The age-herald., 1899-05-03
HOW A FESTIVAL
 ORCHESTRA IS MADE UP
BY WILLIAM RYAN.

of the particular instrument which is So pleasing to the ear and So satisfying to the imagination. Of course, every one is fa- miliar with the flute. All persons know it by sight, and they know it's tone. Nearly, every one too, is familiar with the clari< net, for it is employed in small theatre Cr- chestras and in brass bands of any sizes, But many persons who listen regularly to full orchestras, confound in name the oboe and the bassoon. The first is a small in- strument, in appearance much like the clarinet, only smaller, with very smal and treacherous double reed. It has a na< sal, incisive, yet tranquil sound and Is the most plaintive and distinctively pastoral of all the orchestral voices. Without excepS, tion all the composers-classic and romantd use 1t freely. It has soprona compass, and beautiful orchestral solos are. often written for it. An orchestra, therefore, without an oboe, or rather two oboes, Is no orchestra at all, in the large sense of the term. No wind instrument is more difficult to execute artistically, and good oboe play~ CTS are rare indeed.
 The bassoon is a tall instrument of dark wood with a crooked stem of brass, at the termination of which is reed mouth-pieco. The bassoons are always seen sticking up prominently, usually from the rear line of the orchestra. The instrument in question forms natural bass to the clainet and oboe 1t has possible compass of about three and half octaveS-B flat below the bass clef to F at the top of the treble. The music for it is written In the three clefs-r bass, tenor and treble-just as Is the musi6 for the violoncello. Its tone is solemn and almost human. The "wise bassoon" Is a phrase often used by the poets. The basss oon takes part in many a tone dialogue and when it talks back pompously the effect is akin to humor. "
 In the brass choir the horn quartette, filling in the harmony and making those fine organ effects, has most important tN1o Inc iTcfV ar UnnaTpilV 1h- dued and are never very brassy. Most of the noise is created by the trumpets or cor1 nets. And not far behind them in brassy sound are the tromboneS. When the trums pets and trombones are 'let loose' togeth. CT there is nothing like slumber anywhere around.
 Another exceedingly important instru7 ment is the tympanum or kettle drum, by the old composers use in pairs, and by the moderns used often in sets of threes and fours The tympani are hemispherical brass shells covered with parchments Very quick and delicate tuning is necessary, and the man who manipulates these drums must have a correct idea of rhythm. He virtually marks the rhythm of many pieces. Thus it is seen that the drummer must be a first-class musician. An inferior tympanf player would certainly ruin the whole or chestra According to the old scores, call- ing for only a pair of drums, one or tne s'kettles" is tuned in the tonic ana tho other in the dominant. BuI InOuefu SCoiSS' calling for sets of three and four, indicate various keys. The other percussion instru- ments employed are usually handled py some of the second string players.
 No attempt to explain or describe the stringed instruments of an orchestra IS made here, for 1t is assumed that every one who attends a festival has knolwedge of their tone and compass. But It may pc worth while to call the readers attention to the vfo1as, simply to say that an excel- lent example of the beauty of these string ed tenors will be given prominently Tn Beethoven's symphony, No. B. the andante of which opens with never to be rorgot-- ten theme played by the violas and the 'cellos in unison
 Sidney Lanier was not only man OF letters. but he was fine flute player member of @ large orchestra. In his poem entitled "The Symphony he gives with the most exquisite touches true idea of all the instruments. Amateurs, will ma : their enjoyment of the orchestra greatly enhanced when they become acquainteo with the individual winds"
 On the stage the grouping of orchestras varies But in all of them the first vioiins, in twos, are at the directors left, and the second violins, in twos, are at his right. The passes are always in the extreme rear. . - = = |. {. ... - -