New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1863-01-22
TMBATZn OReBLsTRAs.

Iftbere b. ono department of flrst-cass theate'
from v, nich more Is expected 'nd TO when less u
sy~dded than any other the lebors OF wo''n "'
always deprecated or misunderstood oy 'ne puone
whose errors are promptly noted whi'e ''S men
pass pnr, copnised; the really good or oao qua'e'
az which are overlooked in favor OF accideh'hi ea'
catching effects; the importance OF whch Is ieu se'
,ndorv not only by the general vsitOr but by those
Tho should better understand its value, md by
bom il ought to be regarded as primary, 1t IS the
.rch,s,ra. The little railing that separates the tune
ful band from the amusemsnt-'eek'ng m"''i'"oe
marks the boundary Of terra incogpha 10 the Popu
lar serse Upon its particular virtues OF ueiec'S'
vast and comprehensive indifference Is bestowed
OF its general worth there 10 an underlined idea
which no rerson takes pains TO make distinct, ethe
n bimseH or ANYBODY else 1t fills the gaps between
the acts; makes waits" enduratle; shrouds frag
ueptary conversations, which may or may not be o
Importance to third parties from the obirusiYe ear
Che community at large; serves often 70 adorn I
tale, if not TO point moral; gives opportunity fo
che practice Of musical ru6iments in galleries ant
elsewhere, which are improved by marking time ii
familiar tunes with feet and sticks or vivifying tnf
melody with obligato of whistle au paiurel; anu III
other similar ways exercises its humble aud mol o'oi
dgnifed functions. The idea of ts possibly 'o''""s
o serious part of an evenings entertainment, ~
thst has not yet shaped itself IN the cautious o'"'
the general public. lis absence, III any n'"nhee'
should take the step of banlshlng IL aiose'uor'
would he re,ented with indignation. Complaints
would crowd upon the imprudent innovator and
the conviction would speedily spread that OF all In
s.i,ntons that hsd been cherished and held sacred,
aver rscoopized with enthusiasm and sustained with
cordially tho Orchestra stood the fret and the most
distinguished examples whereupon il would straight
WAY be restored, and, after burst OF conplacent
welcome, would rapidly drift again into obscur,y
The indifference to orchestral performances at
theaters arises perhaps from their traditional
worthlesspess, up TO q comparatively recent lime
or possibly from public csiecssness to orchestral
performances Of any kind. AS to the first cause,
there ought to be sufficient observation TO detect The
vast improvements which, in various directions,
have been made in this department The second
can hardly he Of much weight, since the audiences
which crowd the Philharmonic AID other orchestral
concerts do not personally differ, TO eoy material
extent, from those which sueian the city theaters.
Perhaps, again, it may be tia, those who go forth
with the purpose Of witnessing the play do not take
kindly 70 mixing their amusemenis, and prefer their
comedy straight one night, and their music
rndefled another. But, however II may be
accounted for, the fact is there theatrical visitors
as a rule, will slight the music Managers are
quick 10 catch the fancies Of the public; and in one
or two cases tho intention hsspeeped out OF reducing
The dimensions and effectiveness of orchestras with
e ne;a m
attract popular attention. But it bss also been
noticed that, on tits point, the estimation Of the
considerable few is Of more importance than that Of
the careless many; and the judicious recognition
that good orchestrs receive has proved sufficiently
beneficial in an indirect way, TO warrant their per-
petustiOn.
For part. wshoutthe least dspositiont TO in
torsre with the opinion Of those who look upon the
opening bars Of an entire aste rs merely atriumphal
flourish to mark their march TO circumsccnt stimu.
lants we consider the average performances Of the
orchestras at our best theaers much too interesting
20 pass UNDECIDED; and since no serious attention
seems ever to have been called to them, il may
do, for once in way, to explain with
some precision not only the general char.
acter Of the performances themselves, but also
70 0eBcrlUe tDe formation OF Tue beNcfh Or
ehestras their relative merits, and the purposes 70
which they appear TO be devoted. 1t will appear
that each has its separate functions and chsmc
teristics, and that, 10 the peculiar taste end
Judgment of theatrical manager extends itsel
through every detail Of representation upon the
Stage, 90 the personality Of an orchestral con
6uctor Is reflected among bis performers until the
complicated machine which they compose becomes
only nc a single instrument representing particular
order of musical thought and feeling To illustrate
this, 1t will 10 necessary 10 speak with tome tech'
nicsl exactness.
The modern orchestra, that which belongs 10 The
concert and the opera house, Is, should be,
made up of . number Of performers ranging
from lxty 10 one hundred and fifty. Hector Der
hoz the French writer upon orchestration extraya
gantly puts the maximum at some 500, which 10 al
outside the possibilities of this age Seyenty-fye
would be handsome proportion nowadays. The
Instruments Of absolutely different character played
by these, however, number only fourteen or fifteen
They may be grouped az follows;
$:I::::: Tenor v'''. .... ..,.-.'
Bss'es
s $.::i: Wind instruments '''''4
5# #:a%i oor co'n.o wiD4 instrument. .f''.~