Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1892-02-07

At first blush it seems astonishing that,
in a community of so much wealth and cul-
ture and where only two visits from COM
plete orchestras are all of that kind of
music that the whole season offers, such an
enterprise should not pay one-half of its
own expenses But the causes are readily
Giscernible.
For one thing. the orchestra cost at least
$500 more than would have been fair fig
ure, judging by the terms made for local ap-
pearanees by other bodies as complete and
even more efficient The hall in which the
concerts had to be given was, however, in
itself an all-suficient cause for much of the
deficit Full 500 of tine cost of fitting up
that building would have been saved had an
adequate music hall been already in ex-
istence. The remote location, with the
acoustic and other deficiencies of this
costly hail. certainly made the attendance
much less than it otherwise would have
been.
If fthatnecessarilv wasted S400 could only
have been applied to treble the rather
meager appropriation for advertising there
would be different story to tell. 1t would
probably have resulted differently if the
hall had been such as to enable lower priced
seats to be offered to the great class of peo-
pie unable to afford the rates that had to be
charged.
Until we have music halls by which the
cost Of special alterations will be saved, and
in which all classes of the people can be per-
mitted to contribute their properly proper
toned shares in return for the pleasure and
benefit derived, it will often be necessary to
meet deficits of this sort, if such musical en-
Jerprises are to be carried on at all
While the patrons of music are at it, why
not put some money into backing a full or
chestra of eur own? The constantly recur-
ring concerts of snch an organization would
be the best and quickest means of develop
ing the general interest that must be some
time awakened in order to make these
higher and larger musical activities self
supporting.
The Modern Orchestra Described.
Although the item has been in type for
two weeks and unavoidably crowded out, it
is not too late to refer to matter of such
widespread interest as is contained in the
admirable article by Mr. II. E Kreh- |
biel in Hayper's Weekly for January %,
upon 'The Modern Orchestra 1t is to be |
heartily commended to the whole cultured |
public Of this city, where the orchestral de- |
rartment is so sadly backward in de- |
velopment. The article gives a complete |
description OF the makeup of the |
modern orchestra, tie separate instruments |
and their share in the ensemble, and is re- |
plete with interest and information. Mr.. |
hrehhel shows the general importance of |
hlS, S,sublect and the advantage of under /
standing 1t in this paragraph:
The most eloquent, potent capable instru-
ment of music in the world is the modern
orchestra. 1t is the instrument whose en-
lafs "A
"enluses of the Romantic School in the mid
die of our century marks the high tide Of the |
musical art. 1t is an instrument, NOR over,
" men IS never played upon without giving
great oDject-lesson in musical ANALYSIS,
without inviting the eye to help the ear to
discern the cause OF the sounds which aYish
our senses ana stir up pleasurable emotions.
ct the popular knowledge of its constituent
parts, OF the individual value and mission OF
the factors which go to make up its sum, is
scarcely greater than the popular knowl-
edge OF the structure of a symphony or SON.
ata- All this is the more deplorable since at
least rudimentary knowledge of these
things might easily be gained and in gain
lnC 1t the student would find a unique intel
lectual enjoyment and have his ears uncon-
sclously opened to thousand beauties in
the music never perceived before He
would learn, for instance, to distinguish the
CHARACTERISTIC timber of each of the
instruments in the band: and after that
to the delight found in what may |
be called the primary colors he would add
that which comes from analyZing the vast |
NUMBER OF tlnts which are products of COM
blnauon. Noting the capacity OF the various
instruments and the manner in which they,
are employed, ,he would get glimpses into the
mental workshop of the composer. He
would discover that there are conventional
means of expression in his art analogous
to those IN the other arts: and, col
latIng his methods with the effects produced
he would learn somethi < of the creative
artists purposes. He would find that while
his merely Sensuous enjoyment would be left
and the emotional excitement
which is 4 legitimate fruit of musical per-
unchecked, these pleasures would
have others consOrfed with them. His intel
leCtual faculties would lie agreeably irri-
tatcd, ana he would enjoy the pleasures of
winch are .eXempii1ied in music
more delightfully."- and more frequently tnan
in any other art, because OF the role which
repetition OF parts plays in musical compo-
Sition.