VICTOR JAmm MACHINE CO. 
 Instwuments 
 
 OF THE 
 
 Orchestha 
 
Cornell University Library 
 ML 460.R12 
 
 Instruments of the orchestra by sights s 
 
 3 1924 021 636 547 
 
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 INSTRUMENTS OF THE 
 ORCHESTRA 
 
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The original of tiiis book is in 
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 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924021636547 
 
INSTRUMENTS OF THE 
 ORCHESTRA 
 
 BY SIGHT AND SOUND 
 
 ■*5* 
 
 A DESCRIPTION OF THE INSTRUMENTS 
 
 AND THEIR USE 
 
 ILLUSTRATED BY SPECIAL CHARTS IN C«»I,OR 
 
 AND BY 
 
 VICTOR RECORDS ON WHICH THEY BIAY BE HEARD 
 
 Published by the 
 
 Educational Department of the 
 VICTOR TALKING MACHINE CO. 
 
 Camden, N. J., U. S. A. 
 
 COPYKKiliT, l!)ia, 11 V THR VICTOR TAI.KIN'G MACHINE COJIPA.S V, CA^f r'KN, N. J., V. S. A. 
 

 
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INSTRUMENTS OF THE 
 ORCHESTRA 
 
 THE ORCHESTRA 
 
 HAT is that peculiar-sounding instrument?" we often 
 wonder as we listen to tlie orchestra at the theatre, opera 
 or symphony concert. It may be the ^'eiled tone of tlie 
 viola, the nasal voice of the oboe, or the mellow notes of 
 the French horn. A more definite knowledge of these 
 instruments \Aould add greatly to our enjoyment. 
 
 The coming of the Mctrola has greatly enlarged the 
 field of music appreciation. Now that Victor records bring 
 to every home and school the music of the great symf)hony orchestras, the 
 listener needs all the more to know something about each orchestral instru- 
 ment and the part it plays in the full orchestra. This set of charts is designed 
 to give an idea of the form and color of each instrument, and is to be used 
 in conjunction with special records (35670, 3.5671, or 35236, 35237), which 
 give solo passages bj' each, arranged according to its i:)osition in the String, ' 
 Woodwind, Brass and Percussion sections of the orchestra. In tliis way, the 
 eye may become familiar with the appearance of the instrument and the 
 m.ethod of playing it, while the ear may become familiar with its voice. 
 Special attention is also called to complete selections in which the voices of 
 the instruments are exhibited to advantage. 
 
 The orchestra takes its name from the place it occupies in the modern 
 theatre. In the theatre of the ancient Greeks, the orchestra was the semi- 
 circular dancing space for the chorus, between the audience and the stage. 
 Early in tlie nineteenth century the name of the place was used to designate 
 the bodj' of musicians who occupied it. This connection of the name with 
 the theatre is significant, for the progress of modern orchestral music dates 
 largely from the performance of the first opera at Florence in the year 1600. 
 Before the time of opera it 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 polyi^honic manner. The birth of opera was a 
 revolt against the contrapuntal style. Opera brought into use a new melodic 
 style in which the solo voice sang to the harmonic accompaniment of instru- 
 ments chosen for their dramatic color. In those days many instruments of 
 
THE ORCHESTRA 
 
 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 trehle viol to 
 support the high voices brought about the perfection of the violin about 
 1650. In this early development a ^'ery important part was taken bj^ the 
 composer, Monteverde, who made the violin a regular member, and the 
 strings the main body, of his orchestra. As instruments improved the ten- 
 dency grew to write for the orchestra without voices. This led to the Suites 
 or collections of dances for orchestra, a typical example of which is Bach's 
 " D-Major Suite" (Records 35669, ,35656). The suite developed into the 
 symphony of Haydn, who, more than a century and a half ago, perfected the 
 symjihony orchestra with its four groups of instruments. Haydn's orchestra 
 consisted of a string choir of first and second violins, violas, 'cellos and 
 double-))ass; these formed the "backbone" of the orchestra. The woodwind 
 included not more than two flutes, t^^-o oboes and two bassoons. Ta^o natural 
 horns and two natural trumpets furnished the brass. The percussion con- 
 sisted of a pair of kettledrums, with the occasional use of the triangle and 
 cymbals. Haydn's method of writing for these instruments may be heard 
 in the " Surprise" Symjjhony (Records 35243, 35'-244) and in the " Military" 
 Symi)hony (Records 35311, 35520). Mozart, Haydn's friend and pupil, 
 added two clarinets to the woodwind; in his ojiera music he also used 
 trombones. Mozart's fine instinct for orchestral coloring is shown in two of 
 his greatest symphonies, the " G Minor " (Records 35482, 35489) and the 
 "Jupiter" (Records 17707, 35430). But the symphony orchestra owes its 
 greatest de^'eloj^ment to Beethoven, who used every instrument more 
 independently, bringing out its own individuality. In his great " Symphony 
 No. 5 in C Minor" (Records 18124, 35580, 18278, 35637), three trom- 
 bones, a ])iccolo 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 
 vah'es for the brass instruments, and an impro\'ed 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 l)y these 
 composers, as were also the English horn, the bass clarinet, and the bass 
 tuba. Instruments which were at first used in pairs were increased to groups 
 of three, and in some cases a fourth instrument was added so that each group 
 
THE ORCHESTRA 
 
 could play in four-part harmony. The modern school of "Impressionists" 
 uses orchestral color to convey every shade of emotional feeling. Modern 
 composers require an orchestra of nearly one hundred pieces, about sixty 
 of which are strings. Comparing this "grand" symphony orchestra with 
 the small symphony orchestra of eighteen pieces with which Haydn l)egan, 
 one may have some idea 
 of the progress of orches- 
 tral music in the last one 
 hundred and fifty years. 
 The orchestral con- 
 ductor has at his com- 
 mand the most wonder- 
 ful and resourceful means 
 of inusical expression in 
 the world. Building upon 
 the elements of rhythm, 
 melody, harmony and 
 counterpoint, the com- 
 poser for orchestra has 
 the colors of all the dif- 
 ferent instruments with 
 which to weave his tex- 
 ture. Although the voice 
 of the orchestra embraces 
 a compass only slightly 
 greater than that of the 
 pianoforte, it has powers 
 of expression which cover 
 the entire range of human 
 emotion, and a dynamic 
 
 which extends 
 
 JOSEPH PASTERNACK 
 
 MUSICAL DIRECTOR, VICTOR TALKING MACHINK COMPAXV 
 
 power 
 
 from a muted whisper to a deafening blast. Almost every instrument may 
 be a soloist, with a harmonic background of the others. Single instru- 
 ments or choirs may alternate with one another for contrast, or they may 
 be combined in infinite variety. Then again, all the instruments may play 
 together in their combined strength. To the listener who is familiar with 
 the personality of each instrument and the emotional effect of its voice, 
 Victor records of orchestral music reveal a living message from the master 
 minds of the ages. 
 
STRINGS 
 
 HARP 
 
 THE HARP is one of the oldest musical instruments, j-et it 
 has only become a regular meml)er of the sym])]iony or- 
 chestra in the last half century. It is pictured in the Egyp- 
 tian wall-paintings and bas-reliefs of three thousand years 
 ago. In those remote times liow-shajied and triangular 
 forms of the harp ^vere in common use. They lacked the 
 vertical i)illar of the modern harp; their form suggests 
 their origin in the huntsman's bow with its twanging cord. 
 Egyptian forms of the harp were no doubt borrowed by the ancient Hebrews 
 and Assyrians. The playing of the harj) is always associated with the psalms 
 and rhajjsodies of the Hebrew prophets. We find the triangular harps, in 
 company with the lyre and cythara, i)ictured in the vase paintings of the 
 ancient Greeks. From the sixth to the twelfth century the harp came into 
 great prominence in northern Em-ope, where it was used by the Troubadours, 
 Minnesingers and Norse Bards. From Europe it passed over into the British 
 Isles, where it was given a special place of honor among the Celtic peoples 
 of Ireland, Scotland and Wales. The name itself comes from the Anglo- 
 Saxon word hearpe, a fact which emjjhasizes the important jjlace the harp 
 held in the social life of the Anglo-Saxon people. The stories of Alfred 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 
 1720, when pedals were invented to raise the strings a half-tone. In 1810, 
 ninety years later, Sebastian Erard jjerfected the pedal mechanism of his 
 double-action harp, which made it possible to shorten the strings so as to 
 raise the pitch a half-tone or whole-tone, and to play in all keys. 
 
 As it 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 tlie strings, and the pedal-box, 
 or round base. The ])illar is hollow and holds the rods which connect the 
 string mechanism with the pedals. There are seven pedals which raise the 
 
STRINGS 
 
 pitch of the strings. The harp is normally tuned to the key of C flat major. 
 When the seven pedals are pressed down half way, the pitch is raised to C 
 natural. Pressed down the whole way, the other extreme in the key of C 
 sharp is olitained. A single pedal aft'ects all the strings of the same name 
 which it controls; the C i)edal affects all the C strings, the D pedal the D 
 strings, etc. This mechanism somewhat limits the powers of modulation, 
 and makes it necessary for the composer to write carefully, adhering as 
 closely as j)ossible to the diatonic scale. (A "Chromatic Harp," avoiding 
 this difficulty, has recently been invented, but has not come into general 
 use.) There are forty-seven strings; the eleven longest are wired, the others 
 are 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 is written in the treble and bass clefs, the same as for pianoforte. 
 Since 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 
 instrument. The diatonic compass is about five octaves, extending from C 
 flat to G flat. nya 
 
 The character of the music liest adapted to t>-e»- 
 
 the harp has received the Italian name for the ^ 
 
 instrument, arpeggio, which is applied to the *Jr ^ 
 
 broken chord effects so characteristic of it. An- .Y 
 
 other device constantly emploj^ed is the smorzaio> zz 
 
 which is obtained by plucking the strings, and ''*^ 
 
 then suddenly pressing the hand against them, stopjjing the vibra- 
 tions. Gli.inundo passages are played by quickly sweeping the hand o^'er 
 all the strings. When the strings are jjlucked near the sound board, a 
 metallic tone, like a banjo or guitar, is produced. Harmonics are played on 
 the harp by pressing the hand lightly against the middle of the string, and 
 then plucking it with the thumi) of the same hand. Berlioz, who was a 
 ])ioneer in liringing the harp into the orchestra, used the harmonics of the 
 harp to give a delicate ethereal effect in the "Minuet of the Will-o'-the- 
 Wis])s '" from the "Damnation of Faust " (Record So-tO'^-A). Liszt has made 
 a similar effective use of harp harmonics in "Les Preludes." Usually two 
 har])s are employed in the modern symphonj' orchestra. In the opera or- 
 chestra, the number varies according to the special demands upon it; 
 Wagner calls for six hari)s 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 distinctive voice sounds in jjleasing 
 contrast with the other instruments. 
 
HARP 9 
 
 Thomas has introduced a very effective cadenza for harp at tire 
 beginning of the overtiu-e to "Mignon" (Records 35670-A, 17909-A). 
 Tschaikowsky has made a similar use of the liarp at the beginning of 
 the "Waltz of the Flowers" from the "Nutcracker Suite." Bizet wrote 
 for the harp in a masterlj' style, using it to advantage in "Carmen," and 
 in "The Pearl Fishers." In the love song, "7)e mon Amie, " from the latter 
 work, a harp accompaniment is used with an oboe introduction (Record 
 87209). Wagner used it for historic color in "Tannhauser" in the scene of 
 the contest of the Minnesingers at the Wartburg, and thereafter greatly 
 amplified its use in his other works, notably in "The Mastersingers," 
 "Tristan and Isolde" and "The Valkyrie." Verdi used it very appropri- 
 ately to supply ancient Egyjjtian color in his opera " Ai'da" (Record 35428). 
 Gounod used exquisite taste and judgment in his use of the harp in his 
 opera "Faust." Mascagni uses it to accompany the '' Siciluina," a j)art of 
 the prelude to his oj^era, " Cavalleria Rusticana" (Records 18061-A, 64544, 
 8707'2). 
 
 Puccini often employs the harp as a graceful embroidery to the melodj' 
 of iiis operas, as in the duet at the end of Act I of "La Bohcme" (Records 
 87512, 95200), and in the "Duet of the Flowers," from "Madame Butter- 
 flj^" (Record 89008). Of the modern school of "Impressionists," Debussy 
 has made some striking uses of the harp, as in "The Afternoon of a Faun" 
 (Record 35464). 
 
 The harp accompaniment is especially attractive in lyric songs, as in 
 Schubert's "Ave Maria" from Scott's "Lady of the Lake" (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" (Zabel) (Record 70031); "Consolation" 
 (Mendelssohn) and "Humoresque" (Dvorak) (Record 18119); "Gavotte" 
 from 2d Sonata (Bach) and "Romance" (Rubinstein) (Record 45070); 
 "Lucia" Prelude (Donizetti) and "Norma" (Bellini) (Record 17929); 
 "Menuett" (Hasselmans) (Record 60034); "Pricre" (Hasselmans) 
 (Record 70027); "Valse de Concert" (Hasselmans) (Record 70088). 
 
 Mozart wrote a Concerto for Harp and Flute, the first movement of 
 which gi^es one a good idea of the blending powers of these two instru- 
 ments (Record 70029). 
 
10 
 
 STRINGS 
 
 VIOLIN 
 
 HE ^^lOLIN is the soprano of the string section of the 
 orcliestra. It has great flexibility and agility of jjerform- 
 ance. These ad^•antages, together with its complete range 
 of emotional expression surpassing that of the human 
 voice, make the violin the most important member of the 
 orchestra. 
 
 As it exists today, the violin is the last and most per- 
 fect 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 instruments of the A'iolin class. Passing o^'cr the 
 many forms it assumed in the Middle Ages, we come to the family of Viols 
 of the fifteenth century. These were the immediate predecessors of the true 
 violins. The first A'iolins of which we have definite record were made at 
 Brescia in Lomljardy, by Gasparo da Salo (154'-2-1610). The model which 
 he and his pupil, Maggini, adopted was used with slight changes by the 
 other Italian makers. In the city of Cremona, southwest of Brescia on the 
 river Po, tliere sprang up the most famous school of violin-making. Its 
 founder was Andrea Amati (15.30-1580) a rebec and viol-maker, whose sons 
 carried on the work, and whose grandson, Nicolo Aniati (1596-1684) be- 
 came the teacher of the master violin-maker, Stradivarius. It was the genius 
 and industry of Antonio Stradivarius (1644-1737) which brought the violin 
 to that state of perfection in which it still remains after nearly three hundred 
 years. Another famous violin-maker of Cremona was Joseph Guarnerius 
 (1683-1745), one of whose violins was owned by the great Paganini. A 
 Guarnerius instrument is now used by Fritz Kreisler. The violin shown on 
 the chart is a Guarnerius owned l)y Howard Rattay, Concert-Master of 
 the Victor Orchestra. Other violin-makers of importance were Carlo Ber- 
 gonzi, Jacob Stainer, and the Guadagninis. Maud Powell plays upon a rare 
 Guadagnini instrument. These old masterpieces are highly prized for their 
 tone, 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 A'arnish used. 
 
 The violin l^ow can l^e traced to the archer's bow. It owes its 
 present form to Francois Tourte (1747-1835), a famous French bow- 
 maker. The bow consists of a slightly curved stick of Pernainhuco wood, 
 to which are attached white horsehairs, tightened or loosened by a screw 
 
VIOLIN 11 
 
 mechanism. Rosin is applied to the horsehair to enable the hair to grip 
 the strings. 
 
 The four strings of the violin are G, D, A, E, tuned in fifths. The first, 
 or E string, sometimes called "chanterelle," is very often used on account 
 of its beautiful singing tone. The D and A strings are not so penetrating, 
 but are sweet and mellow. The fourth, or G string, is 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 made 
 of silk or steel. The compass of the violin is four 
 tones over three octaves, from G to C". Higher 
 notes can be produced, but they grow weaker as 
 they go higher, and are of no practical \'alue. 
 Tlie Mule is a clamp of wood or metal which fits 
 over the bridge and muffles the tone. o 
 
 The violinist has almost unlimited resources in the numerous effects at 
 his disposal. He can play smooth legato melodies, or staccato passages, at all 
 sjieeds. When a number of viohns 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 SSG^S-A), Nicolai's 
 Overture to "Merry Wives of Windsor" (Record 3.5270-B) and the " Pro- 
 logue" to Leoncavallo's opera " I Pagliacci" (Record 35171-A). Sometimes 
 a soloist lets the bow fall and rebound on the strings, as in the last part of 
 Maud Poweh's arrangement of Chopin's "Minute Waltz" (Record 64076). 
 This is called saltamlo, or "jumping bow." Another curious effect is col 
 leyno, made by tapping the strings with the wooden back of the bow. 
 The tremolo is a much-used effect obtained by rapidly rer)eating the same 
 note l)y a quick up-and-down movement of the bow. This is a very famihar 
 orchestral use which produces an atmosphere of extreme agitation or in- 
 tense activity. Note the use of the tremolo in the tragic theme at the end of 
 the prelude to Bizet's "Carmen" (Records 70066, 680.5^2), and in the fir.st 
 part of the "Intermezzo" from Mendelssohn's "A Midsummer-Night's 
 Dream" music (Record ,S5527-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 Delibes' "Sylvia" Ballet (Record 3,5670-A), and 
 Drigo's "Reconcihation Polka" (Record 356-t4-A). In opera, the strings 
 are tften played pizzicato to imitate the i)lucked strings of the lute, mando- 
 lin or guitar, as in the serenade, "Voi Che Bapete" from Mozart's "Mar- 
 riage of Figaro" (Record 88067) and in the "Harlequin's Serenade" from 
 
12 STRINGS 
 
 Leoncavallo's " / Payliacci" (Record 3.5174). Interesting examples of the 
 difficult and rarely used left-hand pizzicato are one of Sarasate's " Spanish 
 Dances" (Record 74509), and Bazzini's "La Ronde des Lidins" (Dance of 
 the Goblins) (Record 74.570), 
 
 Chords are obtained on the violin by double-stopping, or bowing two 
 strings at once. Somewhat detached chords may be produced by triple- 
 and quadruple-stopping, played by snatching the bow across three and four 
 strings 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 vibrato caused by trembling the finger or hand 
 ujwn the string, i)roducing a slight wa\-ering of the tone. This is common in 
 nearly all slow movements, such as "Have Pity, Sweet Eyes" (Tenagha) 
 (Record 74,'3''2o), Schumann's "Traumerei" (Record 64197), "Old Black 
 Joe" (Foster) (Record 64640), "Indian Lament" (Dvoi-ak) (Record 74.S87), 
 Hebrew Melody (Achron) (Record 74.568). Trills are readily i)roduced 
 by rapid alternation of two tones. The glissando is an effect said to have 
 been borrowed from the Cijqj.sy violinists. It is made by sliding the finger 
 akjng the string while l)owing. This wailing effect may be heard in the first 
 part of Kreisler's "Caprice J'iennois" (Record 74197) and in the middle 
 of Sarasate's "Caprice Basque" (Record 74176). 
 
 Harmonics are the delicate, flute-like tones jjroduced by a slight jjres- 
 sure of the fingers upon the strings at a nodal ])oint, causing them to vibrate 
 in segments. So-called "artificial" harmonics are produced by heavy pres- 
 sure in stopping 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 jjlayed with harmonic tones. Exam- 
 ples of harmonics oc'cur in nearly all brilliant violin solos. Their use is espe- 
 cially pleasing in such display pieces as " Valse Bluette" (Drigo) (Record 
 64758), played by Jascha Heifetz. Wagner obtained an effect of celestial 
 sweetness in the opening of the prelude to "Lohengrin" by using four 
 violins in harmonics (Record 31779). 
 
 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. 
 
VIOLA 
 
 13 
 
 VIOLA 
 
 7^ 
 
 M 
 
 HE ^"lOLA is used both as the alto and tenor of the 
 string section of the orchestra; in the string ciuartet it 
 ])Iays 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 timed a fifth 
 lower than the violin, 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 to 
 E in the treble clef; .^y but the music for the viola is 
 
 usually written in ^^ ^ — the alto clef: 
 
 In contrast "with the /' i\ (^ lighter, m ore 
 
 brilliant 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 neighbors. Lavignac has described it aptly when he writes: "The viola 
 is a philosopher, sad and helpful; always ready to come to the aid of others, 
 but reluctant to call attention to himself." The tone quality of the viola 
 has been called cold, mournful and dull; it is somewhat penetrating and 
 nasal; in general, it lacks the emotional warmth of the viohn. 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 ca{)able. These include pizzicato, 
 tremolo, vibrato, harmonics, double-stopping, col legno and muted strings. 
 The bow is slightly shorter than the violin bow, but is somewhat heavier 
 and less elastic. 
 
 The viola made its appearance earlier than the violin. The Amati 
 and all the early Italian violin makers were famous for their A'iolas. It was 
 long used to support the high voice, until its place was taken bj' the violin. 
 In former times the viola was much misunderstood. It was often 
 played by unsuccessful violinists, and was used in the orchestra mainly to 
 reinforce the "cellos or second violins, as occasion required. In recent times 
 its expressive cjualities have become better appreciated, so that now it is 
 frequently assigned important melodies in orciiestral works, besides being 
 more freely used as an independent voice in the harmonic texture. 
 
14 STRINGS 
 
 The viola may be heard to advantage in the part written for it by 
 Saint-Saens in his " Rercrie du Soir," from the Svile Algcricnnc (Record 
 35668-A). Here the viola expresses the dreamy reverie of the composer 
 under the influence of a calm night in northern Africa. Beethoven used the 
 viola to advantage in the beautiful singing passage with the 'cellos in the 
 Andante from " C Minor (Fifth) "' Symphony (Record 35580-A). Mendels- 
 sohn also recognized its emotional value in the Andante from the "Italian 
 Symphony," often known as the "Pilgrims' March" (Record So-toS-A). 
 Wagner used it to the extent of its powers in nearly all his works, notably 
 in the "Tannhauser" Overture (Record 68'-205-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 
 order to exhibit the marvelous tone of his Stradivarius viola. In the Ada- 
 gietto from the " UArlesienne" Suite, Bizet gives the viola the bass and 
 lets the 'cello sing a tenor part (Record 64601). Tschaikowsky gives the 
 mournful theme at the beginning of the "Marche Slav" to the violas and 
 bassoons (Record 70050). Elgar has written a tuneful melody for viola in 
 his overture, "In the South." 
 
 Frecjuently the viola is used as an obbligato with beautiful effect. 
 One notable example is in the ''Ro7nanza" from Meyerbeer's "The Hugue- 
 nots" (Record 4o007-A, 88'-210) . This part, now played by viola, was originally 
 written for the old viola d'amonr, an instrument of seven strings with an 
 extra set of se^•en sympathetic wire strings, which run through the bridge. 
 Weber gave the viola an excellent obbligato passage, well exhibiting its 
 compass, to accompany Annie's Recitative in Act II oi " Der Freischiiiz" 
 (Record 3.5670-A). Haydn, Mozart, Beethoven and Spohr frequently 
 emjiloyed the viola in duets and trios with violin and 'cello. Mozart's trio 
 for piano, clarinet and viola is especially effective. The viola's l>lending 
 powers with the flute may be heard in a duet arrangement of Titl's " Sere- 
 nade" (Record 31337). Its less brilliant tone qualitj' may be contrasted with 
 that of the violin by hearing the viola in a familiar violin piece, Schumann's 
 "Trdumerei" (Record 35'236-x\). 
 
V I O Jj O N c p: L L o 
 
 15 
 
 VIOLONCELLO 
 
 i 
 
 HE VIOLONCELLO is the tenor or l^aritone of the string 
 choir; in tlie string quartet it furnishes tlie bass. The 
 Itahans ga^'e the name of riolone {))ig viola) to the double- 
 bass instrument of the violin family. When an instrument 
 of smaller size was develojied from the riola-da-gamba, or 
 old knee fiddle, this instrument was called riolonccllo, or 
 "little big viola." As this name is rather long and difficult 
 to pronounce, the shortened form of 'cello (chellu) is now 
 universally used. The 'cello is tuned an octave below the viola. Its four 
 strings are C, G, D, A, tuned in fifths like the violin and the viola. It has a 
 compass of three and one-sixth octaves (occasionally more) ranging from C 
 in the bass clef to A in the treble clef. Its strings are ..^ 
 
 thicker and more than twice as long as those of fc V 
 
 A'iolin; the two lower ones are wired. A ])eg, or rest, — 
 
 supports the instrument from the floor; the seated 
 plaj'er holds the "cello between his knees. The bow is shorter, heavier and 
 more rigid than the violin bow. The left hand 'cello technique is quite 
 different from that of the violin, the thumb being iH-ought into occasional 
 use. The first, or A string, is the "singing" string, or chanterelle, much 
 used in solos. The D string is decidedly rich and mellow; the G string is 
 somewhat thinner and duller in tone, while the G 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 or 
 soft. Harmonics, vnited strings, doiible-sto-pping, pizzicato, arpeggios, tremolo, 
 vibrato, glissando, saltando and col legno effects are all employed. 
 
 The 'cello has all the expressive powers of the violin, but there is more 
 virile strength to its mellow, sonorous tones. It has a masculine equality in 
 contrast with the feminine brilliancy of the violin tone. It is much used to 
 express romantic feeling, rcv'erent worship, tender melancholy, poignant 
 sorrow, and pleading love. 
 
 There are usually ten or tweh'e '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 Mozart 
 knew the solo possibilities of the instrument, j'et they rarely gave it solo 
 
16 STRINGS 
 
 I)arts. Mozart occasionally used it in olibligatos, as in the soprano solo, 
 '"Batti, batti" from "Don Giovanni" (Record 880'2G). With Beethoven 
 the 'cello came to its own as an important melodic instrument. Of the 
 manj' fine passages he wrote for it, we may mention the beautiful singing 
 passage for 'cellos and violas in the Andante of the " C JNIinor (Fifth)" Sym- 
 phony (Record 35580). In the third moA'ement (Scherzo) of the same 
 symphony (Record 18'-278) he uses the pizzicato of the 'cellos and basses. 
 In the beginning of the Andante of " Pastoral (Sixth)" Symjjhony (Record 
 ;35.'3'-20-A) Beethoven uses the divided 'cellos to suggest the murmuring of a 
 brook. In the first mo-v-ement of Schubert's famous " Unfinished " Symphony 
 (Record 35314-A) the 'cellos sing the exquisite melody of the second theme. 
 Rossini has given to the 'ceUo an im])ressive climbing figure at the begin- 
 ning of the first part of the "William Tell" Overture (Records 35670-A, 
 17815-A) which suggests the lifting of the curtain of night and the gradual 
 dawn 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 the 
 cadenza %t the end of the first movement of the " Intermezzo " from "A 
 IMidsummer-Night's Dream" (Record 355'27-B). He also em])loyed it for 
 obbligato parts in his oratorios, as in the tenor solo, "Be Thou Faithful," 
 from "St. Paul" (Record 74136) and in tlie baritone solo, "It is Enough," 
 from "Elijah" (Record 74380). Richard W^agner has employed the 'cello 
 to the limit of its resources. In Siegmund's " Love Song " from Act I of the 
 "Valkyrie" a four-part harmony of 'cellos is introduced (Records 45070, 
 74111, 88^276). In the Prelude to "Tristan and Isolde" (Record 68210-A) 
 its sighing ^'oice ])roclaims the aching sorrow of unfulfilled love. 
 
 Grieg has assigned to the 'cello an independent melody in "Anitra's 
 Dance," from the "Peer Gynt" Suite (Records 64708, ISOl^-A). Tschai- 
 kowsky made frequent use of the 'cello, entrusting to it such important 
 melodies as that of the second subject of the " Pathetic " SymphonJ^ In his 
 ''Andante Cantabile" for string quartet. Op. 11 (Record 74487), the pizzi- 
 cato of the 'cello is used as accompaniment for the second theme. 
 
 One of the greatest 'cello soloists was the Belgian, Adrien-Frangois 
 Servais (1807-18(i0). David Popi)er, ))orn in Prague, Bohemia, in 1845, was 
 another of the greatest 'cellists and composers for 'cello of this age. The fol- 
 lowing selections are excellent examj^les of the use and technique of the 
 'cello as a solo instrument: "ie Cygne" (Saint-Saens) and "Melody in F" 
 (Rubinstein) (Record 45096); "Gavotte No. 2" (Popi)er) and "Menuet" 
 (Valensin) (Record 45116); "To My Guitar" (Pojii^er) and "Slumber 
 
DOUBLE-BASS 
 
 17 
 
 Song" (Rimsky-Ivorsakow) (Record 45072); "Lullaby" (Bredt- Verne) 
 and "By the Brook" (Fischer) (Record 17844); "Madame Butterfly 
 Fantasia" (Puccini) (Record 35353-B); "Serenade" (Widor) (Records 
 35281, 74045); Berceuse from "Jocelyn" (Godard) (Record 35155-A); 
 "Orientale" (Cui) and " LiebesfreucV (Kreisler) (Record 45066); "Prize 
 Song" (Wagner) and "Ave Maria" (Schubert) (Record 55067). 
 
 DOUBLE-BASS 
 
 IHE DOUBLE-BASS, also called CONTRABASS, is the 
 deep bass of the string choir. Of the violin family, this 
 instrument most resembles the older family of viols, for it 
 has a flat back, high bridge and sloping shoulders. For 
 this reason it is generally supposed to be the oldest mem- 
 ber of the j)resent violin family. The double-bass is about 
 six feet high, and is played standing. The bow is heavier 
 and shorter than both violin and "cello bows; it is sup- 
 plied with coarse black horsehair. It is highlj^ arched and the shape suggests 
 its origin in the huntsman's bow. At first the double-bass had only three 
 strings, usually tuned A, D, G. About the year 1800 the four-stringed bass 
 made its appearance. Its four strings are usually E, A, D, G, tuned in fourths 
 instead of fifths, on account of the long reaches which the left-hand fin- 
 gers would otherwise ha^•e to cover. The compass is nearly three octaves, 
 extending from E to B in the bass clef. ,^ A fi v e 
 
 stringed bass is also used; its upper four / ^^^ strings 
 
 are tuned the same as the four-stringed 
 but its fifth string is tuned to C to supply 
 bass notes. The double-bass is one of the instruments of the orchestra called 
 Transposing Instrnments, because it sounds an octave lower than the music 
 is actually written. It is used to supply the very deep bass of the orchestra 
 often in company with the "cellos, bassoon, tuba and kettle drums. Its 
 tone quality is ponderous and often gruff. It can portray sombre gloom, 
 brutality, or the distant mutterings of a thunder storm. 
 
 The double-bass is capable of nearly all the bowing and other effects 
 of the violin and "cello, such as pizzicato, tremolo, harmonics, etc., but 
 only to a limited degree. The short heavy bow needed to set the long thick 
 strings in vibration is somewhat unwieldy and lacks the delicate springi- 
 ness and flexibility of the violin bow. The entry of the basses after a lengthy 
 
 :> ass, 
 o "\A- e r 
 
18 
 
 STRINGS 
 
 passage with a lighter bass (such as that of 'cellos alone) is very satisfying, 
 resembling the 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 Scherzo of his "C 
 Minor (Fifth)" Symphony (Record 18278) he succeeds in extracting a bit of 
 musical humor from these unwieldy instruments by having them begin a 
 fugal passage and then stop, and begin again, as if in repeated efforts to 
 master it. This is the passage to which Berlioz refers as "the gambols of a 
 playful elephant." The deep unhuman tone of the double-bass also makes it 
 useful for producing uncanny effects, suggesting the supernatural and the 
 underworld. In Weber's Overture to " Der Freischiitz'" (Record 62636-A) the 
 tremolo and pizzicato of the basses have 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- 
 parative sizes of the Violin, Viola, 'Cello and Double-Bass: 
 
 The String Quartet is composed 
 of two violins, viola and "cello, to 
 which are assigned the first and 
 second soprano, tenor and bass parts 
 respectively. 
 
 Examples of String Quartet music 
 may be heard in the "Mo/to Lento " 
 from "Music of the Spheres" (Op. 
 17, No. 2) (Rubinstein) (Record 
 35506-A) ; Scfierzo from " Quartet in 
 C Minor" (Op. 18, No. 4) (Beetho- 
 ven) (Record .35506-B), and Minurt 
 from the same work (Record 179fi4- 
 B) ; Scherzo from "F Major Quar- 
 tet " (Beethoven) (Record 17964-A); 
 Menuetto from "Quartet in D 
 Minor" (Mozart) (Record 64661); 
 Menuetto from "Quartet in E Flat" 
 (Mozart) (Record 7457C) ; Andante 
 from "Quartet in Major" (Dit- 
 tersdorf) (Record 74525) ; Allegro from "Quartet in E Flat" (Dittersdorf) (Record 64671). 
 Particular attention is called to the first records of the Flonzaley String Quartet, which in- 
 clude " Canzonetta" from "Quartet in E Flat" (Op. 12, No. 2) (Mendelssohn) (Record 
 64784), and Andante from "Quartet in D Major" (Mozart) (Record 74579). 
 
WOODWIND 
 
 -, ^ ■ ;,: FLUTE ; 
 
 HE FLUTE is the coloratura soprano of the woodwind 
 family 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 Sijmi.v, or Pipes of 
 Pan, of ancient Greek mythology. Sculptures and paint- 
 ings of ancient Egypt and Greece show that the instru- 
 ment was used and ])rized by those peoples. Ability to 
 play the flute was a required part in the education of a 
 Greek youth; it was used to accompany the chorus in the Greek theatre, 
 and skillful performers received high pay. The Romans adopted the instru- 
 ment in later times, and Plutarch tells how Caius Gracchus, the orator, was 
 always attended by a slave who sounded the correct pitch upon a flute 
 whenever the voice of the orator became too harsh and vehement. It must 
 be remembered that most of the flutes of those times were vertical flutes, 
 blown from the end, with whistle mouthpieces. Survivals of this tyjje were 
 the "beak-flutes," recorders, and flageolets, which were in use in the six- 
 teenth and seventeenth centuries. 
 
 The present flute is a transverse flute, which consists of a stop])ed l)ipe 
 of wood or metal, cylindrical in shape, and blown across, not into, a hole in 
 the side called the embouchure (pronounced om-boo-shnr') . On the side 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 facilitated 
 performance by permitting the ]jlayer to use alternative fingerings, and gave 
 full use of the chromatic scale. The compass of the modern flute is three 
 octaves, extending from C to C. St'a The higher regis- 
 ters are obtained by " over-blow- Q y — iiig." or blowing 
 
 harder, with certain modifica- A, / tions of the lips. 
 
 The music sounds as written. tJ -»- The rema rkable 
 
 agility and "speaking" jjowers of the flute bring it into constant use as a 
 melodic instrument. It is often given the melody in unison with the violins. 
 The lower register is somewhat woody and hollow, its sonorous tone being 
 due to a scarcity of the o^'ertones heard in the higher register. Its middle 
 register is full and mellow, and is well suited to beautiful lyric and elegiac 
 passages. Its upper register is more brilliant and birdlike, well suited to 
 
FLUTE 21 
 
 light, delicate ])assages. The effects of tenderness and melancholy are a'so 
 within the powers of the flute, especially in the minor key. Besides its use in 
 legato melodies, the flute also produces staccato tones by interrupting the 
 breath with the tongue fixed to pronounce the letter "T." The flutist pro- 
 duces the eft'ect known as douhle-tonguing by pronouncing the letters " T-K, 
 T-K," and triple-tonguing by pronouncing the letters "T-K-T, T-K-T." 
 Other well-known flute effects are tremolos, trills, arpeggios, turns, and 
 rapid scale passages. Three flutes are generally used in a modern symphony 
 orchestra, 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 bliss of the Shades 
 in the Elysian Fields (Record 74567), the early classical composers did not 
 fully appreciate its tone value. Mozart used it in his overture to "The 
 Magic Flute" (Record 68207-A), and also wrote a Concerto for Harp and 
 Flute (Record 70029). This comjjoser did not care very much for flute tone, 
 but, following the custom of Haydn, generally employed two flutes in his 
 symphonies (Records 17707, 3.5430, 35482, 35489). In Mozart's day the 
 most famous flute player was Quantz, whose pupil, Frederick the Great, 
 was an accomjilished flutist. Rossini recognized the value of the flute, and 
 in the "Calm" of his " William Tell " Overture (Record 18012) used its stac- 
 cato tones as an obbligato to the English Horn to suggest bird notes. Ros- 
 sini's " Semiramide " Overture affords another excellent example of the range 
 and agility of the flute (Record 35670-B). Beethoven likewise used it to 
 represent the nightingale's notes in the Andante of his " Pastoral " (Sixth) 
 Symphony (Record 35320-B). Mendelssohn showed a decided preference 
 for the flute, and in his "Midsummer-Night's Dream" music well nigh 
 exhausted its possibilities. In the "Scherzo'' (Record 74560) the flutes give a 
 rapid figure in sixteenth notes in the tripping melody which adds much to the 
 grace and charm of this fairy music. In the " Intermezzo" (Record 35527-B) 
 the flute plays v/ith the clarinet in the first movement which represents the 
 agitation of Hermia. Again, in the Nocturne (35527- A), there is a beautiful 
 coda given by two flutes. Bizet knew the resources of the flute, and his 
 works abound in excellent examples, as the two flutes playing in thirds in 
 the introduction of the " Chanson Boheme" from Act II of " Carmen " (Record 
 88512), 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" {"Danse des 
 Mirlitons") from his "Nutcracker" Suite (Record 45053). 
 
W O O D A'V' I X D 
 
 The use of the hute as an obbhgato to tlie soprano voiee in coloratura 
 solos is a familiar one. Often the voice and flute carry on a conversation in 
 l)ird notes, as in Handel's "Sweet Bird, That Shunnest the Noise of Folly" 
 (Record 88068); in "Thou Brilhant Bird," from David's "Pearl of Brazil" 
 (Records 88087. 88318, 74.34^2), and "Lo, Here the Gentle Lark" (Bishop) 
 (Records 8807,S, 04'-267, 45n5-A). Other operatic arias in which the voice is 
 matched against the brilliancy of the flute are the "Mad Scene" from 
 Donizetti's "Lucia" (Records 55047-A, 74509, 88021, 88071, 88299); the 
 "Shadow Song" from Meyerbeer's "Dinorah" (Records 5.5047-B, 74532, 
 88298); Proch's "Air with Variations " (Records 74557, 88307), and "Varia- 
 tions on an Air from The Daughter of the Regiment" (Record 88404). 
 Another interesting use of the flute is that of the Indians, who always use 
 the flute for love calls and serenades, as -in the harmonized Indian songs by 
 'Jliurlow Lieurance (Records 18418, 18431, 18444). 
 
 Brilliant examples of the flute as a solo instrument may be heard in 
 "Wind Amongst the Trees" (Briccialdi) (Record 70()2()), "Whirlwind" 
 (Krantz) (18312-A), "By the Brook" (Wetzger) (70023); " Distant Voices " 
 (Lemmone); "Spinning Wheel" (Sj)indler) (60026). 
 
 PICCOLO 
 
 The piccolo takes its name from the Italian Piccolo flauto, mean- 
 ing little flute. This instrument is often called the octave flute, because 
 it sounds an octave higher than the flute. It has half the length of the flute 
 proper, but is ])rovided with a system of keys similar to that of the larger 
 instrument. Its compass is about three octaves, extending from D to C. 
 The music is always written an octave lower than 
 the actual sounds. The tone of the jjiccolo is shrill 
 ^ ^ _ and piercing, and far above the range of the human 
 
 - Jt^ — o -— voice. This imparts a kind of su])ernatural element 
 
 ^ --- to its tone cjuality, so that some com])osers have 
 
 used it to produce sjjecial demoniac eft'ects. But its most practical value / / 
 in the orchestra is to increase the brightness of the woodwind section. 
 Beethoven introduced the piccolo in his last movement of the C Minor 
 (Fifth) Symphony (Record 35637), but it does not play a prominent part. 
 Again, in the finale of the "Egmont" Overture, the ])iccolo is brought 
 into 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 Will-o'-the-Wisps" {Menuet des Follets) (Records 
 
OBOE 
 
 23 
 
 o567()-B, 354()'-2-A) these shrill iiistrunieiits are used in a brilliant manner 
 which justifies the title, "Imj)s of the Orchestra," often given them. Rossini 
 uses the piccolo in his Storm Scene from the "William Tell" Overture (Rec- 
 ord 17S15-B) to suggest the whisthng of the wind and the sharp lightning 
 flashes. In Marcello's air, "Pift', Faff, Pouf," from Meyerbeer's "The 
 Huguenots" (Record 74150), the i)iccolo is used in the accompaniment 
 as a military fife. Bizet has also made excellent use of the piccolo, 
 as may be heard in the last Entr'acte nmsic before Act IV of "Carmen" 
 (Record 62101-B), in which the piccolo joins with the clarinet in a semi- 
 quaver passage introduced at intervals during the oboe solo. The shrill 
 voice of the piccolo is used with bizarre effect in the quaint "Chinese Dance" 
 (Dattfic Chiiioific) from Tschaikowsky's "Nutcracker" Suite (Record 
 4o053-A). 
 
 OBOE 
 
 HE OBOE is a double-reed instrument which is used as 
 the lyric sojirano of the woodwind family. Reed instru- 
 ments of the oboe type ha'S'e been found in tombs of ancient 
 Egypt, and ancient sculptures and paintings identify this 
 form of pipe with the Greek ".iiilos" antl the Roman 
 " Tibia." The oboe was also called liautl)oi/ (Iio-boy), from 
 the French ^\ol•ds" haut io!6" " meaning " high wood," which 
 referred to the fact that this instrument was the treble of a 
 family of woodwind instruments known as " Schalmeijn" and " Pommcrg.'' 
 We find a record of the use of hautboys during the entertainment of Queen 
 Elizabeth at Kenilwortli Castle in 1575. Shakespeare gives frequent stage 
 directions for the use of hautboys in his plays. 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 mouth])iece consists of two flat slij)s of 
 cane, between which there is a narrow slit 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 upj^er end of 
 the tube. Since only a very light breath pressure is recjuired to set the air 
 column in vibration, the oboe player must partially hold his breath. This 
 restriction jjlaces him in considerable tension; the jiarts for oboe must 
 therefore be arranged so as to permit frec]uent rests for breathing. The 
 natural scale is produced by the opening and closing of holes pierced in the 
 
24 W O O D AV I N D 
 
 pipe, wliich are regulated by a system of keys with fingering similar to that 
 of the flute. The compass is two and one-half octaves, extending from B 
 flat to G. .Q. The parts sound as written. There is 
 
 some- . /^^ thing in the reedy tone quality of the 
 
 oboe jf / which makes it akin to the human voice. 
 
 The pe- '^^ i / culiar acrid tone has been characterized 
 
 as "bitter sweet." It is somewhat nasal and pene- 
 
 trating, 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, and 
 are much employed for pastoral effects. Staccato tones and trilh are also 
 effective. Often the oboe may be heard in duets, speaking to, and answering 
 the flute, clarinet, bassoon or another oboe. A modern .symphony orchestra 
 uses two or three oboes. Since a very delicate adjustment is necessary in 
 order 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 
 writers of tlie classical school, beginning with Bach and Handel, used it. 
 Beetho^•en 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 Scherzo to depict rustic gaiety, and in the Andante to 
 imitate the call of the quail (Record 353'-20-B). In the first movement of 
 the " C ]\Iinor (Fifth) " Symphony, the oboe has a short but striking solo 
 passage (Record 181ii4-B). Beethoven also wrote a trio in four movements 
 for two oboes and English horn. Robert Schumann wrote three "Romances 
 for Oboe," which are among the few solo works for this instrument (Record 
 18312-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 duet and solo passage in the " Serenade" (Record oSGS?). 
 Opera-goers are familiar with the beautiful Entr'acte which precedes x\ct 
 IV of Bizet's "Carmen" (Records 62101-B, 70066), in 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 Fishers"; an oboe solo precedes the love song, " De mon 
 amie" (Record 87'-269). 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 " Lohengrin" (Record 64744). Verdi's opera scores 
 
K N V, L 1 S II II () UN 
 
 25 
 
 afford many oxainplos, siuh as ihe parts given to tlie oboe in the " Nile 
 ^cene" of Act III of "Aida" (Records ,'?5(i7()-B, 60098, 8804^2, 88469). 
 Gounod has used the ohoe for jjastoral effects in Act I of "Faust," 
 and in "Mirella." Dehbes' "Mazurka" from tlie "CoppeHa" Ballet 
 contains some interesting passages for oboe in the middle section 
 (Record 18379-A). Another master of this instrument was Tschaikowsky. 
 In the finale of his F Minor (Fourth) Symphony, he takes as his 
 theme a Russian folk-song, "In the Fields There Stood a Birchtree"; 
 this theme is very a])j)roj)riately announced by oboe, and repeated on 
 that instriunent several times (Records 7455.'5, 74554). An unusual use 
 of the oboe is made liy Saint-Saens, who uses it to imitate the crowing 
 of the cock at the end of his "Daiinc viacabre" (Record 35381-B). 
 Another striking use of the oboe in a folk theme may be heard in 
 the Finnish composer Jjirnefelt's "Praeliidiuni" (Record 183'2o-A). The 
 oboe may be heard in a duet with the flute in an arrangement of 
 "Sweet Bird" (Handel), and in a duct with the clarinet in an arrange- 
 ment of "Hear Me, Norma" (Bellini) (Record 17174-B). 
 
 ENGLISH HORN 
 
 HE ENGLISH HORN is the alto oboe of the woodwind 
 choir. Its name is quite misleading, for it is a double-reed 
 instrument and not a horn. Its ancestor is the alto 
 poiniiicr. although some claim that it is descended from 
 an old English shepherd's pipe, known as the hornpipe. 
 The French, who first recognized its value in the orchestra, 
 call it Cor anglais. In its older form this instrument was 
 bent in the middle, forming an obtuse angle, and the term 
 "Anglais" may refer to its former shape. The Cor anglaib- consists of a 
 conical wooden pipe, one and one-half times longer and somewhat wider 
 than that of the oboe. Its mouthpiece consists of two thin reeds, or strips 
 of cane, with a slit between them to permit the passage of air, the same as 
 the oboe. These are attached by means of waxed silk thread to a metal 
 tube called the "Staple," which is slightly bent, and which leads into the 
 upper end of the wooden tube. At the lower end of the tube is a globe- 
 shaped bell which partly determines the peculiar sonorous tone. The tube 
 is provided with a system of holes opened and closed by keys exactly like 
 those of the oboe. The English Horn is pitched a fifth (ti\e whole tones) 
 lower than the oboe. The comi)ass is about two and one-half octaves, and 
 
26 W O O D AV I N D 
 
 extends from E to C. . /~ ^^ '^ ^ transposing instru- 
 
 ment, the music being J' / written a fifth higher than it 
 
 actually sounds. This ^^^ / enables an oboe player to 
 
 play the English Horn \y^ when special parts are as- 
 
 signed to it. The play- ing demands that the player 
 
 hold his breath under 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 joys 
 of pastoral life, there is always a suggestion of sadness and loneliness in its 
 voice. The Cor anglais is said to have been used in the Imperial Theater, 
 Vienna, as early as 1762, but it owes its present use in the orchestra to the 
 French composers. Haydn and Mozart made slight use of it, and Beetho^-en, 
 Schubert, Weber and Mendelssohn never used it in the orchestra. One of 
 the most characteristic uses is in "The Calm," Part III, of Rossini's 
 "Wilham Tell" Overture (Record 18012-A). Here the call of the Swiss 
 herdboy, the " Raiiz do; Vaches," is heard upon the Alpine Horn, a part 
 which was originally written for the old Oboe da Caccia, but which is now 
 always played on the English Horn. In his "Carnival Romain'' Overture 
 (Record 35241-A), Berlioz introduces a melancholj' theme on the English 
 Horn, with a pizzicato accompaniment. In Scene II, Act I, of "Tann- 
 hauser," which is laid in the beautiful valley of the Wartburg, a shepherd 
 is discovered piping his lay as he watches his flocks. This pastoral effect is 
 obtained by an English Horn solo (Record SSSoS-A). In the second act of 
 Wagner's "Tristan and Isolde" occurs a celebrated passage jor English 
 Horn, unaccompanied. Meyerbeer has made good use of this instrument 
 in his accompaniment to the duet, "Speak Again," in the last act of "The 
 Huguenots" (Record 35123-6). In Tschaikowsky's "Arab Dance" (Danse 
 Arabe) from the "Nutcracker" Suite, the English Horn alternates with the 
 bass clarinet in giving the melody (Record 45053-B). In the "Norwegian 
 Echo Song" (Thrane) the English Horn gives the herdboy's call, which is 
 answered by the flute (Record 64714). By far the most notable use of this 
 versatile instrument is in the "Largo" from Dvorak's great symphony, 
 "From the New World ' (Records 35670-B, 35275-B). The sad, regretful 
 melody sung on the uj)per 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 Indian 
 theme. The English Horn is also used in its higher register for "Old Folks 
 at Home" in Victor Herbert's "American Fantasie" (Record 55093-A). 
 
< • L A K I N I<: T 
 
 'il 
 
 CLARINET 
 
 IlK CLARINET is descended from a family of single- and 
 douhle-reeil instruments of tlie seventeenth century, 
 known l>y the general name of clialumccni.r, ghairms or 
 .sTlialnici/s, from the Latin word cahiDiufi, a reed. The ])res- 
 eut name (formerly spelled clarionet) comes from clarlito or 
 c7((/7i)/(,the high-pilched trumpet of theold tinieorchestras, 
 the place of -whith the modern clarinet has to some extent 
 taken. It is a single-reed instrument made of a cylindrical 
 pil)e of eliony or cocus, twt) feet in length, and ending in a narrow hell. 
 For con>-cnience it is made in sections. The mouthpiece is chisel-shaped, 
 flattened to sujiport a jiiece of cane, or reed, which is fastened to it hy two 
 metal liands. It is tlie ^•ibration of this reed, caused hy the pressure of the 
 lower lip and hreath of the jilayer, which ])roduces its characteristic tone. 
 In the deAeloi)ment of the t-larinet from the shawm. Johann Christopher 
 Denner (Ki,).')-!?!)?"), of Nuremberg, in ItiDO added another small hole bored 
 in the Jiipe, known as the "speaker," which, when open, extends the com- 
 pass to the higher octaves. The most important improvement to this instru- 
 ment was the application in 1843 of the key system invented for flute by 
 Theobald Boehm. In brass bands, the E flat, and in orchestras, the B flat 
 and A clarinets are mostly used. These are transposing instruments; the B 
 flat sounds one whole tone lower than the notes written, while the A clarinet 
 plays a nu'nor third (three half-tones) lower. The clarinet has a compass of 
 over three octaves, extending from E below mid- f^i'a 
 
 die C to C. The lower register, called the cJialii- 
 nicaii (after the older instrument), is reedy and 
 sonorous, though sometimes brooding and melan- 
 choly. The middle register is rather weak, and not 
 so effective. The higher register is clear, brilliant 
 has been said in praise of the tone tjuality of the c 
 
 m 
 
 XT 
 
 and expressive. INIuch 
 arinet, which has been 
 
 described as noble, refined, meflow, lonely, weird, penetrating and sombre. 
 
 It is essentially the dramatic sojirano of the woodwind section. The modern 
 
 symphony orchestra usually employs two clarinets, although three or four 
 
 are sometimes used. 
 
 In all large ori'hestras considerable use is made of the Bass Clarixet. 
 
 This is a large-sized clarinet with a bell of metal turned u]iward like a ))ipe. 
 
 Meyerbeer first used the color of this instrmnent in his operas "The Hugue- 
 
28 • WOODWIND 
 
 nots" and "The Prophet" to obtain rich organ-like chord effects in his 
 accompaniments. Liszt, Wagner and Verdi also valued its tone-quality. 
 There is an alto clarinet called the Basset Horn, invented by Horn in 1770; 
 its tone is rich, but it is rarely used. 
 
 Rameau is said to have first introduced the clarinet into the theatre 
 orchestra in his opera, " Acante et Cephise," in 1751. Johann Christian 
 Bach, son of the great master, used it in his opera, "Orione" in 1763. 
 Gluck also employed the old-style clarinet to advantage in his operas. 
 Mozart is credited with having first introduced the clarinet into symphonic 
 music in his "Paris" Symphony, in 1770. He also added clarinet parts to 
 his famous G Minor Symphony (Records .So-tS'i, .35489), and taught his 
 friend and teacher, Haydn, the beauties of the instrument. Both com- 
 posers would have made more frequent use of it had there been a sufficient 
 number 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 35166) and 
 in the Overture to " Der Freischiitz" (Record 62636-A). He also followed 
 the examine of Mozart and wrote Concertos and a Concertino for Clarinet 
 (Record 35182-B). Beethoven used the clarinet quite uniformly in his 
 works, although there are few examples which stand out in his scores. In 
 the Andante from the "Pastoral" (Sixth) Symphony (Record 35320-B) 
 he emjjloys the clarinet to give the call of the cuckoo. A characteristic 
 l)assage for clarinet occurs in Offenbach's "Orpheus" Overture (Record 
 35670-B), which well exhibits its range and tone-color. Another familiar 
 passage for this instrument is in Herold's "Zampa" 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 the 
 Andante 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. 2," in 
 G Minor (Record 35644-B) and Schubert's "Marche Militaire" (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" (Record 
 68332). The blending qualities of the clarinet with the oboe are shown in 
 an arrangement of Belhni's "Hear Me, Norma," and with the flute in an 
 arrangement of Saint-Saens' "Tarantella" (Record 17174-A). 
 
 The Saxophone, invetited in IS40 by Adolph Sax, ronibincs the single-rocd mouthpiece of tlie clarinet 
 with a conical brass tube with upturned bell. It is made in seven or more sizes, and is heard in the theatre, 
 military band and dance orchestra. French composers occasionally call for the saxophone in the symphony 
 orchestra, and its use seems to be growing more extensive. (For examples hear Records 18344, 18217.) 
 
BASSOON 
 
 29 
 
 BASSOON l^^ 
 
 HE BASSOON is a douhle-reod instninient which supplies 
 the bass for the woodwind choir of the orchestra. This 
 instninient developed from the old Bass-Pommer, the 
 hass of the Vhalumcau (or Schalinei/s) family of the six- 
 teenth century. At first these instruments were from six 
 to nine feet long. Later the pipe was doubled back upon 
 itself, and then broken into two parts which were joined 
 together in a solid block of wood. Because the instrument 
 looked like a bundle of sticks or fagots, the Italians called it FagoUo. Attached 
 to the small entl of the pipe is a small curved metal tube, to which the double 
 reed is fastened. This tube, or crook, projects from the side of the bassoon. 
 The player holds the instrument by means of a cord around his neck, in a 
 slanting position, which affords greater freedom in working the keys. The 
 intonation of this instrument has never been i)erfect, and it requires great 
 skill and practice on the j)art of the player to obtain the desired effects. 
 The compass of the bassoon is about three octaves, and extends from B 
 
 flat to E flat. , In its lower register the bassoon is 
 
 thick and "• ^ =*" 
 
 and solemn, 
 
 n a t u r a 1 . I' « 
 
 this register two bassoons are often used in legato melodies. It possesses 
 
 remarkable powers of humor, especially in its quick, rapid titaccato notes 
 
 and in its easy skips from high to low notes. There are generally two 
 
 bassoons in the sj^mphony orchestra, often three or four. Sometimes a 
 
 CoNTR.\BASsooN, the voice of which is an octave below that of the regular 
 
 bassoon, is 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 
 Handel and Baih, although these early composers used it almost entirely 
 to fill in the bass part of the accompaniment. Mozart developed the bas- 
 soon to its present use, using it in duets with the oboe. In the Andante of 
 the G Minor Symphony (Record i5548'-2-B) the bassoon echoes the theme 
 oivcn by the violins. Beethoven had a special liking for the bassoon, and in 
 many works wrote parts for two bassoons. To mention only a few char- 
 acteristic uses; In the Andante to Beethoven's Fifth Symphony (Record 
 35580-B) after the variations in thirty-second notes, he introduces a short 
 
 '>•• i"" 
 
 ^=9 
 
 reedy. The middle register is sonorous 
 with a power to suggest the super- 
 The upper register is expressive; in 
 
30 WOODWIND 
 
 duet between clarinet and bassoon; again in the coda of the same move- 
 ment the bassoons sing the theme which is afterwards taken up hy the 
 'cellos. In the Finale of the same Symphony, during the recapitulation, 
 the bassoon presents a new and interesting theme, which is echoed by sus- 
 tained horns (Record 35637-B). In the same movement, Beethoven uses 
 the double or contrabassoon, of which he made frequent use in his writings. 
 Schumann wrote an interesting jjart for bassoon in the Scherzo of his Third 
 Symphony (Op. 97) (Record 35670-B). Mendelssohn used the exi)ressive 
 powers of the bassoon with dry humorous effect to portray the "Six Hard 
 Men of Athens" in the comic march which closes the Intermezzo to "A 
 Midsummer-Night's Dream" (Record 355'27-B). Likewise, in Mendels- 
 sohn's Overture to this work (Record SSG^S-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 it is often used to strengthen 
 the 'cellos. Likewise, it blends well with the horns, and we find Mendels- 
 sohn using bassoons with the horns in the Nocturne to "A Midsummer- 
 Night's Dream" (Record 3.5527-A) and in the Andante of the "Italian" 
 Symphony fRecord 3.545''2-B). Donizetti has written a striking introduction 
 by bassoon to the Rornanza, "Una Furtiva Lagrima" in "L'Elisir 
 D'Amore" (Records 88339, 74219). 
 
 Verdi has also shown remarkable skill in using the bassoon in his 
 accompaniments. In the "Willow Song" from "Otello" (Record 88148) the 
 bassoon joins with the horns. Grieg has furnished a characteristic exam])le 
 of the use of the bassoon in "In th,? Hall of the Mountain King" from his 
 "Peer Gynt " Suite (Record 18042-B). Here the instrument repeats an 
 eccentric dance theme again and again with rising pitch and increased 
 speed, the tone quality suggesting the grotesque shapes of the mountain 
 trolh, who circle around Peer Gynt in their mad orgy. Tschaikowsky has 
 also enlarged upon the use of the bassoon, as may be heard in the Chinese 
 Dance {Danse Chinoise) from the "Nutcracker" Suite (Record 45053), in 
 which the two bassoons maintain a peculiar figure throughout. 
 Likewise, in his "Marche Slav" (Record 70050) bassoons and violas 
 begin with a plaintive, funereal, dirge-like chant. Tschaikowsky also 
 used bassoons in the deep tragic notes at the end of his "Adagio 
 LamenioM)" in the " Pathetic" Symjjhony (Record 31800). An interesting 
 example of the bassoon as a solo instrument may be heard in the 
 "Polka Fantastique" (Record 1764'-2-A). 
 

BRASS 
 
 TRUMPET 
 
 HE TRUMPET is the soprano of the brass choir of the 
 orchestra. 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 Shofar, was used in ancient Hebrew 
 times to summon the congregation, a custom which is still 
 observed in modern synagogues, where the Shofar is 
 sounded on the Jewish New Year. Military trumpets of 
 metal were used by the ancient Greeks and Romans, and descendants of 
 these early instruments were used during the ]Middle Ages. Even in early 
 times the long tube of the Roman infantry bugle was folded over for con- 
 venience 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 j)rovided 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 
 clarinos or clarions, were much used. Parts were written for these instru- 
 ments in very high registers, and players developed great skill in their use. 
 About the year 1600 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 a 
 complete chromatic scale. 
 
 The modern trumpet consists of a narrow cylindrical tube about eight 
 feet 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 
 instrument; the trumpet in C plays the music as it is written, while 
 that 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 
 
T K U M P 10 T 83 
 
 octa\'es, extending from F sharp below middle V to 
 C. The pressnre of the lips and method of blowing 
 in the eup-shaped niouthiMece is known as the 
 imboiichinr. Simrati) tones are played by eif'ec-ts 
 called single, double and triple-tonguing. These 
 are i)roduced by interrujjting the breath with the tongue, articulating "Tu," 
 "Tu, Ku" and "Tu, Tu, Kn." The mute of the trumpet is a pear-sha])ed 
 body ot metal or jtajier mache inserted in the bell as a "stopi)er."" When a 
 muted trumpet is '\nerblown," it produces a pinched, tin-horn effect, 
 known as the "echo horn." Wagner has employed this effect to represent 
 the Toymakers" (iuild in "The Meistersingers," while ^'ictor Herbert also 
 availed himself of the "Toy-horn" effect in his operetta, "Babes in Toy- 
 land" (Records 55Q5i, (iOOSO). But the tone of the trumi)et is essentially 
 noble and triumphant, and its oj^en tones are especially effective in flour- 
 ishes and fanfares. In general, it adds brilliancj' to the ensemble. It is rarely 
 used in solo passages, except when the brass choir plays alone. Its most 
 con\enient use is to repeat and accent notes in tuHi passages \\ here the 
 entire orchestra plays. The modern symphonj' orchestra commonly employs 
 two trum])ets, although foiu- are sometimes used. 
 
 Monteverde, the early opera composer, scored special trumpet jiarts in 
 his ojiera "Orfro" (1607), but the trumpets were soon subordinated to the 
 other instruments. In the time of Handel, trumpets were much used as 
 obbligato instruments; in this style of writing the voices often contended 
 for supremacy with the more blatant tones of the trumpet. Examples of 
 this early use are still retained in such solos as "The Trumjiet Shall Sound," 
 from Handel's "INlessiah" (Record 74080), and in "Sound an Alarm," 
 from the same composer's "Judas Maccabaeus" (Record 74131). Haydn 
 introduced a rather unusual trumpet call in the Andante from the "Mili- 
 tary" Symphony (Record 35;511-B). It is said that Beethoven gave the 
 trumpet its present individual character. An exami)le of his use may be 
 heard in the middle part of the "Leonore" Overture (Record 35"268-B), in 
 which is heard the trumpet announcing the arrival of the Governor, at first 
 far away, and then nearer. There is always a military suggestion in the 
 piercing tone of the trumpet, as in Aulier's "Fra Diarolo" Overture 
 (Record 35671-A). The trumpet sountls the call to arms at the beginning 
 of the fourth movement of the " William Tell " Overture (Rossini) 
 (Record ISOl'i-B). Wagner knew the \'alue, as well as the limitations of 
 the trumpet, and used it for si>ccial effects, as in the stately March in 
 "Tanuhiiuser, " to which the Minstrels enter the Hall of Song (Records 
 
34 
 
 15 R A S S 
 
 314'23, 1()514). ^'c^di also used it for bravura effects, and for military sug- 
 gestions as in the recitative preceding the Aria " Celeste Aida " from " Ai'da " 
 (Record SSl'JT), and in the Triumphal March (Record 35<265-B). Humper- 
 dinck employs the trumpet to introduce the theme of the Old Witch in the 
 Prelude to "Hansel and Gretel." Elgar has used the trumpets in some fine 
 brass effects in "Carillon" (Record 55050). Saint-Saens employs them for 
 martial effect in his " Marche MilUaire Framjaise" (Record 35C68-B). The 
 use of trumpets in a special flourish or fanfare may be heard in the intro- 
 duction to George B. Nevin's setting of Tennyson's "Blow, Trumpet, for 
 the World is White with May" (Record 35581-B). 
 
 CORNET 
 
 The Cornet is an invention of the early nineteenth century, developed 
 from the old keyed-bugle. It is a valve instrument like the trumpet, 
 l)ut its tone is not so brilliant or heroic. It is easier to ]>\ay, and for that 
 reason is much used in military bands and small orchestras. The cornet 
 enjoys considerable popularity as a solo instrument. Examples of this use 
 may be heard in the following solos: Aloha Oe (17035-B); Caprice Brilliante 
 (35090-B); Cradle Song (Brahms) (17417-B); Serenade (Schubert) (Record 
 35508-B) ; Soldier's Dream (Record 1764'-2-B) ; Sole Mio (Record 16899-B) ; 
 The Rosary (Record 1604G-B). Its use is noticeable in many dance 
 and band records. 
 
 FRENCH HORN 
 
 HE FRENCH HORN is the alto of the Brass Choir. We 
 trace its origin to the old hunting horn, which consisted of 
 a metal tube coiled around so as to fit over the head of a 
 mounted huntsman. It has a tapering, funnel-shaped 
 mouthpiece, and a large liell, into which the hand is fre- 
 cjuently 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 evil, sinister 
 effect, and is much used to suggest scenes of conflict. The length of the horn 
 tube is from twelve to sixteen feet, just twice as long as the tube of the 
 trumpet. There are horns in nearly aU keys. The F Horn is generally used 
 in modern orchestras on account of the convenience of jjlaying in different 
 
^ 
 
 C (> K N E T F H 10 N C 11 HORN 35 
 
 keys. The coiiii)ass is three and one-half octaves, extending fr(jni B to F. 
 o The horn is a transposing instrument; the F Horn 
 
 z^izzz: sounds a perfect fifth lower than the j)arts written. 
 
 r At first the tones were hmited to the 
 
 I "harmonic" series resulting from the funda- 
 
 mental tone. It was then found that some of the missing notes could 
 be supplied by inserting the hand in the bell. Later, the horn was supplied 
 with "crooks" or extra pieces of tubing, which, when inserted, altered 
 the key. In 18^20 three valves were invented, thus making it possible to 
 play the complete chromatic scale. 
 
 In tone (juality the horn lies midway between woodwind and brass, 
 so it blends ecjually well with either. It also sounds well by contrast with 
 the strings. Its voice is even, full and mellow. Since it lacks the agility 
 and flexibility of many other instruments, the horn is more often used as 
 a "supporting instrument," filling in and sustaining the fundamental 
 harmonies. When it is used as a solo instrument it is gi^'en slow legato 
 melodies suited to its romantic character. A Symphony Orchestra gen- 
 erally uses four horns, but six and even eight are sometimes employed. 
 
 The horn is a very old instrument of the orchestra, it ha^'ing been used 
 by Bach and all the classical comjjosers. y\t first, when only the natural 
 horn was available, the instrument was used sparingly. The famous horn 
 solo in the trio of the Third Movement of Beethoven's " Eroica'' Symphony 
 (No. 3) was considered very bold when it was composed. Beethoven fur- 
 nished another striking example of the use of horns in the Scherzo of his 
 "C Minor (Fifth)" Symphony (Record 18''278-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 35166); he also intro- 
 duces the solemnity of a horn quartet to invoke the spirit of the woods in 
 the Overture to " ])er Freischutz" (Record 6''2636-A). 
 
 One of the most beautiful passages for horns is in Mendelssohn's 
 "Nocturne" to "A Midsummer-Night's Dream" (Record 355'27-A). This 
 composer has also assigned a noble passage to horns and bassoons in the 
 third movement of his "Italian" Symphony (Record SSi-SS-B). Another 
 well-known horn passage is at the beginning of the Overture to Thomas' 
 "Mignon" (Records 17909-A, 35671-A). Here the horns sing the tender 
 theme of the " Coiinais-ii/. le jxtys?" from the first act of the opera. 
 Richard W'agner in his opera "Rienzi" and in all his nuisic-dramas did 
 much to extend its use. One of the best examples of the horn may be 
 heard in Siegfried's Horn Call in Act II of "Siegfried" (Record 17174-B). 
 
 I- 
 
36 
 
 BRAS S 
 
 
 /'V^l 
 
 Ip' 
 
 -" HlH- 
 
 Ste. 
 
 '— -^.^^fc 
 
 
 In Scene II of the first act of "Tannhauser," twelve horns in four 
 groups stationed at difTerent distances behind the stage are used to 
 depict the approach of the Landgrave and his huntsmen (Record 68352-B) . 
 Tschaikowsky valued the romantic cjuality of the horn, and many excellent 
 examples of its use are found in his works, including the Finale to the 
 Fourth Symphony (Records 74553, 74554), the " Valse des Fleurs " from 
 the "Nutcracker" Suite and the famous horn passage in the Andante of 
 his Fifth Symphony. 
 
 TROMBONE 
 
 HE TROMBONE is a very old instrument; it is said to 
 have been used by the ancient Romans. In the Middle 
 Ages this instrument was called sackbiil, from a Moorish 
 word meaning "puni])." Sackbuts were used in four sizes: 
 soprano, alto, tenor and bass. At the time of Bach it was 
 a common practice to arrange chorales for a cpiartet of 
 these instruments, a custom which is still kept alive in the 
 trombone choirs of the Moravian Cluu-ch. Now the Tenor 
 Trombone 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-sha])ed mouthpiece, 
 and a conical bell wider than that of the trumpet. The tones of the scale 
 are produced by a U-shajjed slide which the right hand moves back and 
 forth by means of a short bar across its ujjper end. This movement lengthens 
 or shortens the column of air in the tube, thus lowering or raising the pitch. 
 There are seven slide positions in all, the notes being produced bj' altering 
 the pressure of the breath and lii)s in relation to the position of the slide. 
 The trombonist must have an excellent ear, for his instrument alone of all 
 the wind instruments has its pitch determined by the performer, without 
 any special tuning, but by a slight variation in the position of the slide. In 
 this connection, it must be remembered that the pitch of all wind instru- 
 ments, both reed and brass, is greatly affected by the temperature of the 
 room, the heat causing them to "sharp." This is why we hear the plaj'ers 
 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. a The parts are writ- 
 
 ten as they sound. The Trc^n- /' ~^ P o bone tone jjossesses 
 
 a noble dignity, almost sacred. -<*- *^ For many years it 
 
 was used in the media?val chm-ches, its full, sonorous voice having a 
 
T R C) M B O N E 37 
 
 graudioso ott'oit, cspoi-ially wlieii used in the antijihonal manner. While 
 the trombone is an exceedingly po\\ert'ul instrument, it is capable also of a 
 soft tone, which can on occasion be cjuite awe-inspiring. The modern sym- 
 phony orchestra generally uses three trombones and sometimes a bass 
 trombone. (There also exists a trombone played by valves instead of by 
 a slicle. This instrument is convenient, but the tone is not so satisfying, 
 and its use is confined to military bands.) 
 
 Examples of the use of the trombone maj' be heard in arrangements of 
 vocal solos adapted to this instrument, such as the "Ciijus ^inimam" 
 from Rossini's "Stabat Mater" (Record 35157-A). In an arrangement of 
 the " M i.tcrcrc" from Verdi's "// Troralorc," the trombone plays the tenor 
 part, while the cornet plays the soprano (Record 16371-A). Mozart used 
 trombones to produce a religious mystical atmosphere in his opera "The 
 Magic Flute"; since the trombones are not previously employed in the 
 opera, their effect is overpowering. 
 
 Beethoven first introduced trombones into symphonic music in the 
 Finale of his "C ]\Iinor (Fifth)" Symphony (Record 35(>o7). A dramatic use 
 of the trombones occin-s in the Prelude to Wagner's "Lohengrin," in which 
 their entrance brings this wonderful symbolic number to a climax (Record 
 31779). Another striking effect is obtained by their use in the "Prelude to 
 Act III" of "Lohengrin" (Record 64744). Again, at the end of the 
 "Tannhauscr Overture," the trombones intone the noble theme of the 
 "Pilgrims' Chorus" (Records 35(i71-A, ()8'-205-B). Another familiar use of 
 the trombones in opera is in the " Triumphal March " from Verdi's " A'l'da," 
 in which additional bands of trombones are used on the stage (Record 
 So'itio-B). There is a very imjiressive passage for three trombones and a 
 tuba at the end of the Last Movement [Adagio Lamento^o) from Tschai- 
 kowsky's "Pathetic" Symphony (Record 31800). 
 
38 
 
 BRASS 
 
 TUBA 
 
 HE TUBA is the bass of the Brass Choir. Its name was 
 given it ))y its inventor, Wieprecht, in 1835. 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 instru- 
 ment maker of Paris, who greatly improved this instru- 
 ment. The bass tulia in B Flat is the one most commonly 
 used in modern orchestras; it furnishes the bass of the 
 brass choir. The length of its conical tube is about eighteen feet. It 
 is pro^•ided with four valve jjistons, and has a cui)-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 are 
 played exactly as written. Though deep in pitch, 
 the tuba is surprisingly agile, considering the 
 gravity of the tone. Its voice possesses consider- 
 able richness and sonority, which is rather sur- 
 prising, considering the fact that the tuba is a near relative of the cornet 
 and the old post-horn. In the modern orchestra it has taken the place of 
 the ophicleide, 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 "Torch 
 Dance" (Faclrltanz) ))y Meyerbeer (Record 35505-B) and in Wagner's 
 "Siegfried's Funeral March," from "Twilight of the Gods" (Record 
 35369-A). In Wagner's opera, "Siegfried," the tuba represents the voice of 
 the Dragon, Fafner (Record 35671-A). 
 
 The Military or Brass Band bad its origin in the cavalry, infantry and artillery 
 b.inds of European armies. Its present character is due largely to the reforms and innova- 
 tions of Wieprecht anil Sax, begun about 18.S5. when valve instruments were coming into 
 more general use. As a concert organization, the Brass Band has achieved its greatest devel- 
 opment in America, at first under the leadership of Patrick Ciilniore, and at present under 
 such noted conductors as Sousa, Pryov, Santelmann, Conway and others. A modern military 
 band consists of from twenty to si.\ty-fi ve or more players. The instruments usually include the 
 following : Piccolo, flute, E-flat clarinets, B-flat clarinets, cornets or trumpets, French horns 
 (or altos), trombones, euphoniums (baritones), bombardons (bass tubas), side drum, bass 
 drum and cymbals. To the above may be added the soprano, alto, tenor and bass sa.xo- 
 phones. oboe, bassoon, contrabassoon, bass clarinet, fiiigelhorn and althorn, which are occa- 
 siiuially used in larger bands. The bass tuba, when coiled so as to be carried around the 
 head and shoulders of the player, is called a helicon. 
 
PERCUSSION 
 
 HE 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 primitive man ; they are 
 today characteristic of the least civihzed tribes, who use 
 them for dances and reheious ceremonials. 
 
 KETTLE-DRUMS OR TYMPANI 
 
 The Kettle-Drums or Tympani are the most important instruments 
 of this class, because they have a definite pitch. In their early Oriental 
 origin these drums were small, and made l)y stretching a parchment over 
 the half of a gourd. They evolved into large kettles of copper, over which 
 carefully prepared calf-skin was stretched, held in place by a metal hoop, 
 and loosened or tightened by the use of T-head screws, to regulate the 
 pitch. A small hole is pierced in the copper hemisphere or "'shell" to relieve 
 the 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, jDadded 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 his 
 stage 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. Beetho\'en frequently altered this tuning in 
 his scores, and in his Eighth and Ninth Symphonies calls for the drums 
 tuaed 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. 
 Since the key frequently changes in orchestral scores, it requires consider- 
 able skill and a good ear for pitch in the kettle-drummer, to make his 
 
 changes quickly and accurately. __^ The smaller drum 
 
 has a range from B flat to F, }• L q --" ''^ *^ while the larger 
 
 drum's compass is from F to C. 
 
 tympani sometimes covers 
 
 varying according to their V' ^t i— 
 
 The tone of the tympani *-• ' 
 
 alternating the strokes of the two sticks, the player can produce a tremolo 
 
 The range of the 
 higher and lower notes, 
 size and use. 
 is resonant and full. By 
 
D K II M — T A M B O U K I N K 41 
 
 effect, which is often used. 'I'hc ii/vipaiii are fre(|uently used to produce an 
 effect of fear or suspense. The drums may l)c muffled or muted by placing 
 \ a handkerchief over the (hum head. The notes for the kettle-drum are 
 written as they sound, in the bass clef. 
 
 The drums are muc'h used in Symphonic writing, as after the trumpet 
 call in the second movement of Haydn's "Militarj^" Symijhony (Record 
 ;?5;?11-B); in the third movement of Beethoven's " Eroica" Symphony 
 (Record 85()71-1?) and at the end of the Scherzo, leading into the Finale 
 of Beethoven's Fifth Symi)hony (Record .SoCi.ST-A). Particular attention 
 should be given to the use of the tymi)ani in tlie Finale of Tschaikowsky's 
 Fourtli Symphony (Records 7455,'), 74554) and in the Finale of the same 
 conijioser's "Pathetic" (Sixth) Symphony (Record ,'51800). 
 
 SIDE DRUM OR SNARE DRUM 
 
 The Side Drum or Snare Drum (Frencli, Tambour) is the familiar 
 small military drum, consisting of a narrow cylinder of brass, ihe ghell, 
 and two heads of jiarchment of sheep-skin, across the lower of which 
 are stretched two or more tinare^s or strings of catgut, which vibrate 
 against the lower head and j)roduce the crisp, rattling tone. The heads are 
 held in place by \Aooden rims, the tension being regulated by brass rods 
 and screws, or by cords and leather slides. Two sticks of hard wood with 
 small round tips are used to play single taps or rolls. To obtain the effect 
 of muffled drums, cords are used to separate the snares from the lower 
 drum-head. The side drum has a sharp incisive ciuality which associates it 
 with pieces of military character. An excellent use may be heard in the 
 Overture to Anber's "Fra Diavolo" (Record 35t)71-B). Notice also the 
 drum effects in Elgar's "Carillon" (Record 55050). 
 
 The large BASS DRUM has also entered the orchestra from the 
 military band. It is played with a soft-headed drumstick ami is used for 
 rhythmic, climactic, artillery and thunder effects. 
 
 TAMBOURINE 
 
 The Tambourine (called by the French Tambour dc Basque), is a small 
 and very shallow drum, consisting of a hoop of wood o^•er ^^•hich is stretched 
 a head of parchment. Light metal discs, or jingles, are fastened loosely on 
 wires inserted in holes cut in the hoop, so that when the tambourine is shaken 
 
4*2 PERCUSSION 
 
 a light tingling sound is ])roduced. Inslrunienls of the drum variety re- 
 sembHng the tambourine are pietured on old Egyptian, Assyrian and Greek 
 wall-paintings and bas-reliefs, so there ean be no doubt coneerning the great 
 antiquity of tliis instrmnent. The taniliourine, in company with the casta- 
 nets, has long been associated with Spanish music. Bizet has used it in 
 "Carmen," as in the Entrade music before Act IV (Records 62101-B, 
 70066). Berlioz has used it with striking effect in the middle of the "Carnircd 
 Romain' Overture (Record 35241-A). Tschaikowsky has employed the 
 tamhourin without jingles for Oriental coloring in the "Arab Dance" from 
 the "Nutcracker" Suite (Record 45()5.S-B). 
 
 CASTANETS 
 
 The Castanets are two hollow wooden shells, 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 Si)ain, where they are now universally used by Sjjanish dancers. 
 Their name comes from the Spanish word castafjna, meaning chestnut, which 
 was the wood from which they wei'c originally made. They are now made of 
 boxwood or ebony. For use in tlie 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 characteristic 
 rhythm (Record 35671-B). Bizet has made frequent use of the castanets in 
 "Carmen" in the beginning of Act II and in the scene in the same act in 
 which Carmen persuades Do7i Jose to desert (Record 88536). The castanets 
 may be again heard in the Entr'acte music before Act IV (Records OSlOl, 
 70066) of the same opera. Other examples of their use are heard in Bizet's 
 " Spanish Serenade " (Record 18445-B) and in Moszkowski's " Spanish 
 Dances," No. 1 in C Major (Record 18445-A), No. 2 in G Minor (Record 
 35644-B) and No. 5 "Bolero" in D Major (Record 18396). Granados, the 
 Spanish composer, used them in his opera, " 6V>;(/escas, " as in the Inter- 
 mezzo (Record 35574-A). The castanets are used for their rhythmic effect 
 in many Si)anish songs, including "'La Partida" (Alvarez) (Record 74500); 
 "/.« Palovta" (Yradier) (Record 74379); "El Celoso" (yVlvarez) (Record 
 64482). 
 
 CYMBALS 
 
 The Cymbals are very old, having been used by the ancient Egyptians, 
 Assyrians, Hebrews and Greeks. They consist of two circular plates of brass. 
 
TRIANGLE GONG 4.'3 
 
 or hammered metal, slightly hollow in the center. They are held in each 
 hand by leather loops, and i)layed by striking their edges togetlier in an 
 up-and-down sliding mo\'enient. ]5y bringing them up against the bodj', 
 the player can cpiickly stop the vibrations. In the modern orchestras they 
 are often i)layed by striking, or brushing them with the sticks of the snare 
 and kettle-drums. The metallic clash is of indefinite pitch, but very useful 
 in crescendo jiassages and bacchanalian scenes. Wagner has used them in 
 his Venusberg music in "Tannhiiuser," and Saint-Saens in the Bacchanal 
 from Act III of "Samson and Dalila" (Record 6'26G0-B). They are used 
 with excellent effect at the end of Grieg's "In the Hall of the Mountain 
 King" ("Peer Gynt" Suite No. 1) to depict the destruction of the home 
 of the Trolls, caused by the magic sound of distant church bells (Record 
 1804^2-B). In the introduction to Faning's "The Song of the Vikings" 
 (Record 550o5-B) the cyml^als suggest the clash of swords on shields. The 
 cjanbals are also used for toy effects, as in Victor Herbert's " Military Ball" 
 from "Babes in Toyland" (Record 70091). They are always used in a brass 
 band, as in Sousa's "Liberty Loan" March (Record IS-tSO-B). 
 
 TRIANGLE 
 
 The 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 hy striking with 
 a rod of the same material. This instrument is of indefinite pitch, and has 
 a rather sharp, incisive, tinkling tone. A tremolo is obtained by a cjuick to- 
 and-fro movement of the rod between the two sides 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 "Siegfried" and "Valkyrie," "Anitra's Dance" from Grieg's 
 "Peer Gynt" and Luigini's "Ballet Egyptien." 
 
 GONG OR TAM-TAM 
 
 The Gong or Tam-tam is a large disc of hammered metal, of Chinese 
 origin. When the gong is rubbed by a soft drumstick a deep metallic roar 
 is produced, which suggests tragic fate. Since the gong is associateil with 
 religious ceremonials in the Orient, it is frequently introduced in ojjcra in 
 this connection. In Puccini's Japanese opera, "Madame Butterfly," the 
 gong is used for oriental color (Records 31631, 87030). 
 
44 
 
 PERCUSSION 
 
 XYLOPHONE 
 
 The Xj'lophone is an instrument said to have originated among the 
 Tartars and Russians. Its name comes from two Greek words, Xylon, wood, 
 and Phone, sound, referring to wooden shibs of various lengths, which are 
 struck with two wooden mallets to jjroduce the tones of the chromatic 
 scale. The carefully tuned blocks of wood are held by tightly stretched 
 cords and arranged in two rows, like 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 three 
 and one-half octaves, producing forty-four notes. Its range is from F to C. 
 
 The Xylophone has not entered to a great ex- 
 tent into modern orchestral compositions. One of 
 the most notaJde uses is in Saint-Saen's " Daii.^e 
 Macabre" (Dance of Death) in which the Xylo- 
 phone represents the rattle of the bones of the ^ 
 skeletons as they dance over the stones of the graveyard on All Hallowe'en. 
 Another use of this instrument is in the " Witch's Dance " of Humperdinck's 
 children's opera, "Hansel and Gretel" (Record 3.5671-B). 
 
 The Xylojjhone is frequently used as a solo instrument, and is espe- 
 cially attractive to children's ears. Excellent arrangements for Xylophone 
 may be heard in the following selections; Gavottes by Mozart and Gretry 
 (Record 17917-B); "Dorothy" (Seymour Smith), Gavotte from " Mignon " 
 (Thomas), ''Moment Miisicalc" (Schubert) and "Mazurka" (Chopin) 
 (Record 18216); "La Cinquantaine" (Gabriel-Marie) (Record 18'296-Bj. 
 
 CHIMES 
 
 HE 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 ("2.5 notes) ex- X X 
 
 tending from G to G. (Five other jgf X 
 
 tubes are available to supply this o" 
 
 compass.) Their fuher and more forceful tones are used for 
 
 religious suggestion in such numbers as the "Processional of the Knights" 
 from Wagner's "Parsifal" (Record 31735), Finale to Tschaikowsky's " 181^2 
 Overture " (Record 31739) and in "The Angelus" from Massenet's " Scrnes 
 Pitioresques" (Record 3.5I37-B). They are also used to suggest the Angelus 
 beU in the duet, "Sweet the Angelus is Ringiiu'." from Henry Smart's 
 
ORCHESTRA BELLS CELESTA 
 
 4.5 
 
 cantata, "Kins Rene's Daughter" (Record 5.505.5). Their use in opera is 
 frequent, as in the "Miserere" from Verdi's "II Trovatore" (Records 
 35443-A, ,S5456-B, 88530, 89030) and in the "Chorus of Bells" from Leon- 
 ca^•allo's "/ Pagliacci" (Record 35172-A). Elgar has employed tlie chimes 
 witli dramatic effect in his"CariUon" (Record 55050). 
 
 ORCHESTRA BELLS 
 
 The orchestra hells are a development of the old Frenih Carillon 
 and the German Glockenspiel. These are sometimes 0[jerated by a 
 keyl)oard, but are usually ])layed with two wooden hammers. The bells, as 
 now used, consist of a set of steel or aluminum horizontal ))ars, arranged 
 ladder-like in two jjarallel rows and tuned in the scale. Under each bar is a 
 tubular resonator of metal. They have a chromatic comi)ass uf three 
 octaves (37 notes) extending from middle C to high C. 
 Mozart employed the bells in Papage)w\s music in 
 "The Magic Flute" and Meyerbeer used them with 
 pleasing effect in the "March Iiidiennc" from Act IV 
 of " L'Africainc." Wagner also introduced the bright- 
 ness of the bell-tone in his music dramas, "Siegfried," "The \'alkyr!e " 
 and "The Meistersingers." Another very suggestive use in opera may be 
 heard in the "Bell Song" from "Lakmc" (Delibes) (Records 74491, 
 74510, 88297). Victor Herbert obtains excellent effects with the bells in 
 his " Babes in Toyland " music (Record 60080). 
 
 An effective use of the orchestra bells as a solo instrument is heard in 
 an arrangement of " Menuetts " by Gluck and Mozart (Record 17917). A 
 very characteristic bell piece is the melody known as "Secret Love" 
 Gavotte (.Jos. Resch) (Record .S5671-B). 
 
 CELESTA J 
 
 HE CELESTA is a modern instrument invented by 
 Auguste Mustek of Paris, in 1880. This instrument is a 
 keyboard instrument like a small organ. It has a, compass 
 of four octaves, capable of pro- 
 ducing forty-nine notes of the 
 chromatic scale from C to C. The 
 bell-like tones are produced by a ; 
 piano action, attached to ham-" 
 mers which strike small steel jilates suspended over accurately tuned 
 wooden resonating lioxes. A pedal i.s used to sustain the tones. 
 
46 
 
 P E R C U S S I O N 
 
 The celesta did not enter the orchestra until 1891. In that year Tschai- 
 kowsky, the famous Russian composer, visited America to be present at 
 the opening of Carnegie Hall, New York. The composer was working upon 
 Iiis "Nutcracker" Ballet and a Symphonic poem, "The Dream of the 
 Volga" {Voyerode). Stopping in Paris he saw and heard the celesta, and 
 wrote to his publisher: "I have discovered a new instrument in Paris — 
 something between a piano and glockenspiel, with a divinely beautiful 
 tone! I want to introduce this into the ballet and symphonic poem. The 
 instrument is called the 'Celesta Mnstel' and costs 1200 francs. You can 
 only buy it from the inventor, Mustek in Paris." Shortly afterwards 
 Tschaikowsky introduced the instrument to supply the color in the "Dance 
 of the Sugar Plum Fairj'" (Dansc de la Fee Dragee) of the "Nutcracker" 
 Suite (Record 35671-B). The part is here written as played, altho usually, 
 because of tlie high pitch of the instrument, the parts are written an octave 
 lower than they sound. The celesta has since been used by many comjjosers, 
 including Glazounoff, Rimsky-Korsakoff, Mahler, Charpentier, Leon- 
 cavallo, Puccini, Frederick S. Converse and Percy Grainger. 
 
 Excellent examples of the celesta used as a solo instrument are heard 
 in the transcriptions of "Drink to Me Only" and "To a Wild Rose" 
 (Record 17C91); "Home, Sweet Home" and "Scotch Songs" (Record 
 17671); "Old Black Joe" and "Old Folks at Home" (Record 17G74); 
 "Silent Night" (Record 17842). The tinkling sweetness of the Celesta 
 gives a pleasing effect in instrumental combinations; with the violin in 
 "Massa's in the Cold, Cold Ground" (Record 64638); with the violin, 
 flute and harp in "The Dawn of Love" (Theodore Bendix) (Record 
 18296-A), and "Fedora Gavotte" (Lapitino) (Record 17681-A) ; with viohn, 
 'cello and piano in "In the Gloaming" (A. F. Harrison) (Record 18063-A). 
 
 MARIMBA 
 
 HE Marimba is an instrument of the Xylophone class, 
 which Ijecame i)opular at the Panama-Pacific Exposi- 
 tion in 1915. It is said to liave originated among the 
 " Tecomaie,'" a tribe of Indians in the State of Chiapas, 
 Mexico. Its development is due to the untiring efforts 
 of Seliastian Hurtado, of Quezaltenango, Guatemala, 
 where excellent marimbas are manufactured. There is a 
 similar instrument invented and used by the natives of 
 western Africa. Ike n'arimba consists of a series of slabs of graduated 
 length, arranged ladder-like on a cord, resting on a framework about 
 
:\i A i! I M B A 47 
 
 three foot liigh (,iu)l unlike the famihar saw-horse). They are made of 
 inaliogany, !ioniii(jiiilo. and aiiiiacair, liard eonipact woods of Central 
 America. Ihider each slab is a wooden resonator, like a "stopped" pipe in 
 an organ, carefully tuned to the tone of the slab. This is also constructed 
 of some special native wood such as ta.viscob and guachipilin. (In the Afri- 
 can 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 buzzing sound of the notes. The soft, mellow, 
 bell-like tone of the marimlia is due to these resonators. It requires from 
 two to eight performers to play the Marimba, or Marimbas, as two are 
 generally used. The players stand around the instrument, each playing his 
 part in a sector, as with hand bells, the fundamental tones being filled in 
 by a three-string doulile-bass. This combination is spoken of as a ]Mariml>a 
 Band. Two wooden hammers, often rublier-tipped, are used liy each i)layer. 
 The Iremolo effect is frequently used as in the Xylophone. Recently an 
 American manufacturer has taken up the manufacture of marimbas, 
 which are called nahimba,s and marimbaphoncs. These instruments are 
 gradually coming into use. The compass of the uabimba is four octaves, 
 e-\tending from F to F. The large Guatemala ma- 
 
 rimba, shown on the ^^ chart h.as a comi)ass of six 
 
 and one-half octaves. j V extending from F to C. 
 
 A few modern comjios- -^ ^ ^ff gva 
 
 ers liave 
 
 color of the marimba into. the symphony ore:.-. s 
 tra, but its use is usually confined to the dance -fc^ 
 
 introducei.1 the ^ 
 
 on.' 
 
 lestra. Its tone-quality and range are exhib- — j-y- 
 
 ited in an arrangement of the "Habanera," from *''« 
 
 Bizefs "Carmen" (Record SaOTl-B), and in the fohowing selections by 
 Marimba Bands: "Colombia" Waltz (Record 17!>2S); "Otilia" :\Iarch 
 (Record 180401; "Intermezzo" from " rar(7//cri'(( Rii.'^licdiia" (Mast'agui) ■ 
 (Record 18048'); ".Vrtist's Life" Waltz (Strauss") (Record ;>,>.5,57); and 
 "Aida" Selection (Record oj.5o9). 
 
48 
 
 FOUR SPECIAL VICTOR RECORDS 
 
 The following records reproduce the tone-quality of each instrument 
 singly, showing its approximate range, then in families or sections, lastly 
 the full ensemble. 
 
 Instruments of the Orchestra — Part I, Strings 
 
 (With Vocal Announcements) Victor Orchestri 
 
 1. The Violin — Spring Song (Mpndelssolin)— 2. T!ie Viola — Traumprci (Sciiumann)— 
 3. The Violoncello — Flower Song (Lange) — 4. Contrabass — Improvisation — 5. Violin 
 Pizzicato — Dream After the Ball — (Brostet) — 6. String Quartet — Intermezzo Ca\"- 
 alleria Husticana— (Mascagni)— 7. The Harp— Harp That Once Thro' Tara's Halls 
 
 Part II— Woodwind 
 
 Victor Orchestr! 
 
 1. The Piccolo— Yankee Doodle— 2. The Flutf^-Wilham Tell Overture ( Rossini) — 
 3. The Oboe— William Tell Overture (Rossini)— 4. The English Horn— Tannhauser 
 (Wagner)— 5. The Clarinet— Zampa (Herold)— fi. The Bassoon— Deep in tiie Cellar- 
 7. The Woodwind Section — Lohengrin (Wagner) 
 
 y 3.5236 
 
 Instruments of the Orchestra — Part III, Brass 
 
 (With \'ocal Announcements) Victor Orcliestra 
 
 1. The French Horn— Titl's Serenade (TitI)— 2. The Cornet— Red, White and Rlut — 
 3, The Trombone— Rocked in the Cradle ot the Deep (J. P. Knight)— 4. The Tuba— 
 Rocked in the Cradle of the Deep (J. P. Knight)— .5. Brass Quartet— Day of the Lord 
 
 Part IV — Percussion Instruments and Entire Victor Orchestra 
 
 1. The Tvmpani (Kettledrums)— 2. The Small Drum— 3. Bells— Mi 
 (Wely)— 4. The Entire Orchestra— William Tell Overture 
 
 UListery Bells 
 
 3.5237 
 
 (Without Announcements) 
 
 Victor Orchestra 
 
 Instruments of the Orchestra— (2nd Series) 
 
 Part I — Strings 
 
 1. Harp — Overture, Mignon (Thomas) — 2. Violin — String Quartet in C Minor, Op^ 
 ]S, No. 4 (Beethoven) — 3. Viola^Recitative, Act 3 Freischiitz (Weber) — -i. Violon- 
 cello — Overture, WilHam Tell (Rossini) — 5. Contrabass— Faust Overture — 6. String 
 Ensemble — The Pizzicato, Sylvia Ballet (Delibes) — 7. String Enscmblc^Ballet 
 Music from Orfeo (Gluck) 
 
 Part II— AVoodwind 
 
 Victor Orchestra 
 
 1. Piccolo — Will-o'-the-Wisp, Damnation of Faust (Berlioz) — 2. Flute^Overture, 
 Semiramidc (Rossini) — 3. Oboe — Aida, Act 3 (Verdi) — 4. English Horn — Largo, New 
 World Symphony (Dvorak) — 5. Clarinet — Overture, (Jrpheus (Offenbach) — ij. Bassoon 
 — Scherzo, 3rd Symphony (Schumann) — 7. Ensemble — Wedding March, Lohengrin 
 
 (Wagner) 
 
 r 35670 
 
 (Without Announcements) 
 
 Victor Orchestr;! 
 
 Instruments of the Orchestra — ('^nd Series) 
 Part 111, Brass 
 
 1. French Horn — Oveiture, Mignon (Thomas) — 2. Trumpet^Overture, Fra Di;ivr 
 (Auber) — 3. Trombone, Pilgrims' Chorus, Tannhauser (Wagner) — 4. Tuba — Drag 
 Motive, Siegfri d (Wagner) — o. Ensemble — Chorale (Bach) 
 
 Part IV — Percussion and Entire Orchestra 
 
 Victor Orchestra 
 
 1. Tympani (Kettledrums) — Eroica Symphony — (Beethoven) — 2. Side Drum — Fra 
 Diavolo (Auber) — 3. Marimba — ^Habanera, Carmen (Rizct) — 4. Castanets — Spanisli 
 Rhythm— o. Orchestra Bells— Secret Love Gavotte (Resch)— G. Xylophone- Witch's 
 Dance, Hansel and Gretel (Humperdinck)— 7. Gong — 8. Celesta — Dance of the 
 "Sutrar Plum Fairy." Nutcracker Suite (Tachaikowsky) — 9. Entire Orchestra — 
 Pique Dame Overture (SuppeJ 
 
 V 3,5671 
 
 NOTE — Theae orchestra illustration records 
 cannot be played continuously. 
 
 : divided into sections for teaching purposes and 
 
INDEX OF INSTRUMENTS 
 
 Ha.ss ("lariiK'l . 
 
 Ci) 
 
 Comet 
 
 Cor Anglais 
 
 (English Horn') 
 
 (Cymbals 
 
 iVoublo-Bass ... 
 OonblL'-Bassoon 
 
 ■-'11, 
 English IKirn . . . 
 Flnte 
 
 ;i4 
 
 '-'.I 
 4-.' 
 17 
 
 .■ill 
 ■-'.1 
 ■JO 
 
 Cong 
 
 Hari) 
 
 . 4;! 
 
 Bolls 
 
 Castaiu-ls .... 
 Celesta 
 
 . . 4,) 
 . . 4-2 
 . . 4,". 
 . . l.-i 
 . 4! 
 
 . 17 
 
 '^9, ;!0 
 
 Ketlledrnnis . . . 
 
 Marimba 
 
 Nabiniba 
 
 Oboe 
 
 . 40 
 
 . 4(i 
 
 . 47 
 
 ■>! 
 
 "Cello 
 
 Chimes 
 
 Orehestra Bells. 
 Pieeolo 
 
 . 4J 
 
 Clarinet 
 
 Sa\oi>luiue 
 
 Side Drnni 
 
 Snare Drnni . . . 
 
 '"IS 
 
 Contrabass . . . 
 Contrabassoon 
 
 Freneh Horn 
 
 84, .'!,-), 
 
 . 41 
 . 41 
 
 Tainlionrine .... 41 
 
 Tani-Tani 43 
 
 Triangle 4:! 
 
 Trombone 'M 
 
 Trnmpet S'i 
 
 Tnba ;!S 
 
 T\"mi>ani 40 
 
 viola i:i 
 
 Violin 10 
 
 A ioloneello 15 
 
 Xylophone 44 
 
 INDEX OF RECORDS 
 
 Atlagio l.auu'ntoso — "Pathetie " S\ ni- 
 phon\" l^Tsehaikvn\"sky) :>0. 
 
 Afternoon of a Faun (Debussy^ 
 
 "Aiaa" (Verdi) 9, ''2o, ;!4, ;!7, 
 
 Air \yith Variations (Proeh) 
 
 Allegro from Quartet (Dittersdorf) 
 
 Aloha Oe (Cornet Solo) (Hawaiian Song) 
 
 Ameriean Fantasie (\'ietor Herbert) 
 
 Andante from Quartet (Dittersdorf) 
 
 Andante from Quartet (Mozart) 
 
 Andanlt.^ — Fifth S\"m(ihon\' (Beetho\en) 
 14. Hi, ■'O, 
 
 Andantt.' — Italian Symphony (Mendels- 
 sohn) ' ' 14, ISO, 
 
 Andante — Military Symphony (Haydn), 
 
 Andante — I*asti.>ral S^■mphon^' iBeetho- 
 A-en) ' 'id, ■,!1, '24, 
 
 Andante Cantabile (Tsehaikowsky) 
 
 Angehis, The (Ma.ssenet) 
 
 Anitra's Danie (Cirieg) 
 
 Aooah — Indian Song \yith Fdute Call 
 (Lieuranee) 
 
 Arlesieune Suite — .Vdagietto (Bizet) 
 
 Arab Danee (Tsehaikowsky) ■-'(!, 
 
 Artist's Life \Valtz (Sfauss) 
 
 Ave Maria (Sehubert) !>. 
 
 Babes in Toyland (Herbert). . . . .:!.'f, 4;!, 
 
 Baechanal — Samson and Delilah 
 
 Ba.sset Horn . 
 
 Batti, batti — '"Don dioyanni " (Mozart) 
 
 Bell Song— ■■Lakme" (Delibes) 
 
 Bereeuse from "Joeelyn" iGcdard) 
 
 Be Thou F'aithful (Mendels.^ohn) 
 
 Blo«-, Trumiiet, for the World is White 
 With :SIay iC.eo. B. Xevinl 
 
 Boheme, La il'ueeini) 
 
 Bolero in O >Lijor (Moszkowski) 
 
 By the Brook (F'ischer) 
 
 By the Brook (Wetzger) 
 
 By the Waters of Minnetonka (Lieuranee) 
 
 By the \\'eeping \\aters (Lieuranee) .... 
 
 Bridal Song— Biistie Wedding Sym- 
 phony (Goldniark) 
 
 ■■^-.i|,„ ■•—■William Tell Oyerture (Ros- 
 
 14 
 4-2 
 47 
 17 
 
 4.) 
 4.-! 
 ■28 
 Hi 
 4,5 
 17 
 It! 
 
 ;u 
 
 9 
 4'2 
 17 
 
 ■24 
 
 sini) . 
 
 .•21. ■2(1 
 
 Canzonetta (Mendelssohn) 18 
 
 Cajirii-e Basque (Sarasate) 1^2 
 
 Capriee Hrilliante (Cetrnet Solo) 34 
 
 Ca[iriee ^'iennois (Kreisler) 1'2 
 
 Carillon (Klgarl 34, 41, 4j 
 
 Carmen lHizet)..ll. '21, '23, '24, 4-2,47 
 
 Carniyal Remain Oyerture (Berlioz). -2(1, 4'2 
 
 Caealleria Hustieana (Maseagni) . .9, 47. 48 
 
 Celeste " Ai'da " (\'erdi) 34 
 
 Celo.so, El (AK-arez) 4^2 
 
 Chanson Hohenie "Carmen ' (Bizet). ... ^21 
 Chinese Danee from "Nuteraeker .Suite ' 
 
 (Tsehaikowsky) ■23. 30 
 
 Chorus of Bells — "I . Faghaeei' (Leon- 
 
 eaAallo) 4o 
 
 Cinquantaine. La (Gabriel-^Lirie) 44 
 
 C Minor — (Fifth) Symphony (Beetlunen) 
 
 4. 14. Ui. IS. ^2^2. '24. 30, 35. 37, 41 
 
 Colombia WaUz (iLirimba)(Valyerdi). . . 47 
 
 Coneertiuo for Clarinet (Weber) ■.JS 
 
 Coneerto for Harp and F'lute (Mozart). 9. il 
 
 Consolation (Mendelssohn) 9 
 
 Coppelia Ballet iL^elibes) ^.25 
 
 Cradle Song (Brahms) 34 
 
 Cujus Animam (Trombone Solo) iVerdi) 37 
 
 l^amnation of F^iust — ilinuet (Berlioz) 8. ii 
 Danee of the Goblins iRonde des Lutins) 
 
 (A, Bazzini— Op. -iS) 1'2 
 
 Danee of the Kazoos (Tsehaikowsky) . . . il 
 Danee of the Sugar-Plum Fairy (Tsehai- 
 kowsky ) 46 
 
 Danse Arabe, from "Xuteraeker Suite ' 
 
 (Tsehaikowsky) ■20, 4-2 
 
 Danse C^hinoise, from "Xuteraeker Suite ' 
 
 (Tsehaikowsky) ■2:!, 30 
 
 Danse iLieabre (Saint-Saens) ^25, 44 
 
 Daughter of the Regiment (Donizetti) . . . •2i 
 
 Da\N n of Loye (Theodore Bendix) 40 
 
 De Mon Ami<^" Pearl Fishers" (Bizet) 9. ii 
 
 Dinorah — Shadow Song (Meyerbeer) .... '2'2 
 
 Distant A'oiees (Lemmone) *2 
 
 D->Lijor Suite (Bach) 4 
 
 Don Gioyanni (ilozart) 10 
 
.50 
 
 I X D E X OF R E C O K D H 
 
 Dor.iLliy [Sryiuoui'-Sujilli] 
 
 Uriiik 'to J\'lf Only ^\■'dh Tliinc Kyes 
 (Cflosta Solu) 
 
 Duet cif tlie Fltmer-s — "^Madame Butter- 
 fly" (Puccini) 
 
 Egmont Overture (Beethoven) 
 
 1812 Overture (Tschaikowsky) 
 
 El Celoso (Alvarez) 
 
 Elijah (Mendelssohn) 
 
 Elisir D'Amore (Donizetti) 
 
 Eroica Symphony (Beethoven) 
 
 Entr'actes — "Carmen" 'H, '23, 54, 
 
 Fackeltanz (^Meyerbeer) 
 
 Faust (Gounod) l.'i, 
 
 Faust Overture 
 
 Fedora Gavotte (Lapitino) 
 
 Fifth Svmphony (Scherzo) fBeethoven) 
 
 Ki. IH. 
 
 Fifth Symphony, in C iNIiiior (lieethnven) 
 4, I'-l, l(i, 18, 23, 2t. 21), .'!(!, .3.5, 37, 
 
 Flonzaley Quartet 
 
 Fountain, The (Zabel) Harp Solo 
 
 Fourth Symphony, in F Minor (Tsehai- 
 kowsky) 25, 3(i, 
 
 Era Diavolo Overture (Auber) 33, 
 
 Freischutz, Der (Weber) U, 18, 28, 
 
 From the New World Symphon.v (Dvorak) 
 
 Funeral March — "Siegfried" (Wagner).. 
 
 Gavotte No. 2 (Popper) 
 
 Gavotte from Second Sonata (Bach). . . . 
 
 Gavotte from "Mignon" (Thomas) 
 
 Gavotte (Gretry) 
 
 Gavotte (Mozart) 
 
 G Minor Symphony (Mozart).. 4, 21. 28. 
 Goyescas — Intermezzo (Granados) 
 
 Habanera — "Carmen" (liizet) 
 
 Hansel and Gretel (Huniperdinek) . . . .."-t. 
 
 Harlecjuin's Serenade — "Pagliacei" 
 
 Have Pity, Sweet Eyes (Tenaglia) 
 
 Hear Me, Norma (Bellini) 2.5, 
 
 Hebrew Melody (Achron) 
 
 Her Blanket fLieuranee) 
 
 Home, Sweet Home (Payne-Bishop). . . . 
 Huguenots, The (Meyerbeer) . . . . U, 23, 
 Humoresque (Dvoi'ak) 
 
 Indian Lament (Dvorak) 
 
 Indian Song.s. by Thurlow I.ienrance. . . . 
 Intermezzo to "Midsnnnner-Xight's 
 
 Dream" 11, l(i, 21, 
 
 In the (iloaming (Harrison) 
 
 In the Field There Stood a Birch Tree 
 
 (Tschaikowsky's Fourth Symphony) . . 
 In the Hall of the Mountain King (Grieg) 30, 
 
 Instruments of the Orchestra. 3, 
 
 Italian Symphony (Mendelssohn) 14, 30, 
 It is Enough — "Eli.iah" (Mendelssohn).. 
 Intermezzo — "Cavalleria Rusticana" 
 
 (Mascagni) 47, 
 
 Jocelyn, Berceuse from (Godaid) 
 
 41 
 
 18 
 
 I) 
 
 41 
 41 
 
 3>;5 
 20 
 38 
 
 10 
 9 
 44 
 44 
 44 
 20 
 42 
 
 47 
 44 
 11 
 12 
 28 
 12 
 22 
 40 
 2(i 
 
 
 12 
 
 22 
 
 30 
 40 
 
 25 
 43 
 48 
 3.5 
 
 k; 
 
 48 
 17 
 
 P.VCE 
 
 -Tiulas Maecabicus — "Sound an Alarm" 
 
 (Handel) 3.3 
 
 •Inpiter .Syniphony (Mozart) 4, 21 
 
 Lady of the Lake — "Ave Maria" (Scott- 
 Schubert) 9 
 
 Lakme — Bell SoTig 4.5 
 
 Largo, from "New World Symphony".. . 20 
 
 Le Cygne (Saint-Saens) 10 
 
 Leonore Overture, No. 3 (Beethoven). . . 33 
 
 Liberty Loan March (Sousa) 43 
 
 Liebesfreud (Kreisler) 17 
 
 Lieurance. Thurkn\' — Songs by 22 
 
 Lo. Here the Gentle Lark (Bishop) ..... 22 
 
 Lohengrin — Prelude (Wagner). ... 12. 2 t, 37 
 
 Lucia — Mad Scene (Donizetti) 22 
 
 Lucia — Prelude (Donizetti) 
 
 Lullaby (Bredt-Verne) 17 
 
 Madama Butterfly — Fantasia (Puccini).. 17 
 
 Mailama Butterfly (Puccini) !), 43 
 
 Mad Scene from "Lucia" (Donizetti). .. 22 
 
 Magic Flute (Mozart) 21, 37, 45 
 
 Marche Militaire (Saint-Saens) 34 
 
 Marche Militaire (Schubert) 28 
 
 Marche Slav (T.schaikowsky) 14, 30 
 
 iVIarriage of Figaro (Mozart) 11 
 
 Massa's in the Cold Ground (Foster) .... 40 
 
 Mazurka (Chopin) 44 
 
 Mazurka — Coppelia Ballet (Leiibes). ... 25 
 
 Melody in F (Rubinstein) 10 
 
 Menuet (Valensin) 16 
 
 Menuctt (Hasselmans) 9 
 
 jNIenuett (Gluck) 45 
 
 :\Ienuett (Mozart) 45 
 
 Menuetto (Beethoven) 18 
 
 Menuetto (Mozart) 18 
 
 Menuetto from Quartet in E Flat (Mozart) 18 
 
 Merry Wives of Windsor (Nicolai) 11 
 
 IMessiah — The Trumpet Shall Sound 
 
 (Handel) 33 
 
 Midsummer-Night's Dream. Intermezzo 
 
 (Mendelssohn) 11. 10. 21. 30 
 
 Midsummer-Night's Dream. Nccturne 
 
 (Mendels.sohn) . ._ 21. 35 
 
 Midsummer-Night's Dream. 0\'erture 
 
 (Mendelssohn) H 
 
 Midsummer-Night's Di-eara. Scherzo 
 
 (Mendelssohn) 21 
 
 Mignon — Gavotte (Thomas) 44 
 
 Mignon — Overture (Thomas) 9. 35 
 
 Military S.vmphony (Haydn). 4. 33. 41, 43 
 Military Ball— "Bal)es in Tovland" 
 
 (Herbert) 43 
 
 Minuet of "Will-o'-the-W'isp" (Berlioz) 8, 22 
 
 Minute Waltz (Chopin) H 
 
 Miserere — "B Trovatore" (Verdi). ,. .37. 45 
 
 Molto Lento (Rubinstein) 18 
 
 Moment Mnsicale (Schubert) 44 
 
 Mountain Scene — "Carmen " (Bizet) .... 21 
 
[ N D i: X () F K E C ( ) R D S 
 
 51 
 
 Xew World Symphony (.Dvorak) '2(i 
 
 Norma iBolliui) !) 
 
 Norwegian Kcho Song (Tlirano) '2(i 
 
 Nocturne — " IMidsunnnor-Night's Dream" 
 
 (JVlencielssolin) 'il. -W. ;15 
 
 Nutoraeker Suite ('rsehaiktnvslv\') 
 
 SI. 'Ji. j;!, '2(i. ;i'o, ;Ui, 4-2, M> 
 
 Olioron Overture (Weber) '28. So 
 
 Old Blaek Joe (Stephen Fo.ster) \-i. -tti 
 
 Did Folks at Home (Stephen Foster) '2(>. -tti 
 
 Oi-ientale (Cui) 17 
 
 Orpheus and Furidiee (Gluek) "21 
 
 Orpheus Overture (Otfenhaeh) '28 
 
 O Sole Mio (di Capua) 3i 
 
 Otello— Willow Song (\ erdi) :((» 
 
 Otilia ilareh (Marimba) 47 
 
 Overture — Carnival Romain (Herlioz) '211. 4'2 
 
 Ove:-ture— 181'2 (Tschaikowsky) H 
 
 (Verture — Fra Diavolo (.Vuber) ;!:!. 41 
 
 Overture— Faust (Wagner) 18 
 
 Overture— Der Freisehtitz (Weberl 18. -28. :!.j 
 
 Overture— Magic Flute (Mozart) , , '21 
 Overture — Merry Wive^ of Wiud--or 
 
 (Nicolai). . . ." 11 
 
 OvertiU'C — Midsununer-Night'i Dream 11, :!ll 
 
 Overture — Mignon (Thomas) :). :>.> 
 
 Overture —Leonore Xo. ;! (Beet ho\cu). :!•> 
 
 Overture— Oberou (Weber) '28. .').> 
 
 0\-ertiu-e— Oi'pheus (Offenbach) '28 
 
 Overture — Tannhiiuser (Wagner) 14. 87 
 Overture — William Tell (Rossini) 
 
 l(i. -2.1. '2H. ;k! 
 
 Overture— Zampa (Ileroldl '28 
 
 Pagliacci, I (Leoncavallo) 11. 4o 
 
 Paloma, I.a (Vradier) 4'2 
 
 Partida. La (Alvarez) 4'2 
 
 Parsital (Wagner) 44 
 
 Pastoral — (Sixthl S\-mplionv (Beelho\en) 
 
 11!. '21. '24. -28 
 Pathetic S\'mphonv (Tschaikowsky ) 
 
 1(1. '28. :!il, -M. 41 
 
 Pearl Fishers (Bizet) !>. '24 
 
 Pearl of Brazil (David) '2'2 
 
 Peer Gvut Suite (Grieg) Ui, 80. 4:! 
 
 Pitf. Pat!'. Pouf— ■■The Uugueuots" 
 
 (Meyerliecr) '2.'> 
 
 Pilgrims' Chorus-'^Tanuliauser" (Wagner) 37 
 
 Pilgrim's !\Lirch (Mcudelssohu) 14 
 
 Pracludium (.larncfelt) '2,> 
 
 Polka Fantastique (Borgwakl) 80 
 
 Prelude to " Lohengrin " (Wagner) 1'2. '24. 87 
 
 Prelude to "Tristan and Isolde" (Wagner) U! 
 
 Prize Song (Wagner) 17 
 
 Pricre (Hasselmans) . - . !' 
 
 Processional of the Knight.s — "Parsifal" 
 
 (Wagner) ^^ 
 
 Prodi's .\ir with Variations (Proch) ... '2'2 
 
 Prologue to "1 Pagliacci" 11 
 
 Quartet for Strings— " Music of the 
 
 Spheres" (Rubinstein) IS 
 
 Quartet in C Minor (Beethoven) 18 
 
 Quartet in D Minor (Mozart) 18 
 
 Quartet in D Major (Mozart) 18 
 
 Quartet in F Flat (Dittersdorf) 18 
 
 Quartet in F Major (IScethoven) 18 
 
 Quartet in G Major (Dittersdorf) 18 
 
 tiuartet in E Flat (Mozart) 18 
 
 Reconciliation Polka (Drigo) 11 
 
 Reverie du Sitir (Saint-Saens) 14 
 
 Uoinauce (Kubinsteiu) 9 
 
 Komauce Xo. 1 (for Oboe) (Schimuuin).. '24 
 Homanza — The Huguenots (Meyerbeer). 14 
 Uonde des Lutins (Dance of the Goblins) 
 
 (Op. '2.5. .\. Bazziui) 1'2 
 
 Rosary, The (Xeviu) (Cornet Solo) 34 
 
 Rustic WeddiugSymphony (Goldnuirk) ■ii. '28 
 
 Samson et Dalila (Saiiit-Saens) 48 
 
 Scherzo — C Minor S\"mphony (Beetho- 
 ven) ' '. . . ,18. 35. 41 
 
 Scherzo from String Quartet (Beethoven) 18 
 Scherzo — Midsumnier-Xight's Dream 
 
 (Mendelssohn) il 
 
 Scotch Songs (Celesta Solo) 40 
 
 Serenade (Schubert) 34 
 
 Serenade (Till) 14 
 
 Serenade (Widor) 17 
 
 Serenade — Rustic Wedding Svmphonv 
 
 (Goldmark) '24, '28 
 
 Seniiramide Overture (Rossini) '21 
 
 Secret Lo\'e Gavotte (Reach) 45 
 
 Shadow Song — "Dinorali" (Meyerbeer)., ii 
 
 Siciliana (Mascagni) 9 
 
 Siegfrietl's Funeral JLuch (Wagner) .... 38 
 
 Siegfried's Horn Call (Wagner) 35 
 
 Siegfried — Dragon " Fafner " 38 
 
 Siegmund's Love Song (Wagner) 10 
 
 Silent Xight (Gruber) 40 
 
 Sioux Serenade (Liem'ance) ^2^i 
 
 Sixth Symphony-Pathetic (Tschaikowsky) 41 
 
 Sixth Svmphonv — Pastoral (Beethoven) 
 
 Hi. '21. '24, '28 
 
 Slumber Song (Brahms) 10. 17 
 
 Soldier's Dream (Cornet) 34 
 
 Song of the \'ikings (Faning) 43 
 
 Sound an .Vlarm (Handel) 33 
 
 Spanish Dance (Sarasate) \i 
 
 Spauish Dance Xo. 1 in C Major (Mosz- 
 
 kowski) a 
 
 Spanish Dance No. '2 in G Minor (Mosz- 
 
 kowski) '28. a 
 
 Spanish Dance No. 5 — Bolero in D iLijor 
 
 (Moszkowski) ii 
 
 Spanish Serenade (Bizet) 4'2 
 
 Speak .\gain — ■■ Huguenots" (Meyerbeer) iO 
 
 Spinning Wheel (Spindler) ii 
 
 St. Paul— "Be Thou Faithful" (Mendels- 
 sohn) 10 
 
 Stabat Mater (Rossini) 37 
 
 Storm Scene — William Tell 0\erture 
 (Rossini) i3 
 
INDEX OF RECORDS 
 
 String Quartet 18 
 
 Suite .Algerieiine (Saint-Saens) 14 
 
 Suite in O Major (liacli) 4 
 
 Surprise Symphony (Haydn) 4 
 
 Swan, The (Le Cygne) (Saint-Saens) ... 10 
 Sweet Bird (Handel) AVoodwind Duet.. . 25 
 Sweet Bird, Tliat Shunuest the Noise of 
 
 Folly (Handel) 22 
 
 Sweet the Angclns i.s Ringing (Smart) ... 44 
 
 Sylvia Ballet (Delibes) 11 
 
 Symphony from ''The New World" 
 
 (Dvorak) 26 
 
 Symphony — Eroiea (T5eetho\'en) 41 
 
 Symphony^Italian (Mendelssoha) 14, 30, 35 
 
 Symphony — Jupiter (Mozart) 4, 21 
 
 Symphony — Military (Haydn) 4, 33, 41, 43 
 Symphony — Pastoral (Beethoven) 
 
 16, 21, 24, 28 
 Symphony — Pathetic (Tschaikowsky) 
 
 16, 28, 30, 37, 41 
 Symphony — Rustic Wedding (Goldmark) 28 
 Symphony No. 5 in C Minor (Beethoven) 
 
 4, 14, 16, 18, 22, 24, 30, 35, 37, 41 
 Symphony No. 4 in F Minor (Tschai- 
 kowsky) 25, 30, 41 
 
 Symphony in G Minor (Mozart) 4, 21, 28. 29 
 
 Symphony — Siu'prise (Ilayeln) 4 
 
 Symphony — Unfinished (Schubert) 16 
 
 Tannhauser (Wagner) .... 14, 20. 36, 37, 43 
 
 Tannhauser March 33 
 
 Tarantella (Saint-Saens) 28 
 
 'J'liou Brilliant Bird (David) 22 
 
 Third Symphony — Scherzo 30 
 
 Titl's Serenade IJ, 
 
 T(.) a Wild Rose (MacDowell) 46 
 
 To My Guitar (Popper) le 
 
 Torch Dance (Meyerbeer) 38 
 
 Traumerei (Revei'ie) (Schumann) .... 12, 14 
 
 Tristan and Isolde (Wagner) 10. 26 
 
 Triumphal March— "Aida" (\'crdi). .34. 37 
 
 Trovatore — Miserere (Verdi) 37, 45 
 
 Trumpet Shall Sound — "Messiah" (Han- 
 del) 33 
 
 Twilight of the God; (Wagner) 38 
 
 Two Indian Song.i (Lieurance) 22 
 
 Una Furtiva Lagrima — " Elisir D'.Vmore" 
 
 (Donizetti). ." 30 
 
 Unfinished Symphony (Schubert) 10 
 
 Valse Bluette (Drigo) 12 
 
 Valse de Concert (Hasselmans) (Harp) . . 9 
 
 \'alkyrie. The (Wagner) 10 
 
 Variations on an Air from "The Daughter 
 
 of the Regiment" (Donizetti- Adam).. . 22 
 Vol che Sapete — "Marriage of Figaro" 
 
 (Mozart) 11 
 
 Waltz of the Flowers (Tschaikowsky). . .). 36 
 
 Whirlwind (Krautz) 22 
 
 William Tell Overture (Rossini) 
 
 10, 21, 2,!, 2.). 33 
 
 Willow Song from "Otello" (Verdi) 30 
 
 Wind Amongst the Trees (Briccialdi). . . 22 
 Witch's Dance from "Hansel and (iretel" 
 (Humperdinck) 44 
 
 Zampa Overture (Ilerold) 28 
 
 NUMERICAL LIST OF VICTOR RECORDS USED FOR EXAMPLES 
 
 l(i040 
 10S71 
 l(i514 
 10899 
 
 17035 
 17174 
 17278 
 17418 
 17642 
 17671 
 17674 
 17681 
 17691 
 17707 
 17815 
 17842 
 17844 
 17909 
 17917 
 17928 
 17929 
 17904 
 
 18012 
 
 31423 
 
 18040 
 
 31031 
 
 18042 
 
 31735 
 
 18048 
 
 317.39 
 
 18001 
 
 31779 
 
 18003 
 
 31800 
 
 18119 
 
 
 18124 
 
 35090 
 
 18210 
 
 ,35123 
 
 18217 
 
 35155 
 
 18278 
 
 35157 
 
 18290 
 
 35100 
 
 18312 
 
 35171 
 
 18323 
 
 ,35172 
 
 18344 
 
 35174 
 
 18379 
 
 .35182 
 
 18390 
 
 35231 
 
 18418 
 
 35230 
 
 18430 
 
 35237 
 
 18431 
 
 35241 
 
 18444 
 
 35243 
 
 18445 
 
 35244 
 
 31.337 
 
 35205 
 
 35208 
 .35270 
 35275 
 35311 
 35314 
 35320 
 35353 
 35309 
 35.381 
 .35428 
 35430 
 354.37 
 35443 
 35452 
 35450 
 35402 
 35404 
 35482 
 ,35489 
 35493 
 35505 
 35500 
 35508 
 
 35520 
 
 45072 
 
 64207 
 
 70029 
 
 74509 
 
 35527 
 
 45070 
 
 04482 
 
 70031 
 
 74510 
 
 35557 
 
 i50,J0 
 
 64544 
 
 70050 
 
 74525 
 
 35559 
 
 45111 
 
 64601 
 
 70055 
 
 745.32 
 
 35574 
 
 45115 
 
 04038 
 
 70000 
 
 74542 
 
 35580 
 
 55047 
 
 04040 
 
 70088 
 
 74553 
 
 35581 
 35584 
 
 55050 
 55052 
 
 04001 
 04671 
 
 70091 
 
 74554 
 74557 
 
 35025 
 35027 
 35037 
 
 5505 1 
 55055 
 55067 
 
 04714 
 64744 
 64758 
 
 74045 
 74080 
 74111 
 
 74500 
 74567 
 
 74508 
 
 35644 
 35656 
 
 55093 
 
 64708 
 64784 
 
 74131 
 74130 
 
 74569 
 74570 
 
 35668 
 35669 
 35070 
 35071 
 35088 
 
 45007 
 
 60020 
 00034 
 60080 
 60098 
 
 02101 
 02102 
 02030 
 
 08052 
 68205 
 68207 
 68210 
 68332 
 68352 
 
 74150 
 74176 
 74197 
 74219 
 74325 
 74,380 
 74379 
 
 74576 
 74579 
 
 870,30 
 
 87072 
 87269 
 87512 
 
 45053 
 
 62660 
 
 70023 
 
 743S7 
 
 88021 
 
 45006 
 
 64070 
 
 70026 
 
 74491 
 
 88026 
 
 45070 
 
 64197 
 
 70027 
 
 74500 
 
 88042 
 
 88067 
 88008 
 88071 
 88073 
 88087 
 88148 
 88210 
 88270 
 88297 
 88298 
 88299 
 88307 
 8S318 
 8S3,!9 
 88404 
 88469 
 88512 
 88530 
 88536 
 
 89008 
 89030 
 
 95200