Show trie crne theatrical 0 s je 9 tl 4 0 fuerch Ou a 4 Erch ore estra most ost useful and n necessary appendage to the dramatic corps ot of tha the city olty theatre has been sadly nerl neri neglected eded the musician who la Is a votary to his bis art and especially an amateur requires a stimulant to irge him onward to excellence the probes 1 atonal musician also if it be he be genuine ia is yearning Ve arning more ardently after popularity and doln doin eminence coln enca in tha the vocation he has chosen than thin he be does for that filthy dross money there la le a becoming pride in im 1 very tery music lovida disciple ot of apollo to ex cel eel in public but if that great instructor of coi col inan mankind kind the pr pressia essis down with silent contempt on the persevering labors batho bf the aspirant to musical musi bat cai fame then he avill will become careless having no zest cor for bis his most moat beautiful art and the music if not positively damned will lose all its expressive interpretations with these views I 1 have determined to notice the orchestra occasionally casio nally and my great aim will be truth and instruction I 1 will praise where it ft is deserving and mildly point out errors for the improvement p pro ro of those who have committed them As I 1 intend this article to be a briet brief survey of instrumental music as well as critic bing sing the the performers I 1 will wilt commence with the I 1 classification ot of the combined orchestra A complete orchestra may be divided into parts pr or masses of instrument viz stringed ed ments ints and win I 1 instruments in orchestral comp the principal parts paita are aie i bally salli assigned to th stringed 11 ins instruments trume ants nor non is this preference without good foundation jtb n they are easily tuned to any required nitch pitch they may be played upon for any reasonable length of time without witt will out fatiguing the perfo performers merb mera they are capable ca able abie 0 of perfect intonation in all keys and that with almost equal fici facility lity in each and lastly by their power sweetness variety and deL delicacy cacy of tone they are ara admirably adapted to every style and to every variety of express expression loii to obtain a full theatrical orchestra the fol following lowin instruments ments would be necessary necessary AZ vi string four first violins six second vl olics four ani and two double basses wind one flute and hautboy or two flutes two iwo clano clario nets two bassoons bas two horns two two trombones and kettle drums toe wind in are used to enhance and diversify the effect and to impart light and shade to orchestral compositions beside bebide their use in the forte passage passages where they usually double the me stringed instruments either in the unison or octave they are often employed alone or alternately with the former occasionally too short solo duets etc are given to one or more ot of them or when the st stringed Tinged instruments contain rapid successions oe ot notes the instruments proceed by of long duration this preserves the impression of the full harmony while it su the them advantage of variety and contrast contrary lo 10 the above tyle style of arrangement adopted by mozart haydn rossini and oth otheral other eraC sC dalbert aalbert and a 1 ost oat of composers of dancing celebrity have introduced into their works a very peculiar style of ot treatment with the wind instruments horns ard tenor trombones b ones especially AU alt our great AI blasters asters of Ini instrumentation are accustomed to write their scores in a ina lna mannet rinat that every instrument shall be adding strength and beauty to the ideas they w wish eh to convey A core score thus written for a full 0 chestra campt wi h any alny truthfulness be to the thi piano plano pianoforte porte forte the wina instruments are entirely withdrawn and the thi pa passages sages left for the piano pianoforte forto forte are bothin nothing 11 but an interpretation of the string department depart ent of that arrangement the excellence of the piano plano pianoforte forte in producing harmonies of the fullest kind is yell ell eil known but this instrument is not capable of interpreting the variety that can be brought out by the string and wind band combined IT ia is trub true that many fine passages found in tellos for the first and second violins viola and violoncello nolon celo can be easily executed on the but these parts are legitimate ones ani anil not an accordi Ti arment now it thib this view ot of the subject be a correct one and I 1 am bure sure it is the instrumental composer or arranger should never co connie afine himself to tha th pianoforte score for his treatment of the double orchestral mass if be he do does es he will find bs adoptions adapt ions for the wind department sounding more like a bur lesque oa 02 systematic progressions than the workings ota ofa ota skilful and scientific musician oon oun the horns and tenor trombones ag as I 1 leave before stated should proceed in a dignified manner with notes of long duration sip porting the inner parts of the tha carmony by their volume and purity of tone and in fact occupying the same po petition in the wind department part ment is as the voce di does in the vocal orchestra S a composer for variety find it necessary that those instruments should move more than thin duple triple or zit jit tho most qia quadruple druple times in the measure the legato style would be the best ston sion when they are employed as solo instruments st ef the rizzi dao cao of the 9 ring band sometimes Is adin admirable hable nabie in the accompany mant other wini wind such as flutes and hant haut boys may nay proceed with the first or sec bec oad orid viol violins n a and mhd clarici nets nels or bassoons bas with the elola violas the be basa bass trombones erom bonea and ophe c ides ldes with the or double basses hta hla thib bia my be done by doubling strictly in the tha unison or ose else in th ruita ilita vt as may bet best nuit suit the thi dia dla diapason of lla tia instrument the double mass masa when ski ekl fully combined wili will wi il great e affects and drye olk oly 0 powerful wa maery agery ery however No wever weyer we may employ them too incessantly and y abie abib this thib mode node oi of treatment trea treatment tient we 1 exhaust all our oar ryo resources arces at adice arice orice and deprive out ourselves selves of the paeans paeans ot 0 varying the effects the above observations a are meant tor for or the guldan gulden ce of composers ac a nd ar arranger and applies to a score written expressly for the combined orchestra and not tur fur a double mass arrangement taken from the pianoforte piano fortt ali 1 though C cl Albert dalbert is one of our best dancing danding composers comp osera and in some of his introductions may ay be found some delightful imagery drawn draw from the string and wind bandl bind betin yet in the waltz waitr quadrille and I 1 fanale finale I 1 have noticed the non workings of the wind parts to me it sounds exceedingly funny because it ti Is against euphony and scientific r rules riles iles to bear the bass trombones and blow blasting on the accent and the horns and tenor trombones and sometimes the clario ciarlo nets puffing e away on the unaccented times of the ibe measure composers and arrangers should notice the effect of this pianoforte peculiarity forthe for ron the wind abandand ban band dand and they will understand what it resembles better than I 1 am at liberty to describe I 1 I 1 am most anxious to bear from our orchestra in their much improved condition music emanating from some of our great composers the symphony at present would be somewhat to ela elaborate borate in its instrumentation especially from such authors as mozart haydn and last y the wizard giant Beeth beethoven caven raven I 1 never mind that boys let your motto be nil nit despe and every difficulty will be re I 1 m moved ea bv persevering practice for prye present time me overtures a ceiaa and ana cava caauwa ca auba aUna would woud be an excellent choice for fyr grand selections A little dance music occasion occasionally occasionally all ail Y i would be very proper it would pro luce cheer rul ful fullness nesb ness but in heavens name let us sometimes I 1 for variety have a little erand grand music in conjunction with compositions 0 of a lighter character the overture should invariably be the j opening piece for the theatrical orchestra j these competitions beang bel being ng to the theatre more than the concert room they are com corn 1 positions 0 irions of a high order in fact they are th the gems culled from the opera and are linked together by the chain of science they also emanate from such musicians as auber rossini mozart bellini and a bot bo t of other great composers then awake tip up thou sleeping and silent professor conductor of the band and solicit the management to allow you to introduce these admirable compositions at our theatre I 1 will conclude my article by noticing the performances 0 the orchestra on their benefit night the selections were well chosen for the oc occasion cislon and with one or two exception excellently played the opening piece was one of C aalberts dA lberts s quadrilles t termed england it is quite refreshing sometimes to bear those good old melodies linked together in the form of a quadrille or waltz and C dalbert has been most moat happy with these subjects and anti has ba produced them an excellent composition hunting the hare no 1 in six eight time is a bold flowing sowing and energetic melody and the combined orchestra gave us a fine inter j pre tation of this aria in the fortissimo style duji care 2 in the same t time ime and linked with 1 t subject is a popular old melody I 1 and ma many ny expressive points in the theme were I 1 well brought out by the cornet comet and ana the doubling that instrument in the unison the primo prima violoncello aso also told tel tei well rel in the added counter subject these instruments were finely accompanied by the string band per arco in the mezzo jorte forte legato style but the roost most excelling axce ling effect was the return ot the combined orchestra to the toe coda in the rne ene 11 to fortissimo form which gave a splendid close ose to the quadrille no 2 A favorite tune of charles II 11 11 Is one of the quaintest quain test melodies extant the th e first eight measure peri perl period 0 d wab was xa well swell performed by the full orchestra in the jorlis forlis fortissimo simo style the principal theme is then taken up by the piccolo doubled doubted in the octave by the he and accompanied per arco by the string band and the horns beautifully sustaining the inner parts pratts pianissimo pia pla nimmo a at the end rf the solo the full cuu band returns da caro and completes the sentence with energy and spirit the same subject is repeated by the ronet comet conet accompanied and ended in in the same manner in the third and fourth repeat the toe theme is varied alter bately bv the and cornet the return of the full orchestra da capo caps as before the varied manner or of the arrangement in this quadrille is excellent and the imagery which the combined mass of instruments is capable of developing was fully by be the band in this composition and credit is due both boti to the bolo performers and the by their skillful rendering of the piece by the bye our flute dute player appears to be more morgat at home with nith the piccolo than he does with the concert instrument with the piccolo his bis intonation inton tion is good as well as his bis execution but wi h the large flute he places his lips over the embouchure too far or not far enough eno ligh which causes him to be some sometimes timea timpa too flat at ethers too sharp this should be avoided many other fihe fine od melodies inthis in this set of quadrilles were well played by the band but I 1 have not space to cr timise the whole in detail however how everone one particular melody home sweet home homr by the tha late sir U H bishop I 1 must briefly men mention tion tian the cornet end crid horn horns a opened the subject a in the form of a the string band accompany accompanying i n them pizzicato the whole strain was a beautiful display of instrumentation the grand scena ali all ali all is loat lost no Now tron fron bellinis opera of la lai was per on bla hla he tie cornet that is the th a voice part by mr mark kark croxall Cro yail Kall everybody in citi city is aware with wi bet bOt ny y te filing X his this bis gentleman id to bin fin accomplished artist 0 oni fisl lia ila instrument ast rumelio ru but as I 1 have hate to notice not ie the full orchestra istra as its well as the sola player I 1 must deal with this composition the gem of or hf the opera opert mure more in detail than was found in the he impression of the NEWS of wednesday march 2 1864 the toe introductory in 1 V sharp minor is a beautiful espres ido foo aido ito at the third bar the horn takes the subject ec t and when well interpret interpreted ad the effect is thrilling but on this occasion the horn player was dreadfully nervous his nervous ress rosswag was so very perceptible percept able that it impregnated the cornet player with the same feel ngi log agi which was detrimental to that beautiful tone which be he is capable ca pable of producing on ordinary occasions it was also a drawback to bib bis heretofore correct reading for many notes and expressive one ones odes 5 too found in the first movement were omitted and some of the cadenzas caden ca demas zas were nervously executed however he be partly recovered himself at the 41 legro moderato moderate movement still it was aaa not like we bis usual execution and expression Atthe at the finai final rehearsal which I 1 attended his performance of this almost unrivalled acena icena was magnificent interpreted like an experienc experienced td professional player he must not be daunted but mount again be is not the first musician who has experienced the same fueling fi eling and as be he will doubtless make music bis his prof profession estion we have bare a right to expect that he will make staga his great field for practice and anil give tib more of his bis executions from the great masters I 1 trust protessor nr thomas will v take thi tho hint bint expressed in the NEWS newe and produce some of his excellent arrangement of those pieces I 1 cannot speak too highly 0 the band accompaniment compani ment to this acena scena ace ate na the piano peal a and rea ifa fortissimo ortie simo pa passages 11 sages were rena rerA rendered ered sith with mah expression a aud d precia sion slon which proved that their hearts and souls were in this bagne cent composition this was all done with two 1 I 1 have know professional bands do rauch ranch worse with the same amount of practice the audience felt pleased and deservedly applauded i I 1 have three other pie pieces es to notice which were excellently arranged and ard and played one of f them is from the pen of professor thomas but for want of space I 1 must put them os off until next week joing JOHH sedr |