use in his other works , notably in

“The Mastersingers ,“Tristan and Isolde and The Valkyrie . Verdi used it very appropri

atelyto supply ancient Egyptian color in his opera A ida (Record 35428)Gounod used exquis ite taste and judgment in his use of the harp in his

opera “Faust . Mascagni uses i t to accompany the “

S ici l iana ,

” a part of

the prelude to h is opera , Cava ller i a Rusti cana (Records 1 806 1 -A , 64544,

87072)Puccini often employs the harp as a graceful embroidery to the melody

of his operas , as in the ductat the end of Act I of “L a. Boheme (Records

875 1 2 , and in the “Duet of the F lowers ,

” from hl adame Butter

fly ”

(Record Of the modern school of “ Impress ionists ,”Debussy

has made some striking uses of the harp , as in The A fternoon of a Faun(Record

The harp accompaniment is especial ly attractive in lyric songs , as in

S chubert’s “

Av e Maria” from S cott’s L ady of the L ake (Record

55052-B) , in which the harp here represents the one used by the minstrel

in the story .

The following selections furnish excellent examples of the harp as a

solo instrument : The Fountain (Z abel) (Record“ Consolation

(B'Iendelssohn ) and Humoresque ”

(Dvorak) (Record Gavotte

from 2d Sonata (Bach) and Romance”

(Rubinstein) (Record“L ucia Prelude (Donizetti) and

“Norma ”

(Bell in i) (Record

Menuett (Hasselmans) (Record“Pr icre (Hasselmans)

(Record“V alse de Concert” (Hasselmans) (Record

lVIozartwrote a Concerto for Harp and Flute , the first movement of

which gives one a good idea of the blending powers of these tw o instruments (Record

1 0 S T R I N G S

V IOLIN

HE VIO L IN is the soprano of the string section of theorchestra . It has great flexibil ity and agility of perform

ance . These advantages , together with its complete range

of emotional expression surpassing that of the humanvoice , make the violin the most important member of theorchestra .

As it exists today , the violin is the last and most per

feet link in a long chain of evolution . Its history has been

said to be that of the bow , for it is the rubbing of the strings with a bow

which characterizes all instrumen ts of the violin class . Passing over the

many forms it assumed in the Middle Ages , w e come to the family of Viols

of the fifteen th century . These were the immediate predecessors of the trueviolins . The first violins of which we have defin ite record were made at

Brescia in L ombardy , by Gasparo da Salo ( 1 542 The model whichhe and his pupil , lVIagg in i , adopted was used with slight changes by the

other Italian makers . Inthe city of Cremona , southwest of Brescia on theriver Po , there sprang up the most famous school of violin-makin g . Its

founder was Andrea Amati ( 1 530—1 580) a rebec and Viol-maker , whose sonscarried on the work , and whose grandson , Nicolo Amati ( 1 596-1 684) became the teacher of the master V iolin—maker , S tradivarius . It was the genius

and industry of Antonio S tradivarius ( 1 644-1 737) which brought the V iolinto that state of perfection in which it still remain s after nearly three hundred

years . Another famous Violin-maker of Cremona w as Joseph Guarnerius

( 1 683 one of whose V iolins was owned by the great Paganini . AGuarnerius instrument is now used by Fritz Kreisler . The violi n shown onthe chart is a Guarnerius owned by Howard Rattay , Concert-Bl aster of

the Victor Orchestra . Other violin-makers of importance were Carlo Bergonz i , Jacob Stainer , and the Guadagninis . Maud Powell plays upon a rareGuadagni ni instrument . These old masterpieces are highly prized for theirtone , which is due not only to their excellent workmanship and exact pro

portions , but also to the selection of the wood as to grain and seasoning ,and to . the varnish used .

The violin bow can be traced to the archer’s bow . It owes its

present form to Francois Tourte ( 1 747 a famous French bow

maker . The bow consists of a slightly curved stick of Per nambu co wood,to which are attached white horsehairs , tightened or loosened by a screw

V I O L I N 1 1

mechanism . Rosin is applied to the horsehair to enable the hair to gripthe strings .

The four strings of the violin are G , D , A ,E

,tuned in fifths . The first

,

or E string, sometimes called “chanterelle,” i s very often used on account

of i ts beautiful s inging tone . The D and A strings are not so penetrating,

but are sweet and mellow . The fourth , or G string, i s wire-wound, which

accounts for its rich sonorous tone . The first three strings are usually of“

catgut obtained from sheep , although the E string is sometimes madeof silk or steel . The compass of the violin is four 3mtones over three octaves , from G to C . Higher

notes can be produced , but they grow weaker asthey go higher , and are of no practical value .

The M ute i s a clamp of wood or metal which fitsover the bridge and muffles the tone .

The V iolinist has almost unlimited resources in the numerous effects athis disposal . He can play smooth legato melodies , or staccato passages , at allspeeds . When a number of violins play in unison

,a rich

,forceful and appeal

ing tone is produced , as may be heard in such selections as Mendelssohn's

“A Midsummer-Night

’

s Dream”Overture (Record 35625-A ) , Nicolai

’

s

Overture to “Merry Wives of Windsor ” (Record 35270-13) and the Pro

logue”to L eoncav allo

’

s opera “I Pagliacci

”

(Record 35 17 1 -A ) . S ometimes

a soloist lets the bow fall and rebound on the strings , as in the last part ofMaud Powell ’s arrangement of Chopin’s “Minute Waltz (Record

This is called saltando, or j umping bow .

” Another curious effect i s col

legno, made by tapping the strings with the wooden back of the bow .

Thetremolo is a much-used effect obtained by rapidly repeatingthe samenote by a quick up-and-down movement of the bow . This i s a very familiar

orchestral use which produces an atmosphere of extreme agitation or in

tense activity . Note the use of thetremolo in the tragic theme at the end of

the prelude to Bizet'

s “Carmen

”

(Records 70066 and in the first

part of the “ Intermezzo ” from Mendelssohn’s A Midsummer-Night’

s

Dream” music (Record 35527-B) .

One of the most pleasing effects is the Pizzicato, made by plucking the

strings with the right hand . This is especially suited to ballet music , such

as the Pizzicato from Del ibes ’ “ Sylv ia” Ballet (Record 35670—A ) , and

Dr igo’

s Reconcil iation Polka ”(Record 35644-A) . In opera , the strings

are often played pizzicato to imitate the plucked strings of the lute , mandol in or guitar

,as in the serenade , V oi Che S apete, ”

from Mozart’

s“Mar

r iage of Figaro"(Record 88067) and in the

“Harlequin’s Serenade from

1 2 S T R I N G S

L eon cav allo’

s I Pagliacci (Record Interesting examples of thedifficult and rarely used left-hand p izzicato are one of Sarasate’

s SpanishDances

”

(Record and Bazzin i’

s“L a. Ronde des L atins”

(Dance ofthe Goblins) (Record

Chords are obtained on the Violin by dou ble-stopping , or bowing twostrings at once . Somewhat detached chords may be produced by tr ipleand qu adruple—stoppi ng , played by snatching the bow across three and fourstrings at once . A special form of arpeggio chords may also be produced by

drawing the bow back and forth quickly over all the strings. A highly

emotional effect is the i -i brato caused by tremblin g the finger or hand

upon the string , producing a sl ight wavering of the tone . This IS common innearly all s low movements , such as

“Have Pi ty , Sweet Eyes”

(Tenaglia)(Record Schumann

’

s“Traumerei

”

(Record Old Black

Joe”

(Foster) (Record Indian L amen t ” (Dv oi’ak) (Record

Hebrew Melody (Achron) (Record Tr i lls are readily producedby rapid alternation of two tones . The glissando is an effect said to havebeen borrowed from the Gypsy violinists . It is made by sliding the finger

along the string while bowing . This wailing effect may be heard in the first

part of Kreisler'

s“Capr ice I

'

iennois”

(Record 741 97) and in the middle

of Sarasate ’

s“Capr ice Basque

”

(Record

Harmon ics are the delicate , flute— like tones produced by a S light pres

sure of the fingers upon the strings at a nodal point , causing them to vibrate

in segments . So-called “ artificial harmonics are produced by heavy pres

sure in stoppin g the string with the first finger, and touching lightly on the

new nodal points formed by the shortened string with the fourth finger .By this means whole melodies can be played with harmonic tones . Exam

ples of harmonics occur in nearly all bri lliant violin solos . Their use is espec ially pleasing in su ch display pieces as V alse Bluette (Dr igo) (Record

played by Jascha Heifetz . Wagner obtained an effect of celestial

sweetness in the opening of the prelude to “L ohengrin by using four

violins in harmonics (Record

A symphony orchestra divides the violins into firsts and seconds .

The fourteen or sixteen first violins seated to the left of the conductor sing

soprano . The player in the front row nearest the conductor’s desk is the“Concert-Master , who plays all solo passages . The twelve or fourteen

second Violins , seated to the right of the conductor , sing second-soprano.

V I O L A 13

V IOLA

HE VIOL A is used both as the alto and tenor of the

string section of the orchestra ; in the string quartet it

p lays the tenor part . It is often spoken of as “ the Tenor . ”

This instrument looks like the violin , but is larger in size .

Its strings are somewhat thicker than those of the violin ,the two lower ones being wired . They are tuned a fifth ‘

lower than the V iolin , and therefore an octave above the’

cello . The four strings are respectively C,G

, D , A . The

three upper strings correspond in pitch to the three lower ones of the violin .

The compass is about three octaves , extending from C in the bass clef toE in the treble clef ; but the music for the viola isusually written in the alto clef :In contrast with the l ighter , m o r e

brill iant tone of the violin , and the

deeper , more melancholy tone of the’cello , the viola loses

much of its individual character , since it blends with , and is absorbed by

its n eighbors . L avignac has described it aptly when he writes : The violai s a philosopher , sad and helpful ; always ready to come to the aid of others ,but reluctant to cal l attention to himself . ” The tone quality

‘

of the viola

has been called c'

old , mournful and dull ; i t i s somewhat penetrating and

nasal ; in general , i t lacks the emotional warmth of the violin . The tones

of‘

the two lower strings are gloomy and melancholy , the upper two are

more tender and romantic . The viola is capable of all the effects in finger

ing and bowing of which the violin is capable . These include pizzicato,

tremolo, vibr ato, harmoni cs, double-stopping , col legno and muted str ings.

The bow is slightly shorter than the v iOliri bow , but is somewhat heavier

and less elastic .

The viola made its appearance earl ier than the viol in . The Amati

and all the early Italian violin makers were famous for their V iolas . It was

long used to support the high voice , unti l its place was taken by the viol in .

In former times the V iola was much misunderstood . It was often

p layed by unsuccessful violinists , and was used in the orchestra mainly toreinforce the ’cellos or second violins , as occasion required . In recent times

i ts expressive qualities have become better appreciated , so that now it i s

frequen tly assigned important melodies in orchestral works , besides being

more freely u sed as an independent voice in the harmonic texture .

1 4 S T R I N G S

The viola may be heard to advantage in the part written for it bySaint—Sa

’

e‘

ns in his Rever ie ( l itS oi r ,” from the S u ite A lgér ienne (Record

35668—A ) . Here the viola expresses the dreamy reverie of the composer

under the influence of a calm night in northern A frica . Beethoven used the

viola to advantage in the beautiful singing passage with the ’cellos in the

A ndante from C Minor (Fifth) Symphony (Record 35580-A ) . Mendels

sohn also recognized its emotional value in the A ndante from the “ Italian

Symphony ,

” often known as the “Pi lgrims’ March ”

(Record 35452-A ) .

Wagner used it to the extent of its powers in nearly all his works,notably

in the “Tannh'

auser ” Overture (Record 68205-A ) . Berlioz has used the

viola to characterize the pensive dreaminess of Byron'

s hero in his “Harold

in Italy .

” Berlioz wrote this viola part for Paganini , the great violinist , in

orderto exhibit the marvelous tone of his S tradivarius viola . In the Ada

g-ietto from the L

’

A r lésienne”Suite , Bizet gives the viola the bass and

lets the ’cello sing a tenor part (Record Tschaikowsky gives themournful theme at the beginning of the

“M arche S lav to the Violas and

bassoons (Record Elgar has written a tuneful melody for viola in

his overture ,“ In the South .

Frequently the viola is used as an obbligato with beautiful effect .

One notable example is in the “Romanza from Meyerbeer

’

s “The Hugue

nots (Record 45007—A , This part , now played by viola , was originallywritten for the old v iola d

’

amour , an instrument of seven strings with an

extra set of seven sympathetic wire strings , which run through the bridge .

l V eber gave the viola an excellen t obbligato passage , well exhibiting itscompass

,to accompany Ann ie’s Recitative in ActII of “

Der Freischittz”

(Record 35670-A ) . Haydn , lVIozart, Beethoven and Spohr frequentlyemployed the viola in ducts and trios with violin and ’

cello . Mozart’

s trio

for p iano,clarinet and viola i s especially effective . The viola’

s blending

powers with the flute may be heard in a duet arrangement of Titl 's Serenade” (Record Its less brill ian t tone quality may be contrasted with

that of the violin by hearing the viola in a familiar viol in piece , S chumann’

s

Traumerei”

(Record 35236-A ) .

V I O L O N C E L L O 1 5

V IOLONCELLO

HE VIO L ONCE L L O is the tenor or baritone of the string

choir ; in the string quartet it furnishes the bass . The

Italians gave the name of violone (big viola) to the double

bass instrument of the viol in family . When an instrument

of smaller size was developed from the viola-da-

gamba , or

old knee fiddle , this instrument was cal led violoncello, or“ l ittle big viola . As this name is rather long and difficult;

to pronounce , the shortened form of’cello (chello) i s now

universally used . The ’cello is tuned an octave below the viola . Its four

strings are C , G , D , A , tuned in fifths l ike the viol in and the viola . It has a

compass of three and one-s ixth octaves (occasionally more) ranging from Cin the bass clef to A in the treble clef . Its strings are

thicker and more than twice as long as those ofviolin ; the two lower ones are wired . A peg , or rest ,supports 'the instrument from the floor ; the seated ,

p layer holds the ’cello between his knees . The bow is shorter , heavier andmore rigid than the violin bow . The left hand ’cello technique is quite

different fromthat of the violin , the thumb being brought into occasionaluse . The first , or A string , i s the singing string , or chanterelle, muchused in solos . The D string is decidedly rich and mellow ; the G string is

somewhat thinner and duller in tone , while the C string is resonant and full .Nearly all the bowing effects of the violin are possible on the ’cello ,

although on the larger instrument their variety is not so great . Smooth

legato melodies and staccato tones may be played at all speeds , loud orsoft . Harmon i cs, mutedstr ings, double-stopping , pizzicato, arpeggios,tremolo,vi br ato, glissando, saltando and col legno effects are all employed .

The ’cello has al l the expressive powers of the v iolin , but there is more

v iri le strength to its mellow , sonorous tones . It has a masculine quality in

contrast with the feminine bri ll iancy of the violin tone . It is much used to

express romantic feeling , reverent worship , tender melancholy , poignant

sorrow , and pleading love .

There are usually ten or twelve ’cellos in the modern symphony

orchestra .

At first ’cellos were used merely to supply the bass part , playing in

unison,or in octaves , with the more ponderous basses . Haydn and hIozart

knew the solo possibi lities of the instrument , yet they rarely gave it solo

1 6 S T R I N G S

parts . hIozartoccasionally used it in obbligatos , as in the soprano solo ,Batti , batti ”

from“Don G iovanni

”

(Record With Beethoventhe ’

cello came to its own as an important melodic instrument.Of the

many fine passages he wrote for i t , we may mention the beautiful s ingingpassage for

’

cellos and violas in the A ndante of the C Minor (Fifth) Symphony (Record In the third movement (S cherzo) of the same

symphony (Record 1 8278) he uses the pizzicato of the ’cellos and basses.

In the beginning of the A ndante of Pastoral (S ixth)”Symphony (Record

35320-A ) Beethoven uses the divided’cellos to suggest the murmuring of a

brook . In the first movement of Schubert’s famous Unfi nished ”Symphony

(Record 3531 4-A ) the’

cellos s ing the exquis ite melody of the second theme .

Rossini has given to the ’cello an impressive climbing figure atthe beginning of the first part of the “William Tell ” Overture (Records 35670-A ,

1 78 1 5-A ) which suggests the lifting of the curtain of night and the gradualdawn of day . The ’

cellos are likewise chosen to announce the principal

melody in Goldmark’

s “Sakuntala ” Overture . That Mendelssohn knew

the value of the ’

cello tones may be inferred from such passages as thecadenza atthe end of the first movement of the Intermezzo from “

A

Midsummer—Night’

s Dream ”

(Record 35527-B) . He also employed it forobbligato parts in his oratorios , as in the tenor solo ,

“ Be Thou Fai thful , ”

from “St. Paul (Record 74136) and in the baritone solo , It is Enough ,

from Elijah (Record Richard Wagner has employed the ’cel lo

to the limit of its resources . In S iegmund’

s L ove S ong from ActI of the“Valkyrie a four-part harmony of ’cellos is introduced (Records 45076 ,

74 1 1 1 , In the Prelude to Tristan and Isolde (Record 68210-A )i ts s ighing voice proclaims the aching sorrow of unfulfilled love

Grieg has ass igned to the ’cello an independent melody in An i tra’

s

Dance ,” from the “

Peer Gyn t Suite (Records 64768, 1 8042-A ) . Tschai

kow sky made frequent use of the’cello , entrusting to it such important

melodies as that of the second subject of the Pathetic Symphony . In his“A ndante Cantabi le for string quartet , Op . 1 1 (Record the pizz i

cato of the ’cel lo is used as accompaniment for the second theme .

One of the greatest ’cello soloists w as the Belgian , Adrien—Francois

Servais ( 1 807 DavidPopper , born in Prague , Bohemia , i n 1845 , was

another of the greatest ’cellists and composers for’

cello of this age . The fol

lowing selections are excellent examples of the use and technique of the’cel lo as a solo instrument : “

L e Cygne (Saint—Saens) and Melody in F”

(Rubinstein) (Record“ Gavotte No . 2 (Popper) and

“Menuet

(V alensin ) (Record To My Guitar ” (Popper) and“S lumber

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1 8 S T R I N G S

passage with a l ighter bass (such as that of’cellos alone) is very satisfying,

resemb lingthe deep pedal notes of a pipe organ .

Beethoven first gave prominence to this instrument in his scores ; he

was no doubt influenced by having at his command the services of Drago

netti , a very famous contrabassist of his time . In the S cherzo of his “C

Minor (Fifth) Symphony (Record 1 8278) he succeeds in extracting a bit ofmusical humor from these unwieldy instruments by having them begin a

fu-gal passage and then stop , and begin again , as i f in repeated efforts to

master i t . This is the passage to which Berlioz refers as the gambols of aplayful elephant .” The deep unhuman tone of the double-bass also makes ituseful for producing uncanny effects , suggesting the supernatural and the

underworld . In Weber’s Overture to “Der Freischu'tz (Record 62636-A ) the

tremolo and pi zzicato of the basses haV e this sinister suggestion . Wagner has

made a similar use of the basses in his Faust Overture (Record 35670-A )The modern Symphony Orchestra uses eight basses ,

” though some

times more are employed . The following picture gives an idea of the com

parativ e s izes of the Violin , Viola , ’

Cello and Double—Bass :

The STRING QUARTET is composedof tw o v iol ins, viola and

’

cel l o, tow hich are assign ed the first and

second soprano, tenor and bass partsrespectively .

Examples of S tr ing Quartet musicmay be heard in the M olto L ento ”

from Music of the Spheres ” (Op .

1 7 , No . 2 ) ( Rubin stein ) ( Record35506-A) S cher zo from Quartet inC Minor (Op . 1 8, No . 4) (Beethov en ) (Record 35506-B) , and M inuetfrom the same w ork (Record 1 7964B ) ‘ S cher zo f rom F Major Quartet (Beethoven) (Record 1 7964-A) ;Zl/I en u etto f r om “ Quartet in DM inor (Mozart) (RecordM cnuetto from Quartet in E Fl at ”

(Mozart) (Record Andantefrom “ Quartet in G Major (Dit

tersdorf) (Record 74525 ) A llegro from Quartet in E Flat . (D ittersdorf) (RecordParticul ar attention is cal l ed to the firs t records of the Flonzaley Str ing Quartet, w h ich ihol ud e “

Canzonetta ” from “ Quartet in E Fl at (Op . 1 2, No . 2) (Mendelssohn ) (Recordand Andante from Quartet in D Major (Mozart) (Record

W O ODW IND

FLUTE

HE FL UTE Is the coloratura soprano of the woodwindfamily of the orchestra . It is an instrument of great

antiquity ; . its origin may be traced to the crude willow

whistle of boyhood days , and to the Syr inx ,or P ipes of

Pan , of ancient Greek mythology . Sculptures and paintings of ancient Egypt and Greece Show that the instrument was used and prized by those peoples . Ability to

play the flute was a required part in the education of aGreek youth ; i t was used to accompanythe chorus in the Greek theatre ,and skillful performers received high pay . The Romans adopted the instrument in later times , and Plutarch tells how Caius Gracchus , the orator , was

always attended by a slave who sounded the correct p itch upon a flute

whenever the voice of the orator became too harsh and vehement . It mustbe remembered that most of the flutes of those times were vert ical flutes

,

blown from the end , with whistle mouthpieces . Survivals of this type werethe

“beak-flutes,” recorder s, and flageolets, which were in use in the six

teenth and seventeenth centuries .

The present flute is a transverse flute , which consists of a stopped pipe

of wood or metal , cylindrical in Shape , and blown across , not into , a hole in

the side called the embouchure (pronounced om-boo On the S ide are

six finger holes , which were used to produce the tones of the natural scale .

In 1832 Theobald Boehm invented a key system which greatly faci litated

performance by permitting the player to use alternative finger ings, and gavefull use of the chromatic scale . The compass of the modern flute is three

octaves , extending from C to C . g v a The higher regis

ters areobtained by over—blow ing ,” or blowing

harder , with certain modifica tions of the lips .

The‘music sounds as written . The rem a rk ab l e

agilityand“ speaking powers of the flute bring it into constant use as a

melodic instrument . It i s often given the melody in unison with the violins .

The lower register i s somewhat woody and hollow , i ts sonorous tone being

due to a scarcity of the overtones heard in the higher register . Its middle

register i s full and mellow , and is well suited to beautiful lyric and elegiac

passages . Its upper register is more brilliant and birdlike , well suited to

F L U T E 21

l ight , delicate passages . The effects of tenderness and melancholy are a'sowithin the powers of the flute , especially in the minor key . Besides its use inlegato melodies , the flute also produces staccato tones by interrupting thebreath with the tongue fixed to pronounce the letter “T .

” The flutistproduces the effect known as double-tongu ing by pronouncing the letters “

T-K,

T-K , and trip le-tongu ing by pronouncing the letters T-K—T , T-K-T .

”

Other well-known flute effects are tremolos, tr i lls, arpeggios, tu r ns, andrapid scale passages. Three flutes are generally used in a modern symphonyorchestra , though one of them alternates with the piccolo .

With the exception of Gluck , who used the tone-color of the flute to

advantage in his “ Orpheus and Euridice ” to express the b l iss of the Shadesin the Elysian Fields ' (Record the early classical composers did not

fully appreciate i ts tone value . Mozart used it in his overture to The

Magic Flute ”

(Record 68207-A ) , and also wrote a Concerto for Harp andFlute (Record This composer did not care very much for flute tone ,but, follow ing the custom of Haydn , generally employed two flutes in hi s

symphonies (Records 1 7707 , 35430 , 35482 , In Mozart ’s day the

most famous flute player was Q uantz , whose pupil , Frederick the Great ,was an accomplished flutist. Rossini recognized the value of the flute , and

in the Calm of his Will iam Tel l Overture (Record 1 8012) used its staccato tones as an obb l igato to the English Horn to suggest bird notes . Rossini ’s Semiramide Overture affords another excellent example of the rangeand agil ity of the flute (Record 35670-B) . Beethoven likewise used it to

represent the nightingale ’s notes in the A ndante of his Pastoral ” (S ixth)Symphony (Record 35320-B) . Mendelssohn showed a decided preferencefor the flute , and in his Midsummer-Night

’

s Dream music well nigh

exhausted its possib ili ties . In the “S cherzo

”

(Record 74560) the flutes give a

rapid figure in sixteenth notes in the tripping melody which adds much to thegrace and charm of this fairy music . In the Intermezzo (Record 35527-B)the flute plays with the clarinet in the first movement whi ch represents theagitation of Hermio. Again , in the Nocturne (35527-A ) , there is a beautifulcoda given by two flutes . Bizet knew the resources of the flute , and his

works abound in excellent examples , as thetw o flutes playing in thi rds inthe introduction of the Chanson Boheme fromActII of Carmen (Record

and the melancholy pastoral melody given to the flute in the

Entr ’

acte music preceding the Mountain Scene, Act III of “ Carmen

(Record 62102-A ) . Of modern composers , Tschaikowsky has written an

interesting trio for three flutes in his“Dance of the Kazoos ” (

“Dense des

M ir litons from h is “Nutcracker

” Suite (Record

22 W O O D W I N D

The use of the flute as an obbligato to the soprano voice in coloratura

solos is a famil iar one . Often the voice and flute carry on a conversation in

bird notes , as in Handel’

s Sweet Bird , That Shunnestthe Noise of Folly(Record in “Thou Brilliant Bird ,

” from David ’s “Pearl of Braz il

(Records 88087 , 88318 , and L o, Here the Gentle L ark”

(Bishop )

(Records 88073, 64267 , 45 1 15-A ) . Other operatic arias in which the voice is

matched against the brilliancy of the flute are the “Mad S cene ” from

Donizetti’

s “L ucia

”

(Records 55047-A , 74509 88021 , 8807 1 , the“Shadow Song ” from Meyerbeer

’

s D inorah (Records 55047-B , 74532,

Proch’

s A ir with Variations (Records 74557 , and Varia

tions on an Air from The Daughter of the Regiment ” (Record

Another interesting use of the flute is that of the Indians , who always use

the flute for love cal ls and serenades , as-in the harmonized Indian songs by

Tliur low L ieurance (Records 1 84 18, 18431 ,

Brilliant examples of the flute as a solo instrument may be heard in

Wind Amongst the Trees ” (Br icc ialdi) (Re cord Whirlwind”

(Krantz) ( 1831 2-A ) ,“ By the Brook ”

(VV etzger ) D istant Voices

( L emmoné ) ;“Spinningteel ” (Spindler)

PICCOLOThe piccolo takes its name from the Italian Piccolo flauto, mean

ing little flute . This instrument is often called the octave flute , becausei t sounds an octave higher than the flute . It has half the length of the flute

proper,but is provided with a system of keys similar to that of the larger

instrument . Its compass is about three octaves , extending from D to C .

8 c The music is always w ritten an octave lower than

the actual sounds . The tone of the piccolo is shrill

and piercing , and far above the range of the human

voice . This imparts a kind of supernatural element

to its tone q uality , so that some composers have

used it to produce special demoniac effects . But its most prac tical valuein the orchestra is to increase the b r ightness of the woodwind section .

Beethoven introduced the piccolo in his last movement of the C Minor(Fifth) Symphony (Record but it does not play a prominent part .

Again, in the finale of the Egmont Overture , the piccolo is broughtinto use with the trumpets

,horns and bassoons (Record 35493-B) . Berlioz

calls for two piccolos in his score for “The Damnation of Faust ,”and in

the Minuet of the Wil l-o’-the—Wisps ” (M enuetdes Follets) (Records

O B O E 23

35670-B , 35462-A ) these shri ll instruments are used in a brilliant manner

which j ustifies the title , Imps of the Orchestra ,” often given them . Rossini

uses the piccolo in h i s S torm Scene from the William Tell ” Overture (Record 1 7815-B) to suggest the whistling of the wind and the sharp l ightningflashes . In M ar cello

’

s air ,“Piff, Paff , Pouf ,

” from Meyerbeer’s The

Huguenots (Record the piccolo i s used in the accompanimentas a mil itary fife . Bizet has also made excellent use of the piccolo ,as may be heard inthe last Entr ’

acte music before A ctIV of “Carmen ”

(Record 621 01 -B) , in whichthe piccolo joins with the clarinet in a semiquaver passage introduced atintervals during the oboe solo . The shril lvo ice of the piccolo i s u sed with bizarre effect inthe quaint “Chinese Dance(Danse Chinoise) from Tschaikowsky’s “Nutcracker Suite (Record45053-A ) .

OBOE

HE OBOE is a double— reed instrument which is used asthe lyric soprano of the woodwind family . Reed instr uments of the oboe type have been found in tombs of ancient

Egypt , and ancient sculptures and paintings identify thisform of pipe with the Greek A u los

” and the RomanTi bia . The oboe w as also cal led ha-

utboy (ho-boy) , fromthe French w ords hautbois meaning high w ood,

”w hich

referred tothe fact thatth i s instrument was the treble of afamily of woodwind instruments known as S chalmeys

” and “Pommers.

We find a record of the use of hautboys during the entertainmentof Q ueenElizabeth at Kenilworth Castle in 1 575 . Shakespeare gives frequent stage

direct ions for the use of hautboys in his p lays . The present instrument con

sists of a conical tube of cocus , rosewood or ebony , which enlarges to a

small bell at its lower end . For convenience in carrying , the tube may be

taken apart in three sections . Its mouthpiece cons ists of two flat slips of

cane,between which there is a narrow sli t to permit the passage of air .

These double reeds are fastened to a narrow brass tube , or“ staple

,by

means of waxed silk thread . The staple is fastened into the upper end of

the tube . S ince only a very light breath pressure is required to set the aircolumn in vibration , the oboe play er must partially hold his breath . This

restriction places him in considerable tension ; the parts for oboe must

therefore be arranged so as to permit frequent rests for breathing . The

natural scale i s produced by the opening and closing of holes pierced in the

24 W O O D W I N D

pipe , which are regulated by a system of keys with fingering similar to that

of the flute . The compass istw o and one-half octaves , extending from Bflat to G . The parts sound as written . There iss o m e thing in the reedy tone quality of the

o b o e which makes it akin to the human voi ce .

T h e pe cu liar acrid tone has been characterized

as b itter sweet . ” It is somewhat nasal and penetrating , with a remarkable suggestion of pathos . Even when a gay folk

melody is given the oboe , because of its simple appeal , the plaintive

expressiveness is never absent . In technique , it lacks the agility of the

flute ; smooth legato melodies are especially suited to its middle register, andare much employed for pastoral effects . Staccato tones andtri lls are alsoeffective . Often the oboe may be heard in duets , Speakingto, and answeringthe flute , clarinet , bassoon or another oboe . A modern symphony orchestra

uses two or three oboes . S ince a very delicate adjustment is necessary inorder to change the pitch of the oboe , to this instrument is always assigned

the task of sounding the tuning A for the other instruments of the

orchestra .

The oboe is one of the oldest instruments in the orchestra . All the early

writersof the classical school,beginning with Bach and Handel , used it .

Beethoven used it to repeat the theme first sounded by violins , in the“Funeral March ” of his “

Eroica”Symphony ; he used it in his Pastoral

Symphony , in the S cher zo to depict rust ic gaiety , and in the A ndante toimitate the call of the quail (Record 35320—B) . Inthe first movement of

the C Minor (Fifth) Symphony , the oboe has a Short but striking Solo

passage (Record 1 8124-B) . Beethoven also wrote a trio in four movements

for two oboesand English horn . Robert Schumann wrote three “Romances

for Oboe, which are among the few solo works for this i nstrument (Record

1 831 2—B) . Goldmark introduced the tone-color of the oboe in his “Rustic

Wedding Symphony , giving it an important part in the Bridal Song ,” and

introducing a ductand solo passage in the Serenade“

(Record

Opera-goers are fam i liar with the beautiful Entr ’

acte which precedes ActIV of Bizet’s “ Carmen ”

(Records 62101 -B, i n which the oboe

sings a rather melancholy melody— a fitting introduction to the dramatic

act which follows . Bizet also uses this instrument to supply oriental color

in “The Pearl Fi shers an oboe solo precedes the love song ,“De mon

amie”

(Record Wagner ’s music—dramas abound in passages for the

oboe . To mention one instance , we cite the middle passage for the oboe in

the Prelude to Act III of L ohengrin (Record Verdi'

s opera scores

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26 W O O D W I N D

extends from E to C . I t is a transposing instrument , the music being written a fifth higher than it

actually sounds . This enables an oboe player to

play the English Horn When special parts are as

signed to it . The play ing demands that the player

hold his breath und-er great control ; this produces considerable tension in

the lips , lungs and chest . The rich tone quality of the English Horn is well

suited to dreamy , melancholy themes . It has all the reediness and tender

expressiveness of the oboe ; while it is sometimes used to express the j oys

of pastoral life , there is always a suggestion of sadness and loneliness in its

voice . The Cor“

anglais i s said to have been used in the Imperial Theater ,Vienna , as early as 1 762 , but it owes its present use in the orchestra to theFrench composers . Haydn and Mozart made s light use of it , and Beethoven ,Schubert , Weber and Mendelssohn never used it in the orchestra . One ofthe most characteristic uses is i n “The Calm , Part III , of Rossini

’s“William Tell ” Overture (Record 1801 2-A ) . Here the cal l of the Swiss

herdboy , the Ranz des V aches,” i s heard upon the A lpine Horn , a part

w hich w as originally written forthe old Oboe da Caccia , but which is now

always played on the English Horn . In his “Carn ival Romain Overture

(Record 35241 -A ) , Berlioz introduces a melancholy theme on the EnglishHorn , with a pizz icato accompaniment . In Scene II , ActI , of “Tann~

hauser ,” which is laid in the beautiful vall ey of the Wartburg , a shepherd

is discovered pip ing his la'

y as he watches his fl ocks . This pastoral effect isobtained by an English Horn solo (Record 68352-A ) . In the second act of

Wagner’s “Tristan and Isolde ” occurs a celebrated passage for English

Horn , unaccompanied . Meyerbeer has made good use of this instrument

in his accompaniment to the duct, Speak Again , in the last act of“The

Huguenots ” (Record 35 1 23-B) . In Tschaikowsky’

s“Arab Dance ”

(Danse

A r abe) from the“Nutcracker ” Suite ,the English Horn alternates with the

bass clarinet in giving the melody (Record 45053-B) . In the“Norwegian

Echo Son g ”

(Thrane) the English Horn gives the herdboy’s call , which is

answered by the flute (Record By far the most notable use of thisversat ile instrument is in the L argo from Dv ofak

’

s great symphony ,From the New World ”

(Records 35670-B , 35275-B) . The sad , regretful

melody sung on the'

upper register of the English Horn is thought to have

been founded upon an old negro slave air , although there are some who

claim this melody was suggested to the composer by an American Indiantheme . The English Horn is also used in its higher register for “Old Folks

at Home ” in Victor Herbert ’s “American Fantasie (Record 55093-A ) .

C L A R I N E T 27

CLARINET

HE C L ARINET i s descended from a family of single anddouble-reed instruments of the seventeenth century ,

known by the general name of chalumeauzr , shawms or

schalmeys, fromthe L atin word calamus, a reed . The pres

ent. name (formerly spelled clarionet) comes from clar ino or

clar ion the high-pitched trumpet oftheold time orchestras ,the place of which the modern clarinet hasto some extenttaken . It i s a single-reed instrument made of a cylindrical

pipe of ebony or cocus . two feet in length , and ending in a narrow bell .For convenience it is made in sections . The mouthpiece is chisel—shaped ,flattenedto support a piece of cane , or reed , w hich is fastened to it by twometal bands . It i sthe vibration of this reed , caused bythe pressure of thelower lip and breath ofthe player , which produces its characterist ic tone .

In the development ofthe clar inet h our the sliai vm , Johann Christopher

DenneI ( 1 655 of Nuremberg , in 1 690 added anothei small hole bO Iedinthe pipe , know 11 asthe speakei , which , hen open , extendsthe compass tothe h igher octaves . The most important improvement to this instrument wasthe application in 1 843of the key system invented for flute by

Theobald Boehm . In b i ass bands , the E flat , and 1 11 orchestras , the B flat

andA c lai inets are mostly used . These ai etl ansposing instI uments ; the Bflatsounds one hole tone lowc i thanthe notes w1 itten , whilethe A c la i inetplays a. minorthird (three half—tones) lower . The clarinet has a compass ofoverthree octaves , extending from E below middle C to C . The low er register. ca lled the chalumeau (after the older instrument) i s reedy andsonorous

,though sometimes brooding and melancholy . The middle register i s rather w eak , and not.so effective . The higher register i s clear , bri ll iant and expressive . tch

has been said in prai se ofthe tone qual ity ofthe clarinet , wh ich has beendescribed as noble , refined ,

mel low , lonely , w eird , penetrating and sombre .

It i s essenti ally the dramatic soprano ofthe woodwind sect ion . The modern

symphonyorchestra usua lly employs two clarinets , although three or four

are sometimes usedIn al l L u ge O I chestI as considerable use is made of the BAS S C LAR INET .

This Is a large—sized clarinet ith a bel l of metal turned upw ard like a pipe .

hIeyerbeerfirst usedthe color of this instrument in h is operas The Hugue

28 W O O D W I N D

nots and The Prophet to obtain rich organ—like chord effects in his

accompaniments . L i szt , Wagner and Verdi also valued its tone-quality .

There is an alto clarinet cal led the BassetHorn , invented by Horn in 1 770 ;i ts tone is rich , but it i s rarely used .

Rameau is said to have first introduced the clarinet into the theatre

orchestra in his opera ,“A cante etCephise, ” in 1 75 1 Johann Christian

Bach , son of the great master , used itin his opera , Orione,” in 1 763.

G luck also employed the old-style clarinet to advantage in his operas .

Mozart i s credited with having first introduced the clarinet into symphonicmusic in his “

Paris ” Symphony , in 1 770 . He also added clarinet parts to

his famous G Minor Symphony (Records 35482, and taught his

friend and teacher, Haydn , the beauties of the instrument . Both composers would have made more frequent use of it had there been a sufficientnumber of good clarinet players in their day . Weber was a thorough

master of the clarinet , for which he showed a strong preference . Examples

of his writing may be heard in the“ Oberon Overture (Record 35 1 66) and

in the Overture to “Der Freischn

'tz (Record -A ) . He also followed

the example of Mozart and wrote Concertos and a Concertino for Clarinet(Record 35 1 8Q-B) . Beethoven used the clarinet quite uniformly in hisworks

,althoughthere are few examples which stand out in his scores . In

the A ndante from the “Pastoral ” (S ixth) Symphony (Record 35320-B)

he employs the clarinet to give the call of the cuckoo . A characteristic

passag e for clarinet occurs in Offenbach’s Orpheus

” Overture (Record

35670-B) , which well exhibits its range and tone-color . Another familiarpassage for this instrument is in Herold ’s Z ampa ” Overture (Records

35236-B , 35584-A ) . Goldmark has scored an interesting part for clarinet in

the Serenade from the “Rustic Wedding ”Symphony (Record 35627-B) .

Tschaikowsky entrusts to its expressive voice the second theme of theA ndante from the “

Pathetic Symphony . A good idea of the tone quality

of the clarinet may be had from the parts assigned it in orchestral arrange

ments of piano pieces , such as Moszkowski’

s “Spanish Dance No . in

G Minor (Record 35644-B) and Schubert’

s “M arche M i litai re (Record

35493-B) . In a band of wind instruments the clarinet takes the place of the

violin,as may be heard in a selection from Gounod

’

s“Faust

”

(RecordThe blending qualities of the clarinet with the oboe are shown in

an arrangement of Bellin i’s “Hear Me , Norma ,

”and with the flute in an

arrangement of Saint-Sae’

ns ’ “Taran tella ”

(Record 1 7 1 74-A ) .

The S axophon e, invented in 1840 by Ado lph S ax , combines the single-reed mouthp iece ofthe c larinetw ith a con ica l brass tube w ith upturned be l l . It is made in seven or more sizes , and is heard inthe theatre ,m i l itary band and dan ce orchestra . Fren ch composers occasional ly cal l forthe saxophone in the symphonyorchestra , and its use seemsto be gr ow in g more extensive. (For examples hear Records 18344 ,

B A S S O O N 29

BASSOON L / "

HE BASSOON is a double-reed instrument which suppliesthe bass for the woodwind choir of the orchestra . This

instrument developed from the old Bass-Pommer, thebass of the Chalumeau (or S chalmeys) family of theteenth century . At first these instruments were from six

to n ine feet long . L ater the pipe was doubled back upon

itself , and then broken intotw o parts which were j oinedtogether in a solid block of wood . Because the instrument

looked like a bundle of sticks or fagots , the Italians called itFagotto. A ttached

to the smal l end of the pipe is a small curved metal tube , to which the double

reed is fastened . This tube , or cr ook, projects fromthe side of the bassoon ),

The player holds the instrument by means of a cord around his neck , in aslanting position , which affords greater freedom in working the keys . The

intonation of this instrument has never been perfect , and it requires great

ski ll and pract ice on the part of the player to obtain the desired effects .

The compass of the bassoon is about three octaves , and extends from Bflat to E flat . In its lower register the bassoon is

t h i c k a n d reedy . The middle register is sonorousand solemn , with a power to suggest the super

n a t u r a l The upper register is expressive ; inthis registertw o bassoons are often used in legato melodies . It possessesremarkable powers of humor , especially in its quick , rapid staccato notesand in its easy skips from high to lownotes . There are generally tw obassoons in the symphony orchestra , often three or four . Sometimes a

CONTRA BA S S OON , the voice of which is an octave below th at ofthe regularbassoon

,i s used to supply a very deep bass . This instrument then becomes

the deepest instrument of the orchestra .

The bassoon has been a member of the orchestra since the , time of

Han del and Bach , although these early composers used i t almost entirely

to fi ll in the bass part of the accompaniment . Mozart developed the bassoon to its present use , using i t in duets with the oboe . In the A ndante ofthe G I\'Iinor Symphony (Record 354882-B) the bassoon echoes the theme

given bythe violins . Beethoven had a special l iking for the bassoon , and inmany works wrote parts for two bassoons . To mention only a few character istic uses : In the A ndante to Beethoven’

s Fifth Symphony (Record35580-B) after the variations in thirty-second notes , he introduces a short

30 W O O D W I N D

duet between clarinet and bassoon ; again in the coda of the same move

ment the bassoons sing the theme which is afterwards taken up by the’cellos . In the Finale of the same Symphony , during the recapitulation,the bassoon presents a new and interesting theme , which is echoed by sustained horns (Record 35637-B) . In the same movement , Beethoven usesthe doub le or contrabassoon , of which he made frequent use in his writings .Schumann wrote an interesting part for bassoon in the S cherzo of his ThirdSymphony (Op . 97) (Record 35670-B) . Mendelssohn used the expressive

powers of the bassoon with dry humorous effect to portray the “ Six HardMen of Athens in the comic march which closes the Intermezzo to “A

Midsummer-Night’s Dream ”

(Record 35597-B) . L ikewise , in Mendels

sohn’s Overture to this work (Record 35625-A) the bassoon is used to imi

tate the braying of the clownish Bottom . The bassoon is exceedingly versa

tile . Its tone blends so well with the strings that iti s often used to strengthenthe ’cellos . L ikewise , i t blends well with the horns , and we find Mendelssohn using bassoons with the horns in the Nocturne to “A MidsummerNight ’s Dream ”

(Record 35527-A ) and in the A ndante of the “ Italian”

Symphony (Record 35452-B) . Doni zetti has written a striking introduction

by bassoon to the Romanza , Un a Furtiva L agrima” in “

L’

Elisir

D’

Amore”

(Records 88339,

Verdi has also shown remarkable skil l in using the bassoon in hisaccompaniments . Inthe “Willow Song

” from Otello”(Record 881 48) the

bassoon joins with the horns . Grieg has furnished a characteristic example

of the use of the bassoon in “ Inthe Hall of the Mountain King ”from his

“Peer Gynt Suite (Record 1 8042-B) . Here the instrument repeats aneccentric dance theme again and again with rising pitch and increased

speed,the tone quality suggesting the grotesque shapes of the mountain

trolls, who circle around Peer Gynt in their mad orgy . Tschaikowsky hasalso enlarged upon the use of the bassoon , as may be heard in the ChineseDance (Danse Chinoise) from the

“Nutcracker” Suite (Record in

which the two bassoons maintain a peculiar figure throughout .

L ikewise , in hi s M arche S lav”(Record 70050) bassoons and violas

begin with a plaintive , funereal , dirge-l ike chant . Tschaikowsky alsoused bassoons in the deep tragic notes at the end of his “

A dagio

L amentoso in the Pathetic Symphony (Record An interestingexample of the bassoon as a solo instrument may be heard in the“Polka Fantastique (Record 1 7642-A ) .

BRASS

TRUMPET

HE TRUMPET is the soprano ofthebrass choir of theorchestra . This instrument had its origin in the first primi

tive instruments fashioned by man from the horns and

tusks of animals , or from hollow conch shells . The Ram’s

horn Trumpet , or . S hofar , was used in ancient Hebrew

times to summon the congregation , a custom which is stillobserved in modern synagogues , where the S hofar i ssounded on the Jewish New Year . Milita ry trumpets of

metal were used by the ancient Greeks and Romans,and descendants of

these early instruments were used duringthe Middle Ages . Even in early

timesthe long tube of the Roman infantry bugle was folded over for conv en ience in carrying .

In olden times every nobleman had his own trumpet call, which is

frequently alluded to in the plays of Shakespeare as a sennet or tucket . ”

The herald was always provided with a trumpet , and European monarchs ,including Charles V of Spain and Henry VIII of England , maintained

special bands of trumpeters , who took important parts in the ceremonies

and pageants of royalty .

In the age of Bach and Handel . shrill , high-pitched trumpets , called

clar inos or clar ions,were much used . Partswere written for these instru

ments in very high registers , and players developed great ski ll in their use .

About the year 1 600 crooks, or extra pieces of tubing, were invented in order

to change the trumpets to various keys by altering the length of the main

tube . Early in the nineteenth century the trumpet was provided with three

valves, or pistons, which simplified its use , and made it possible to play acomplete chromatic scale .

The modern trumpet consists of a narrow cylindrical tube about gghifeet in length coiled in rectangular shape . At one end is a cup-shaped

mouthpiece ; the other end expands into a conical bell . It is a transposing

i nstrument ; the trumpet in C plays the music as it i s written , whilethat in F sounds a perfect fifth higher . The B flat trumpet , now gen

erally used , lowers the pitch a tone . It has a ' compass of two and one-half

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34 B R A S S

31493, Verdi a lso u sed it for bravura effects and for military sug

gestions as in the recitative precedingthe A ria Celeste A‘

i’da from “

A ida”

(Record and in the Triumphal March (Record 35965-B) . Humperdinck employs the trumpet to introduce the theme of the Old Witch in thePrelude to

“Hansel and Gretel . ” Elgar has used the trumpets in some fine

brass effects in“Caril lon ”

(Record Saint—Saens employs them formartial effect in his “

M arche M i litai re Fr ancaise”

(Record 35668-B) . The

use of trumpets in a special flourish or fanfare may be heard in the introduction to George B . Nevin’s setting of Tennyson’s Blow , Trumpet , forthe World is White with May ”

(Record 35581 -B) .

CORNETThe Cornet is an invention of the early nineteenth century , developed

from the old keyed—bugle . It is a valve instrument like the trumpet ,but its tone is not so brilliant

_or heroic . It is easier to play , and for that

reason is much used in military bands and small orchestras . The cornetenjoys considerable popularity as a solo instrument . Examples of this usemay be heard in the following solos : A loha Oe ( 1 7035-B) ; Capr ice Br i lliante(35090-B) ; Cradle Song (Brahms) ( 1 74 1 7-B) ; Serenade (S chubert) (Record35508-B) ; Soldier

’s Dream (Record 1 764Q-B) 0 S oleM io (Record 1 6899—B) ;The Rosary (Record 1 6046-B) . Its use is noticeable in many danceand band records .

FRENCH HORNHE FRENCH HORN is the alto of the Brass Choir . We

trace its origin to the old hunting horn , which con sisted of

a metal tube coiled around so as to fit over the head of a

mounted huntsman . It has a tapering , funnel-shapedmouthpiece

, and a large bell , into which the hand is fre Vquently inserted to raise and lower the pitch . Its tones

may be“ stopped ,

” or it may be “muted”for special

effects . If the hand is inserted deep into the bell , by“over

blowing,a blatant nasal tone is produced , which causes an evi l , s inister

effect,and is much used to suggest scenes of conflict . The length of the horn

tube is from twelve to sixteen feet , j ust twice as long as thetube of thetrumpet

.There are horns in nearly all keys . The F Horn is generally used

in modern orchestras on account of the convenience of playing in different

C O R N E T — F R E N C H H O R N 35

keys . The compass is three and one-half octaves , extending from B ,

to F .

The horn is a transposing instrument ; the F Hornsounds a perfect fifth lower than the parts written .

At first the tones were limited to the

harmonic”series resulting from the funda

mental tone . Itwas then found that some of the miss ing notes couldbe Supplied by inserting the hand in the bell . L ater , the horn was supplied

with “crooks or extra pieces of tubing , which , when inserted , altered

the key . In 1 820 three valres were invented , thus making it possible to

play the complete chromatic scale .

In tone quality the horn lies midway between woodwind and brass ,so i t blends equally well with either . It also sounds well by contrast with

the strings . Its voice is even , full and mellow . Since it lacks the agil ityand flexibi lity of many other instruments , the horn is more often used as

a supporting\

instrumen t , fi ll ing in and sustaining the fundamental

harmonies . When itis used as a solo instrument it i s given slow legatomelodies suited to its romantic character . A Symphony Orchestra gen

erally uses four horns , but six and even eight are sometimes employed . 5

The horn is a very old instrument of the orchestra , i t having been usedby Bach and all the classical composers . Atfirst , when only the natural

horn w as available , the instrument was used sparingly . The famous hornsolo in the trio of the Third Movement of Beethoven’

s“Eroica Symphony

(No . 3) was considered very bold when it was composed . Beethoven fur

n ished another striking example of the use of horns in the S cherzo of his“ C Minor (F ifth) Symphony (Record 1 8278-A ) , in which the horns give

the triple figure of the “ fate ” motive . Weber uses the horn in the impres

sive introduction of the Oberon ” Overture (Record he also in tro

duces the solemnity of a horn quartet to invoke the spirit of the woods in

the Overture to “Der Freischn

’tz ”

(Record 62636-A ) .

One of the most beautiful passages for horns is in Mendelssohn'

s

Nocturne to A Midsummer-Night’

s Dream”(Record 35527-A ) . This

composer has also assigned a noble passage to horns and bassoons in the

third movement of his “ Italian ”Symphony (Record 35452-B) . Another

well-known horn passage is at the beginning of the Overture to Thomas”

“Mignon ”

(Records 1 7909-A , 3567 1 -A ) . Here the horns sing the tender

theme of the “(fonnai s-tu le pays

" from the first act of the opera .

Richard Wagner in his opera“ Rienz i and in all his music-dramas did

much to extend its use . One of the best examples of the horn may be

heard in S iegfried ’s Horn Call in Act II of“ Siegfried ”

(Record 1 71 74-B) .

36 B R A S S

In Scene II of the first act of Tannhauser , twelve horns in four

groups stationed at different distances behind the stage are used to

dep ict the approach of the L andgrave and his hun tsmen (Record 68352-B) .

Tschaikowsky valued the romantic quality of the horn , and many excellentexamples of its use are found in his works , including the Finale to theFourth Symphony (Records 74553, the V alse des Fleu rs from

the“Nutcracker Suite and the famous horn passage in the A ndante of

his Fifth Symphony .

TROMBONEHE TROMBONE is a very old instrument ; i t is said tohave been used by the ancient Romans . In the MiddleAges this instrument was called sackbut, from a IVIoor ishword meaning “ pump .

”Sackbuts were used in four sizes :

soprano , alto , tenor and bass . Atthe time of Bach it wasa common practice to arrange chorales for a quartet ofthese instruments . a custom which is sti ll kept alive in the

trombone choirs of the Moravian Church . Now the TenorTrombone in B Flat is generally used as the tenor of the brass choir of the

orchestra Its tube is about nine feet long , with a cup-shaped mouthpiece ,and a conical bell wider than that of the trumpet . The tones of the scaleare produced by a U-shaped slide which the right hand moves back andforth by means of a short bar across its upper end . This movement lengthen sor shortens the column of air in the tube , thus lowering or raising the pitch .

There are seven slide position s in all , the notes being produced by alteringthe pressure of the breath and l ips in relation to the position of the sl ide .

The trombon i st must have an excellent ear , for his instrument alone of allthe wind instruments has i ts pitch determined by the performer , without

any special tuning , but by a slight variation in the position of the slide . In

thi s ‘connection,i t must be remembered that the pitch of al l wind in stru

ments,both reed and brass , is greatly affected by thetemperature of the \

room,the heat causing them to sharp .

” This is why we hear the players

of the wind instruments “ warming up“

off stage before they adjust their

tuning to the pitch of the oboe , with the rest of the orchestra .

The compass of the B Flat trombone is about two and one-half octaves ,extending from E to B Flat . The parts are written as they sound . The Trom bone tone possesses

a nob le dignity , almost sacred . For many years i t

was used in the mediaeval churches , i ts fu l l , sonorous voice having a

T R O M B O N E 37

grandiose effect , especially when used in the antiphonal manner . While

the trombone is an exceedingly powerful instrument , i t is capable also of a

soft tone , which can 0 11 occasion be quite awe-inspiring . The modern symphony orchestra general ly uses three trombones and sometimes a basstrombone . (There also exists a trombone played by valves. instead of bya s l ide . This instrument is convenient , but thetone is notso satisfying ,and i ts use i s confined to military bands .)

Examples of the use of thetrombone may be heard in arrangements ofvocal solos adapted to this instrument , such as the “ Cujus A n imam

”

from Rossin i'

s “S tabat Mater ” (Record 35 1 57-A ) . In an arrangement of

the M iserer e” from Verdi ’s “

l l Troratore, thetr ombone plays the tenorpart , whilethe com et plays the soprano (Record 1 6371 -A ) . Mozart usedt rombones to produce a religiou s mystical atmosphere in h i s opera “TheMagic Flute ”

; since the trombones are notpreviously employed in theopera , their effect i s overpowering .

Beethoven first introduced trombones into symphonic music in the

Fi nale of his “C M inor (Fi fth) Symphony (Record A dramatic use

o f thetrombones occurs in the Prelude to Wagner’s “L ohengrin ,

”in which

thei r entrance brings this wonderful symbolic number to a climax (RecordAnother strik ing effect is obtained by their use in the “

Prelude to

Act III of L ohengrin (Record Again , -atthe end of the“Tann hauser Overture ,

” the trombones intone the noble theme of thePi lgrim s

’ Chorus (Records 3567 1 -A , 68205-B) . Another familiar use of

the trombones in opera i s in the Triumpha l March from Verdi’

s“A ida ,

”

i n wh ich additional bands of trombones are used on the stage (Record

35265-B) . There is a very impressive passage for th ree trombones and atuba. atthe end of the L ast Movement (Adagio L amentoso) from Tsohaikow sky s Pathetic

”Symphony (Record

38 B R A S S

TUBA

HE TUBA is the bass of the Brass Choir . Its name was

given it by its inventor, Wieprecht, in 1 835 . There are

six instruments in the family of tubas : soprano,alto

,

tenor , baritone , bass and contrabass . The smaller tubas

are called Saxhorns , after Adolph Sax , a famous instrument maker of Paris . who greatly improved this instr ument . The bass tuba in B Flat is the one most commonly

used in modern orchestras ; i t furnishes the bass of thebrass choir . The length of its conical tube is about eighteen feet . It

is provided with four valve pistons , and has a cup-shaped mouthpiece . The

compass of the B Flat Tuba is about two and one-half octaves,from E to C .

The parts are written in the bass clef, and areplayed exactly as written . Though deep in pitch

,

the tu'ba is surpris ingly agi le,considering the

gravity of the tone . Its voice possesses consider

able richness and sonority , which is rather surprising , considering-the fact that the tuba is a near relative of the com et

and the old post-horn . In the modern orchestra it has taken the place ofthe op lti clei de, a deep-toned brass instrument formerly used .

While only one bass tuba is employed by the symphony orchestra,

Wagner uses in his “Ring ” one bass tuba and four Small tubas alternating

with the French horns .

Excellent examples of the use of the tuba may be heard in the TorchDance ”

(Fackeltanz) by Meyerbeer (Record 35505-B) and in Wagner’s“S iegfried

’s Funeral March , from Twil ight of the Gods (Record

35369-A ) . In Wagner’s opera , S iegfried , the tuba represents the voice of

the Dragon , Fafner (Record 3567 1 -A) .

The M I L ITARY or BRAS S BAND had its origin in the caval ry , in fantry and artil l erybands of European arm ies . Its present character is due largely to the reforms and innovat ion s of W icprechtand Sax, begun about 1 835 , w hen valve instrumen ts w ere com ing intomore genera l us e. As a concert organ ization , the Brass Band has achieved its greatest developmentin Amer ica , at first under the l eadership of Patrick G ilmore , and at present undersuch noted conductors as Sousa, Pryor , S antelmann , Conw ay and others . A modern m i l itaryband consists of from tw enty to sixty-fiv e ormore players . The in strum en ts u sual ly inc lude thefol low ing : Piccolo , flute, E-fiatc l arinets , B-flatc l arinets , com ets o rtrumpets, F rench horns( or al tos ) , trombon es , euphon i ums (bariton es ) , bombardon s (bass tubas ) , side drum , bassdrum and cymbal s . To the above may be added the soprano , alto , tenor and bass saxophones . oboe, bassoon , con t rabassoon , bass clarinet, flijgelhorn and althorn , w h ich are occasionally used in larger bands . The bass tuba, w hen coi l ed so as to be carr ied around thehead and shoulders of the p layer , i s cal l ed a heli con .

PERCUSSIO NHE instruments which are made to vibrate by shaking

or beating are known as percussion instruments . In the

orchestra these are sometimes known as “ the battery ”"

Their chief function is to accent the rhythm . Instruments

of this type were first used by primi tive man ; they aretoday characteristic of the least civi lized tribes

,who use

them for dances and religious ceremonials .

KETTLE -DRUMS OR TYMPANIThe Kettle-Drums or Tympani are the most important instruments

of this class , because they have a definite pitch . In their early Orientalorigin these drums were small , and

“

made by stretching a parchment overthe half of a gourd . They evolved into large kettles of copper , over whichcarefully prepared calf-skin was stretched , held in place by a metal hoop ,

and loosened o_

r tightened by the use of T-head screws , to regulate the

pitch . A small hole is pierced in the copper hemisphere or shell ” to relievethe force of the concussion . The drum rests upon a stand or tripod

,and is

struck with two sticks with round heads of wood or sponge , padded with

felt and rubber . King Henry VIII is said to have imported the first large

kettle-drums into England from Hungary for his cavalry band . They were

known by the name of “ nakers Shakespeare calls for their use in hisstage directions .

At first two kettle-drums were used in the orchestra ; a small-sized

drum tuned to the tonic of the key , and a larger drum , tuned to the domi

nant , a perfect fourth lower . Beethoven frequently altered this tuning in

his scores , and in his Eighth and Ninth Symphonies calls for the drums

tun ed in octaves of F . A third drum is now generally used , the size of which

is between that of the other two . This is usually tuned in the sub-dominant .S ince the key frequently changes in orchestral score s , i t requires consider

able skil l and a good ear for p itch in the kettle-drummer , to make his

changes quickly andaccurately . The smaller drum

wh i l e the l a rge r

drum’

s compass is from F to C . The range of the

tympani sometimes covers higher and lower notes ,varying according to their s ize and use .

The tone of the tympani is resonant and full . By

alternating the strokes of thetw o sticks , the p layer can produce atremolo

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42 P E R C U S S I O N

a light t ingling sound i s produced . Instruments of the drum variety re

sembling the tambourine are pictured on old Egyptian, Assyrian andGreekwall-paintings and has-reliefs , so there can be no doubt concerning the greatantiquity of this instrument . The tambourine , in company with the castanets

,has long been associated with Spanish music . Bizet has used i t in

“Carmen ,

” as in the Entr ’

acte music before Act IV (Records 62101 -B,

70066) Berlioz has used it with striking effect in the middle of the“Carn i r al

Romain Overture (Record 35241 -A ) . Tschaikowsky has employed thetambour in without j ingles for Oriental coloring in the “Arab Dance

”from

the “Nutcracker ” Suite (Record 45053-B) .

CASTANETSThe Castanets are two hollow wooden shel ls , fastened together with a

cord,and played by being clacked together by the thumb and fingers of each

hand.These instruments originated with the Moors , and were brought by

them into Spain,where they are now universally u sed by Spanish dancers .

Their name comes from the Spanish word castagna , meaning chestnut , which

was the wood from which they were originally made . They are now made ofboxwood or ebony . For use in the modern orchestra , the castanets are

generally fastened to a handle by strings and clacked together by a shaking

movement . In nearly all Spanish music they maintain a characteristicrhythm (Record 3567 1 -B) . Bizet has made frequent use of the castanets in“Carmen

” i n the beginning of ActII and in the scene inthe same act inwhich Carmen persuades Don J ose to desert (Record The castanetsmay be again heard in the Entr’acte music before Act IV (Records 62101 ,

70066) of the same opera . Other examples of their use are heard in Bizet’

s

Spanish Serenade (Record 1 8445-B) and in Moszkowski’

s Spanish

Dances , No . 1 in C Major (Record 18445-A) , No . 2 i n G Minor (Record

35644—B) and No. 5 Bolero in D Major (Record Granados , the

Spanish composer , used them in his opera , Goyescas, as in the Inter

mezzo (Record 35574-A ) . The castanets are used for their rhythmic effect

i n many Spanish songs , including“L a Partida ”

(Alvarez) (Record“L a Paloma (Yradier ) (Record

“El Celoso

”

(Alvarez) (Record

CYMBALSThe Cymbals are very old , having been u sed by the ancient Egyptians ,

Assyrians,Hebrews and Greeks . They consist of two circular plates of brass ,

T R I A N G L E —G O N G 43

or hammered metal , sl ightly hollow i n the center . They are held in each

hand by leather loops , and played by striking their edges together in anup

-and-down s liding movement . By bringing them up against the body ,

the player can quickly stop the vibrations . In the modern orchestras theyare often played by striking , or brushing them with the sticks of the snareand kettle—drums . The metallic clash is of indefinite pitch , but very usefulin crescendo passages and bacchanalian scenes . Wagner has used them in

his Venusberg music in “ Tannhauser ,” and Saint-Sa '

ens in the Bacchanal

from Act III of“ Samson and Dalila ”

(Record 62660-B) . They are usedwith excellent effect at the end of G r ieg

'

s“ In the Hall of the Mountain

King" (“Peer Gynt

”S u ite No . 1 ) to depict the destruction of the home

of the Trol ls,caused by the magic sound of distant church bells (Record

18042-B) . In the introduction to Fan ing’

s The Song of the Vikings(Record 55055-B) the cymbals suggest the clash of swords on shields . Thecymbals are also used for toy effects , as in Victor Herbert’s Military Ball”

from Babes in Toyland ”

(Record They are always used in a brass

band,as in Sousa

’

s L iberty L oan”March (Record 18430-B) .

TRIANG LEThe Triangle is a steel rod bent in the form of an equilateral triangle

with one angle open . It is suspended on a cord and played by striking witha rod of the same material . This instrument is of indefinite pitch , and has

a rather sharp,incis ive

,tinkling tone . Atremolo i s obtained by a quickto

and-fro movement of the rod between the tw o s ides of the angle . There

are a number of instances where it has been called for in orchestral com

positions,including Haydn

's “Military Symphony , the fire music in

Wagner's “S iegfried and “ Valkyrie ,

" “Anitra'

s Dance from G r ieg'

s

“Peer Gynt and L u igin i

'

s BalletEgyptien .

”

GONG OR TAM-TAM

The Gong or Tam-tam is a large disc of hammered metal , of Chineseorigin

.When the gong is rubbed by a soft drumstick a deep metallic roar

i s produced,which suggests tragic fate . S ince the gong is associated with

religious ceremonials i n the Orient , i t is frequently introduced in opera inthis connection . In Puccini

’

s Japanese opera ,“Madame Butterfly ,” the

gong is used for oriental color (Records 31 631 ,

44 P E R C U S S I O N

XYLOPHONEThe Xylophone is an instrument said to have originated among the

Tartars and Russians . Its name comes fromtw o Greek words , Xylon ,wood

,

and Phone, sound , referring to wooden slabs of various len gths , which are

struck with two wooden mallets to produce the tones of the chromatic

scale . The carefully tuned blocks of wood are held by tightly stretched lcords and arranged in two rows , l ike the white and black keys of a piano .

Under each block is a tubular resonator of metal , which insures a richer,fuller tone . The instrument shown on the chart has a compass of threeand one-half octaves , producing forty-four notes . Its range is from Fto C .

The Xylophone has not entered to a great extent into modern orchestral compositions . One of

the most notable uses is in Saint “Danse

IlI acabre (Dance of Death) in which the Xylo

phone represents the rattle of the bones of the

skeletons asthey dance over the stones of the graveyard on A ll Hallow e 'en .

A nother use of this instrument is in thelW itch '

s Dance of Humperdinck’

s

children'

s Opera , “Hansel and Gretel (Record 3567 1 -B) .

The Xylophon e is frequently used as a solo instrument , and is espe

c ially attractive to children'

s ears . Excellent arrangements for Xylophone

may be heard in the following selections : Gavottes by Mozart and Gretry

(Record 1 791 7-B) ;“Dorothy (Seymour Smith) , Gavotte from

“Mign on

(Thomas) , M omentIll usica le (S chubert) and“Mazurka

”

(Chopin )

(Record“L a Ci nquantai ne (Gabriel—Marie) (Record 1 8296-B) .

CHIMESHE CHIMES are tubular bells employed to produce the

effect of church bells . They are suspended from a metal

frame, and struck with a hammer . The chimes herewith

pictured have a chromatic com

pass of two octaves (25 notes) ex

tending from G to G. (Five other

tubes are available to supplythiscompass . ) Their fuller and more forceful tones are used for

religious suggestion in such numbers as the“Processional of the Knights

”

from lV agner’

s Parsifal”

(Record Finale to Tschaikowsky’

s 1 81

Overture (Record 31 739) and in“The Angelus

”from lVIassenet's S ci’nes

Pittoresques (Record 35437-B) . They are also used to suggest the Angelusbell in the duet. “

Sw eetthe Angelus is Ring ing . from Henry Smart’

s

O R C H E S T R A B E L L S - C E L E S T A 45

cantata , King Renc‘

s Daughter (Record Their use in opera is

frequent , as in the “M iserere

” from Verdi ’s[I Trovatore (Records35443-A , 35456-B , 88530, 89030) and in the

“ Chorus of Bells ” from L eoncav allo

’

s I Pagliacci (Record 35 1 72-A ) . Elgar has employed the chimes

with dramatic effect in h is “Cari llon (Record

ORCHESTRA BELLSThe orchestra bells are a development of the old French Car i llon

and the German Glockenspiel . These are sometimes operated by akeyboard , but are usually played with two wooden hammers . The bells , asnow used , consist of a set of steel or aluminum horizontal bars , arranged

ladder—l ike in two parallel rows and tuned in the scale . Under each bar is a

tubular resonator of metal . They have a chromatic compass o f three

octaves (37 notes) extending from middle C to high C .

Mozart employed the bells in Papageno’

s music in“The Magic F lute ” and Meyerbeer used them with

pleasing effect in the “M arch I ndienne

” from ActIVof “

L’

Afr ica ine. Wagner also introducedthe brightness of the bell-tone in his music d’

ramas ,“S iegfried ,

” “ The Valkyrie

and The hIeistersingers.

”Another very suggestive use in Opera may b e

heard in the “ Bell Song from “ L akmé”

(Del ibes) (Records 74491 ,745 10 ,

Victor Herbert obtains excellent effects with the bells in

his Babes in Toyland music (RecordAn effective use of the orchestra bells as a solo instrument is heard in

an arrangement of Menuetts by Gluck and Mozart (Record A

very characteri stic bell piece is the melody known as“ Secret L ove ”

Gavotte (Jos . Resch) (Record 3567 1 -B) .

CELESTAHE CE L ESTA is a modern instrument invented byAuguste lVIustel , of Paris , in 1 886 . This instrument is akeyboard instrument like a small organ . It has a compass

of four octaves , capable of pro 8 m

ducing forty-nine notes of thechromatic scale from C to C . Thebell-l ike tones are produced by a

piano action , attached to ham

mers which strike small steel plates suspended over accurately tuned

wooden resonating boxes . A pedal is usedto sustainthe tones .

46 P E R C U S S I O N

The celesta did not enter the orchestra until 1 891 . In that year Tschaikow sky , the famous Russian composer , visited America to be present atthe openin g of Carnegie Hall , New York . The composer w as working uponhis

“Nutcracker

”Ballet and a Symphonic poem ,

“The Dream of theVolga

”

(V oyevode) . Stoppin g in Paris he saw and heard the celesta , andwrote to his publisher : I have discovered a new in strument in Paris

something between a piano and glockenspiel , with a divinely beautiful

tone"I want to introduce this in to the ballet and symphon ic poem . Thein strument is called the ‘

Celesla M ustel ’ and costs 1 200 francs . You can

only buy i t from the inventor , lVIustel , in Paris . Shortly afterwards

Tschaikowsky introduced the in strumentto supplythe color in the Dance

of the Sugar Plum Fairy (Dam e de la Feé Dr agée) of the“ Nutcracker

Suite (Record 3567 1 —B) . The part is here written as played , altho usually ,

because ofthe high pitch of the instrumen t ,the parts are written an octavelower than they sound . The celesta has sin ce been used by many composers ,includin g G lazounoff, Rimsky—Korsakoff , Mahler , Charpentier, L eon

caval lo , Puccini , Frederick S . Converse and Percy Grainger .Excellent examples of the celesta used as a solo in strument are heard

i n the tran scriptions of Drink to '

M e Only and“To a “i ild Rose

(Record“Home , Sweet Home and “

Scotch Songs (Record

O ld Black Joe” and Old Folks at Home (Record

S i len t Night (Record The tinkling sweetness of the Celestagives a p leasing effect in instrumental combinations ; with the violin in

hTassa’

s i n the Cold , Cold Ground (Record with the Violin,

flute and harp in“The Dawn of L ove (Theodore Bendix) (Record

1 8296-A ) , and Fedora Gavotte ”(L apitino) (Record 1 7681 —A ) with Violin ,

’cello and piano in In the Gloam ing (A . F . Harrison ) (Record 18063-A) .

MARIMBAHE Marimba is an instrument of the Xylophone class ,which became popular atthe Panama-Pacific Exposi

tion in 1 915 It is said to have originated among the

Tecomate, a tribe of Indians inthe State of Chiap as ,Mexico . Its development is due to the untiring efforts

of Sebastian Hurtado , of Q uezaltenango , Guatemala ,

where excellent marimbas are manufactured . There is asimilar instrument invented and u sed by the natives of

western Africa . The marimba consists of a series of slabs hf graduated

length, arranged ladder-l ike on a cord , resting on a framework about

M A R I M B A 47

three feet. high (not unlike the familiar saw —horse) . They are made of

mahogany , hormigmflo, and agnacate, hard compact woods of CentralAmerica . Under each slab is a wooden resonator

,l ike a “ stopped pipe in

an organ , carefullytuned tothetone of the slab . This i s also constructedof some special native wood such astar iscob and guachip il in . (Inthe Afcan marimbas , the resonators are made of hollow gourds .) At the bottom

of each resonating box is a small hole covered with thin bladder , which

accounts for the peculiar buzz ing sound of the notes . The soft , mellow ,

bell-l ike tone ofthe marimba is due to these resonators . It requires fromtw o to eight performers to play the Bl ar imba, or Marimbas , as tw o aregenerally used . The players stand around the instrument , each playing his

part in a sector , as with hand bells , the fundamental tones being fi lled i n

by athree-string double-bass . This combination is spoken of as a l\-’Tarimba

Band . Tw o wooden hammers , often rubber-tipped , are used by each player .

Thetremolo effect i s frequently used as in the Xylophone . Recently an

American manufacturer has taken up the manufacture of marimbas ,which are cal led n abimbas and ma r imbaphones. These instruments are

gradually coming into use . The compass of the nabimba i s four octaves ,extending from Fto F . The large Guatemalama

rimba shown on the chart has a compass of six

and one-half octaves , extending from F to C .

A few modern compos 8 0 a

0ers have introduced the

color of the marimba intothe symphonytra ,

but its use is usually confined to the danceorchestra . Its tone-quality and range are exhib

ited in an arrangement of the “Habafiera ,

”from 8 0 4

Bizet’s “ Carmen ”

(Record 35671 -B) , and in the following selection s by

l\Iar imba Bands “Colombia

”

(Record“Otilia hIarch

(Record Intermezzo from “Ca-z:allcr ia Rusticana ”

(hIascagn i)~

(Record Artist ‘s L ife “7altz (S trauss) (Record and

“Aida”Selection (Record

48 F O U R S P E C I A L V I C T O R R E C O R D S

The following records reproduce the tone-quality of each instrumentsingly , showing its approximate range , then in famil ies or sections , lastlythe full ensemble .

In str um ents ofth e O rch estra— Part 1 , St rings(With Vocal Announcements ) V ic tor Orchestra

1 . The Viol in— Spri ng S on g (Mendelssohn )— 2 . The Viola— Traumerei (S chumann )3 The Violoncel lo— F low er Son g ( Lan ge) — 4 . Contr abass~ Imp rov isation— 5 . Viol inPi zzicato— Dream A fter the Bal l— ( Br ostet) — 6 . String Q uartet~ l ntermezzo Cava ller ia Rusticana— (Mascagn i ) — 7 . The Harp

~ Harp That Once Thro' Tara‘s Ha l lsPart II— V Voodw ind V ictor Orchestra

1 . The Piccolo— Yankee Doodle— 2 . The F lute— W i l l iam Tel l Overture ( Rossin i )3. The Oboe— W i l l iam Tel l Overture ( Rossin i ) — 4 . The Engl ish Horn— Tan nhauser( V

Vag ner )— 5 . The Clarinet— Z ampa (Herol d )- 6 . The Bassoon— Deep inthe Cel lar

7 . The Woodw ind Section— Lohen grin (Wagner)

In str um en ts ofth e O r ch estr a — Part III , B rass(With Vocal Announcemen ts) V ictor Orchestra

1 . The Fren ch Horn— Titl 's S erenade (Tit l) — 2 . The Cornet— Red , Wh ite and B lue3. The Trombone— Rocked i nthe Cradle ofthe Deep ( J . P . Kn ight) — 4 . The Tuba ~

Rocked inthe Cradle ofthe Deep (J . P . Kn ight)— 5 . Brass Q uartet— Day ofthe LordPart IV— Percussion In strum en ts and Ent ire Victor Orchestra

1 . The Tympan i (Kett ledrums )— 2 . The Sma ll Drum— 3. Bel ls— Monastery Be l ls(Wely)— 4 . The En tire Orchestra— W i l l iam Te l l Overture

In str um ents ofth e Or ch es tr a — (2nd Seri es ) (Without Announcemen ts)Part I— Strings V ictor Orchestr a

1 . Harp— Overture. M ignon (Thomas)— 2 . Viol in— S trin g Q uartet in C M in or . Op .18 , No. 4 ( Beethoven ) — 3. Viola -Rec itative , Act3Fr eischi'itz (Weber )— 4 . Violoncel lo— Over ture, W i l l iam Tel l ( Rossin i )— 5 . Contrabass— Faust Overture— 6 . S tringrEnsemble -The Pizz icato, Sy lv ia Bal let (De l ibes)— 7 . S tring Ensemb le— Ba l letMusic from Orfeo (G lu ck)

Part I I— VVoodw ind V ictor Orchestra1 . P icco lo— W i l l-o'

-the-W isp , Dam nation of Faust (Berli oz)— 2 . F lute— Overture ,Semiram ide (Rossin i ) — 3. Oboe— Aida, Act3 (Verdi ) — 4 . Engl ish Horn— Largo, NewWorld S ymphony (Dvorak) — 5 . Clari net— Overture , Orpheus (Ofi enb ach)— 6 . Bassoon— S cherzo , 3rd Symphony (S chumann ) —7 . Ensem ble—Weddi ng M arch , Lohen grin(Wagner)

In st r um ents ofth e Or ch es tra— (2nd Series) (Without Announcements)Part III , Brass V ictor Orchestra

1 . French Horn— Overture , M ignon (Thomas) — 2 . Trumpet— Overture , Fr a Diavolo(Auber) — 3. Trombone , P i lgrims ' Chorus , Tann hauser (Wagner)— 4 . Tuba— DragonMotive , S ieg fr i d (Wagner) — 5 . Ensemble— Chorale (Bach)

Part IV— Percuss ion and En tire Orchestra Victor Orchestra1 . Tympan i (Kett ledrums) — Eroica S ymphony— (Beethoven ) — 2 . S ide Drum— FraDiavolo (Auber)— 3. M arimba— Habanera, Carmen (B izet) — 4 . Castanets— S pan ishRhythm— 5 . Orchestra Bel ls— Secret Love G avotte (Resch)— 6 . Xy lophone— W itch'sDance, Hansel and G rete l (Humperd in ck ) — 7 . G ong— 8 . Celesta— Dance of the“S u ear Plum Fairy , Nutcracker Su ite (Tschaikow sky) — 9. Entire OrchestraPi q ue Dame Overture (S uppe)

35236

35237

35670

35671

NOTE— These orchestra i l lustration records are d iv ided into sections for teach in g purposes andcann ot be p layed cont inuous ly .

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50 I N D E X O F R E C O R D S

P A G E P A G ED orothy (Se3mour S— r ui th )D i ink to M e On ly 33ith Tliine Eves(Cel esta Solo)Duet of the Flow ers Madam e Butter

fly (Pucc in i)Egmon t Overture (Beethoven )1 8 1 2 Overture (Tschaikow sky )El Celoso (A lv arez) .

El ijah (lVIendelssohn ) 1 6

El is ir D ’

Amore (Don izetti ) 30Eroica Symphony (B eethoven ) 41

En tr’ac tes Carm en 21 23, 24 , 42

Fackel tanz (M eyerbeei ) 38Faust (Gounod) . 1 8 , 28

Faust Ov eiture . 1 8

Fed0 1 a GavotteF ifth Symphony (Schei zo) (Ifeetho3en )

1 6 , 1 8 .

F ifth Symphony , in C Minor (Beethoven )4 , I4 , 1 6 , 1 8 , 22, 24, 29, 30, 35 , 37 , 4 1

Flonzaley Quartet 1 8

Foun ta in , The (Z abel ) Harp Solo . 9

Fourth Symphony , in F Minor (Tscha ikow sky ) 25 , 36 , 41

Fra D iavolo Overture (Auber) 33, 41

F reisch'

utz , Der (Weber) 14 , 1 8, 28 , 35From the New “l

or ld Symphony (Dv oi zi k) 26Funeral March—

“ S i egfried (Wagner) . 38

Gavotte No . 2 (Popper) 1 6

Gavotte from Second Sonata (Bach) . 9

Gavotte from “Mignon" (Thomas ) 44

Gavotte (G 1 etry ) 44

G a3otte (Mozar t) 44

G Minor Symphony (Mozart) . .4 21 , 28, 29

G oyescas— Intermezzo 42

Habanera— “ Carm en (B izet) 47

Hansel and Gretel (Humperdinck ) 44

Harleq u in ’s Seren ade 1 1

Have P ity , Sw eet Eyes (Tenagl ia) . 12

Hear Me, Norma (Bell in i ) 25 , 28

Hebrew Melody (Achi on ) 1 2

Her B lanket (Lieurance) 22

Home, Sw eet Home (Pa3ne B ishop ) . 46

Huguenots, The 23, 26Humoresq ue 9

Ind ian Lamen t 1 9

Indian Songs , by Tli u r low L ieu rance .9352

In termezzo to “M idsummei -Night's

1 6 21 30In the Gloam ing (Hairison) . 46

In the Fi eld There Stood a Birch Tree(Tscli aikow skys Fourth Symphony) . 25

In the Hall of the Moun tain King (Grieg)30, 43Instruments of the Orchestra .

I tal ian Symphony (Mendelssohn ) 1 4 , 30, 35I t i s Enough—

“El ij ah ” (Mendelssohn ) . 1 6

Intermezzo “ Cavall eria Rust icana(Mascagni ) 47 , 48

Jocely n . Berceuse from (Godard ) . 17

Judas Maccabaeus Sound an A larm(Handel )

Jupiter Symphony (NIozart)Lady of the L akw Ave Maria (Scott

Lakme— Bel l SongLa1 go, from New World SymphonyLe Cygn e (Sain tLeonore Overture, NO . 3 (B eethoven) .

L iberty Loan March (Sousa) .

L iebesfreud (Kreisler)L ieurance, Thurlow — Songs by .

Lo, Here the Gentl e Lark (B ishop ) .

Lohengrin— Prel ude (Wagner) 24 ,

Luc i a— Mad Scene (Don izetti ) .

Luc i a— Prelude (Don izett i)Lul laby (Bredt-Vern e) .

Madam a Butterfly— Fantasia (Pucc in i )hi adama B utterfly (Pucc in i ) . . 9,

IVIad Sc en e fl om Luc ia (Don izetti) .

M agic Fl ute (Mozart) .

Marche Mil i taire (Sain t—Saens)l\’Iar che Mil itaire (Schubert)Marche S lav (Tschaikow sky )Marr iage of F igaro (Mozart)Massa’s in the Cold Ground (Foster) .

Mazurka (Chopin )Mazurka— Coppel ia Bal let (Del ibes) .

Melody in F (Rubinstein)Menuet (V alensin )Menuett (Hassehn ans)Menuett (Gluck) .

Menuett (Mozart)M enuetto (B eethoven) .

M enuetto (Mozart)M enuetto from Quartet in E Flat (Mozart)Merry Wives of Windsor (Nicolai) .

Mess iah— The Trumpet Shal l Sound(Han del)

M idsummer-Night 's Dream , In term ezzo(IVIendelssohn ) l l , 1 6 , 21 ,

M idsummer-Night's D ream , Nocturne(Mendelssohn ) . 21 ,

Midsumm er-Night’s D ream , Overture(Mendel ssohn ) .

Midsummer-Night's Dream , Scherzo(Mendelssohn) .

Mignon— Gavotte (Thomas) .

Mignon— Ov e1tu1 e (Thomas) .

Mil itary Symphon3 (Ha3dn ) .4, 33, 41 ,M il itary Bal l— “Babes in Toyland(Herbert)Minuet of “

V Vill-o’-the-W isp (B erl ioz) 8,

M inute Wal tz (Chopin)M iserere — “

Il Trovatore (Verdi ) 37 ,

Molto Lento (Rubinste in ) .

Mom ent Musical e (Schubert)Mountain Scen e Carmen (Bizet

I H

)

21

44

3543

4322

1 1

45

1 8

. 44

21

I N D E X O F R E C O R D S

New 11’0 1‘ld Symphony (Dvorak)Norma (Bel l in i)Norw egian Echo Song (Thrane)Noctu r ne M idsummer-N ights D ream(Mendelssohn ) . . 21 . 30,

Nutcracker Su ite (Tscha ikow sky)9. 21 , 23, “26 . 30 , 36 , 42 .

Oberon Overture (11’cber) 28.

Old B lack Joe (S tephen Foster) . 1 2 ,

Old Folks at Home (Stephen Foster) .26 ,

Oriental e (Gu i)Orpheus and Eurid ice (Gluck )i heus O3e1tu1 e0 Sole M io (di Capua)Otel lo— 1V illo3

_

v Song (1 e1 di )Otilia Mai ch (M aJ imba)O v ertu1 e Carn ival Romain (B erl ioz ) . 26

O v erture— 1 812 (Tschaikow sky )O ve1t1 1 1e— 131 a D iavolo .33.

O ve1 ture— Faust gner ) .

O3erture— Der R eischiitz (11eber) 18 328O v eiturt ag ic l lute (M ozait)Overture — Merry 11

"ives of Windsor

(Ni cola i)Over ture — 11 I 1dsummer-N1 fr htsDi eam 1 1 ,

O v e1 turo — 11 ’I ignon 0.

Overture — Leon0 1 e No . 3Overture— Oberon (11’eber)O vertur ch -Orpheus (Offenbach)Overture— Tannhauser (11’agn er)Overture— Wil l iam Tel l (Rossin i )

1 6 , 2 3, 26 ,

Overturn; Z ampa (Herold )Pagl iacc i , I (Leoncaval l o)Paloma . (Yradier ) .

Part ida . La (Al varez) .

Pars11al (Wagner) .

Pastoral— (Sixth) Symphony (Beethoven)1 6 ,

21 .

”34,

Pathetic Symphony (Tschaikow sky )1 6 , 28 , 30. 37 ,

Pearl F ishers (B izet )Pear l of Braz i l (D av id) .

Peer Gyn t Su ite (Grieg) . . 1 6 , 30 ,

P iti , Patl' Pouf The Huguenots(Meyerbee1 )

85

46

3546

46

1 7

21

3047

42

44

4 1

1 8

3521

1 1

30

41

Pilgrims Chm us Tannh'

zi user (11 .1 0 11er ) 37

Pilg 1 1m s Mai ch ( 1 Iendelssoh1 1 ) . 14

Pi aeludium (Jar nefelt )Polk a Fantasti que (BO 1 ( 133ald) 30

Prelude to “ Lohengrin ”

(Wagn er) 12, 24, 37

Prelude to TYistan and Isolde (Wagn er) 1 6Pr ize Song (Wagn er) 1 7

Prier e (Hasselmans) 9

P1 ocessional of the Kn ights Parsifal(11 agner )Proch s -\ir 33ith 1 m iations (Proch) .

P1 0 10 0‘

11e to I Pagl iacciQ ualtetfor S t1 ings Music of the

Q I A “ \U[D k f

5 1

PtG EQuartet in C Minor (Beethoven) 18

Quartet in D Minor (Mozart) 18

Quartet in D Major (M ozart) 1 8

Quartet in E Flat (Ditter sdorf) 1 8

Quartet in F Major (Beethoven) 18

Quartet in G Major (D ittersdorf) 1 8

Quartet in E Flat (IVIozart) . 18

Reconc i liation Polka (B rigo) 1 1

Reve1 ie du Soir (Sain t Sa '

en s) . 1 4

Romance (Rubinstein ) . 9

Romance No . 1 (for Oboe) (Schumann ) 24

Romanza— The Huguenots (Meyerbeer)Ronde des Lutin s (Dance of the Gobl in s)(Op . 25 ,

A . Bazzin i)Rosary , The (Nevin ) (Cornet Solo)Rustic“( edding Symphony (Goldmark) 24 , 28Sam son etDal il a (Saint—Sa '

ens) 43

Scherzo— C M inor Symphony (Beethov en) . 18, 35 , 41

Scherzo from String Quartet (Beethoven ) 1 8Scherzo IVIidsummer-N-ight

’

s D ream(M endelsso hn ) .

Scotch Songs (Celes ta Solo) .

Serenade (Schubert)Serenade (T i tl )S erenadeSe1 e11adc — Rustic 11 edding S ymphony(Goldmark) .

Sem il am ide O3e1t11 1e (Ross in i) .

Sec1 etLove Gavotte (Reach ) .

S hadow Song D in orah ( 131 143e1 beer)S ic i l iana (Mascagni) 9

S iegfr ied s Fun eral March (11 1re 1i er ) 88

S iegf1 i ed s Ho1 n Call (Wagn e1 35S iegfried—[D1 11 gon Fafnei 38S iegmund s Love Song ( 11 ag11e1 ) 1 6

S i l ent Night (G l uber) 46

Siou\' Sei enade (L ie11 1 ance) 22

Sixth Symphony-Patl1etic (Tschaikow sky ) 41S ixth Sy 111pho113— Pasto1 al (B eethoven)

1 6 , 21 , 24 , 28

S l um ber Song (Brahms) . 1 6 , 17

Sold i er s D1 e11m (Co rn et) 34

Song of the V iki ngs (Fan ing) 43

S0 1md an 4111 1 111 (Hawndel) 33S pan ish Dance (Sarasate) 1 2

Span ish Dance No . 1 in C 1\Iajor (Moszko33ski ) .

Span ish DanceNo . 2 in G Minor (11Ioszpkow ski) ” 28 , 42

Span i sh Dance No . 5— Bolero in D Major(Moszkow ski) 42

S pan ish Serenade (Bizet) 42

SpeakAgain Huguenots (Meye1 beer) 26

Spinn ing Wheel (Sp indler) 22

St . Pau l Be Thou Faithfu l (M endelssohn )Stabat Mater (Rossini)Storm Scen e —Wi l lia1n Tell Overture(Rossini) .

5 12 I N D E X O F R E C O R D S

P A G EStyri 1g Q uaitet. 1 8

Sui te 4 1ge1 ienne (Saint Saen s) 1 4

Suite in D Major (Bach) 4

Surprise Symphony (Haydn) . 4

Sw an ,The (Le Cygne) (Saint—Saens) . 1 6

Sw eet B ird (Handel ) Woodw ind 25

Sw eet Bi rd , That Shunnestthe Noise ofFol ly (Handel) . 22

Sw eet the Angelus is Ringing (Sm art) . 44

Syl v ia Bal l et (Delibes) . 1 1

Symphony from The New World(Dvorak) 26

Symphony— Eroica (Beethoven ) 41

Symphony—" I ta l ian (Mendelssohn) 35Symphony— Jupiter (Mozart) 4 , 21

Symphony— Mil ita ry (Haydn ) 4, 33, 41 , 43Symphony— Pastoral (Beethoven )

1 6 , 21 , 24 , 28

Symphony— Pathetic (Tschaikow sky)1 6 , 28 , 30, 37 , 41

Symphony— Rustic Wedd ing (Goldmark) 28Symphony No . 5 in C Minor (Beethoven )

4 , 14 , 1 6 , 1 8 , 22, 24, 30, 35 , 37 , 41Symphony No . 4 in F Minor (Tschai

25 ,

Symphony m G M inor (Mozar t) 4, 21 , 28, 29

Symphony— Surp i ise (Haydn ) 4

Symphony— Unfin ished (Schubert) . 1 6

Tannhauser 26 , 36 , 37 , 43Tannhauser March . 33

Taran tel la (Saint—Saens) 28

Thou B ri l l iant B i rd (David) 22

Third Symphony— Scherzo 30

NUMERICA L L IST OF VICTOR RECORDS USED FOR EXAMPL ES

1 6046 1 801 2 31 423 35268 35520 45072 64267 70029 74509 88067

1 6371 1 8040 31 631 35 270 35527 45076 64482 70031 745 10 88068

1 65 14 1 8042 31 735 35275 35557 45096 64544 70050 74525 8807 1

16899 18048 31739 3531 1 35559 45 1 1 1 64601 70055 74532 880731 806 1 31 779 3531 4 35574 45 1 15 64638 70066 74542 88087

1 7035 18063 31 800 35390 3558055047

64640 70088 74553 88148

17 1 74 181 19 35353 3558155050

6466 1 70091 74554 88210

1 7278 1 81 24 35090 35369 3558455052

64671 74557 88276

174 1 8 1821 6 35 1 Q3 35381 3562555054

647 1 4 74560 88297

1 7642 1 821 7 85 155 35428 3569755055

64744 74080 74567 88298

1 7671 1 8278 35 1 57 35430 3563755067

64758 741 1 1 74568 88299

1 7674 1 8296 35 1 66 35437 3564455093 64768 74569 88307

17681 1831 2 35 1 7 1 35443 35656 64784 74136 74570 8831 8

17691 18888 35 1 72 35452 85668 60026F 741 56 74576 88339

17707 18344 35 1 74 35456 35669 60034 6800 2741 76 74579 88404

18879 60080 68205178 1 5 85 1 88 35462 35070

60098 6890771 1 97

87030 gsggg17842 18396 85881 35464 3567 16821 0

7421987072

17844 184 1 8 85886 35482 35688 681 0168332 74325

8796988530

17909 18430 85887 35489 681 0868359 74380

875 1288536

1 791 7 18431 35241 35493 45007 68686 7437989008

17988 18444 35243 85505 45053 68660 70088 74387 8808189030

17989 18445 35244 85506 45066 64076 70086 7 1 1 91 88086

17964 8 1887 85865 85508 45070 64 1 97 70087 71 500 88042 95800

P A G E.Titl’s SerenadeTo a Wild Rose (M acDow ell)To My Gu ita r (Popper) 1 6Torch Dance (Meyerbeer) . 38Traumerei (Reverie) (Schumann) . . 1 2 , 1 4Trista n and Isolde (Wagner) 1 6 . 26

Triumphal March— “Aida ”

(Verd i) . .34 . 37Trovatore— Miserere (Verd i) . .37 , 45Trumpet Shal l Sound—

“Mess iah (Handel )Tw i l ight of the God s (Wagner) .

Tw o Ind ian Song s (L ieurance)Una Furtiva Lagrima El is ir D '

Amore

(Don izetti) 30Unfin ished Symphony (Schubert) 1 6

Valse B l uette (Dr igo) “ 1 2

Valse de Concert (Hass

w

elmans) 9

Valkyrie, The (Wagner) . 1 6

Variations on an A i r from The Daughterofthe Regim en t ” (Don izetti-Adam ) .

V oi Che Sapeteh “M ar r iage of F igaro

(Mozart) 1 1

Waltz of the Flow ers (Tschaikow sky) . E) , 36Whirlw ind (Krantz)Wil l iam Tel l Overture (Ross in i)

1 6 , 2 1 , 2 1 1, 2G, 33Willow Song from Otell o (Verd i)Wind Amongst the Trees (Br icc ialdi) .

Witch’s Dance from “Hansel and G r etel(Humperd inck )

Z ampa Overture (Herold)