Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-09-15

in the center of the main floor with benches
and open spaces about it so that the people
could gather together where they could both
see and hear Not only are the tonal effects
discounted by the present location, but the
people have no chance to get together as an
audience; they can't see at all, they hear
but imperfectly and, being scattered, they
lack that sympathy both with the
PLAYERS and each other which has much
to do with most persons appreciation of
music. Applause is rare and scant, or en-
tirely absent under such circumstances
and brass band music is species that calls
for loud applause when we'll done. The
entire effect Of the musical feature is much
diminished by. having the band in the
gallery. 1t would be somewhat better to
turn the roof of Homes central pavilion
into band stand, if it cannot be got nearer
the floor at that point.
In spite of such encouragement,
and although the public work fills
each afternoon and evening and leaves
precious little time for rehearsal,
the Great Western is doing itself
much credit. On Friday evening, for in
stance in such pieces as Rossini's overture
to La Gazza Ladra, the ''Stabat Mater"
transcription, Bouillon's overture "Mur-
muring of the Forest and Bucalossi's
Hunting Scene" there were many points
of dynamic shading, attack, phraslng and
conception worthy OF ali praise. A greater
elasticity of movement, more refined and
finished style OF execution are already appa-
rent and further improvement will surely
be shown as the days go on. The volume OF
tone is large; its balance and quality, while
good, would be bettered by the addition of
saxophoneS and French horns and some in
crease in the lower wood-wind department.
-
1t is interesting to note that this oldest
and foremost of Pittsburg's bands has Just
completed quarter of a century of active
work under the same name and the same
conductor.
The real beginnings of this band were in
1852, or thereabouts, when Nicholas Young
started the organization then known as
Young's Band. 1t continued under his
name and leadership for about ten years.
Young's Band, numbering 16 pieces, led the
Pittsburg contingent in the three months
service during the Rebellion. Then 1or a
year or two the same body of players was led
by George Toerge and known as Toerge's
Band.
In August, 1864, it was reorganized as
the Great Western Band, and the baton was
taken by Balthazar WeIs, who still swings
it. Of the score or more original members
there are five who still retain active con-
nection with the band: Messrs. B. Weis,
Charles Helm, f. Roenigk, Jacob Friesel
and Joseph Ruoff The roll of active men,
bers in good standing now includes AZ in
dividuals, of whom the following sc are on
duty at the Exposition, the others having
regular winter engagements at the theaters:
B. Weis. conductor;G G. KschIer, C. APPEL. pic
colo and hut; August Beckert, Treuman, oboes;
f. Roenigk, Z fiat clarinet; George Fisher solo
b. clarinet; F. Schuetze, first B clarinet; John
Schurz, j. Friesel, William Specht. second and
third clarinet; Carl Nusser, ]. Staley, bassoons;
p. Markwort, E fiat cornet; Il Mueller, solo B
fiat cornet; Louis Falck, first B fat cornet;
Walter Arbogast Harry Moore. second B fiat
cornets; Andrew Weis third fiat cornet; John
f1uegelhorn;J ]. d. Loeppentien,
o. Loeblich, Andrew Gerlach. A. Ludwig,
altos; George Leipzig, baritone; ]. H. Rottkay,
euphonium; Carl Weitz Oscar Arbogast, slide
William Falk, E. Krah, valve from
bones; F. Dietz, Daniel Leach, tubas; A.
Mente contra-bass: William Friebertshaeuser,
tenor drum and kettle drums; A. Weis, Gym
balls; Charles Helm, bass drum.