OCR Text |
Show Ollt THEATRIC AL (J H.C H KST R. A. 11KMAH..S II V fll'ii t1,!; ,)i)HN I'L'I.-; IlU,t. A- th'-rr aii.- many "-r-uu, hiv-:r.T yl coud liiu-ic and patrons of our theatre, who an: compIaitiiiiL' of the imrrlect t i-oiiditiun uf our orche-tra, I do nut think it will b; H uf place to otft-r a t lew ri'iuai k-,by the way of explanation, 1 on tii-1 ui'i. I ijiu-t lion in ail liuth, that our , band is not -o good ita it should be tor j yj line a ibfaire, but tho.-c who com-pbiin com-pbiin don't know the aint;; 1 will explain ex-plain : I n ill.-!ir-t place we have but 1 I'i'W pir!' it'll u-r., and they are out 1 -Iioaii up lo llf b. .-: advantage.;1 'dbw is tii it.'1 Mini- might inquire.: An-'.vi v I! i-iti-.' t'l.-v Irnv to plav i fi-cii lull band -.r'.'wi'h oik- third ' of tin- iu-ti iiiin-nii , a wiib such arraiv.'i rner.l - ih-- iiarmonies are not eou.pi.-ie. and lIh; '!. iiiMruutouial -Ci mviT-ai ions are lu.-?t lr want if tin" i ab-.rtit pan, ihi-relori- the blame is , not on the )ndiii-tor. I'll I In receipt - Wan ant tin: ciiaL'o- . uu'iit ..t tiio-f lacking intruinriits.they tire not io be found; .-o the fault' l t'.-t not ):' with ili-i management, t '1'ln; inoit ri'lehral-d Kngliili writer n ibis Mibtvt is Waruu, ihe rvi-er of Hamiiiou' popular work on writing for an on-be-tra, and plaviug from ti .M-orc; In-pointedly told hi.- students how many in.-lruiii- uN were r.-.iiired for a small theatrical band; mid I can assure the iiianaifiucut that we have not hull'lln: .piantily rcci-'.-vii y to t;ive ' full elb'i't lii the liarmoiii.!. ; imr have wo sulliei.'ut variety in the wind to ' keep up a cmvi-r-anon in thai department; depart-ment; unless we hav- a special arrangement ar-rangement llr thip.-e instrument-'. Now for lie' n-iii'-dy; Proft-ss-or 'Thomas is a iiood arraiikfcr; he has ac-' jcomplished ibis acquirement by long' 1 experience, in the orchestra; and ho is not only acquainted with the compass of every instrument, but he understands, the delects of the wind inslrmeuls.and : can manage to avoid passages that are ! j not playable, even by first ulass per-, i formers. U must be remenibcrcd that we aro' i living in a fast age, and the great pub-! '. lie will have or grumble new music; 1 and pretty often loo. i In viewing the subject honestly, 1 piole.-sor Thomas should be continually arranging his scire I'rom piano copies to suit his band. Iln would then make his harmonics not only full, but a conversational con-versational variety would be kept up with the wind department. lly condensing his scores, a single copy of the harmonic composition would be siitlieient; and the advantage derived from such an arrangement would bo most valuable to the condition, condi-tion, as ho oould lijcn tell what Ins perlbrmors were about, and aist them if required. It would also be a saving of numerous numer-ous parts, which would pay the espense of an assistant, and make the parts what they should be, viz: correct and elfeciive. In arranging, as above, tho performers perform-ers would have but little rest, aud this reminds me of au observation of the celebrated Ducrow, the great circus horseman and manager. He always engaged a first class full band, because it was popular, but he did not understand under-stand anything about the effect produced pro-duced by a good system. One day he was at a rehearsal and found the horns resting; ho sang out, "I say, what the dovil arc you about, why the devil don't you play?" "Wo have a thirty-two bars rest," said the player.-'. "Vell, I don't pay for resting, rest-ing, and if you don't play, you had better hook it." 1 have conversed with Professor Thomas on the subject, and he has told mo that he does not object to the amount of work, because it would make his orchestra efficient and .(five satisfaction to the public, and the management also. |