The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1899-12-10
A Strain Of Chinese Music


n T concert which I attended tho
~ other evening there was one fea-
A ture that was peculiarly interest
y ing II was Chinese "orches-
ira 1t was not a lare% orchestra
--only three pieces--and I doubt whether
many would dignity It with that title, but
as the conductor called It 50, I'll give II
the same name.
We had been listening to the stirring
strains OF the American band land how
truly representative OF our national com
position was Its personal compensation
Germans, swedes, English. Irish and
American-born men composing IT'D. We
felt that peculiar quickening Of the spirits
I'm response to the varied and varying
blare of the horns; that rousing OF the
martial ardor In response to the fife and
the drum. Every faculty seemed quick
ened, and every muscle tingled with an
almost Irresistible inclination to act. The
nostrils dilated and the breath came q
little quicker while tho eyes frightened
and every ear was strained to catch each
stirring note.
There was a momentary expeotant
pause as the music ceased. then. with one
accord, the audience broke the tension
by a burst of loud and prolonged APP
plause.
This was several times repeated, then
the conductor announced the Chinese or
chestra.'
They came. after some coaxing. TO the
front of the platform. where their in
struments were arranged. Two Of the
men were middle-aged, and one was
young, probably under &c. Their counte-
nances bore a look OF combined serious
ness, anxious timidity and restrained
pleasure.
The instruments were all string fnstru-
ments. One resembled either or auto
harp 1t was about two feet and half
frpe ma 81 ND n
long on the other. The two ends tapered
equally. 1t had about twenty strings. 1t
was played by means OF two wires. hav-
Ing knobbed ends, which the player used
to strike the strings. The other instru-
ments were constructed much like vio-
lin. but were longer and had very little
resonating cavity. The pegs for tighten
Ing the strings were made Of rudely whit
tied sticks. One of the Instruments was
played by means of rude bow, resem-
bling a small boys bow for shooting ar
rows. and the other was thrummed by the
fingers.
After much discordant tuning and sew
eral unsuccessful attempts to make the
different sets OF strings chord tall of
which caused much merriment In the au-
dience especially when coupled with the
nervous anxious looks OF the performers),
they were made to harmoni2e, and real
music began.
AL ItTSt IL WIS ultIlust
There seemed to be harmony. yet II was
mingled with much that was discordant.
A system Of time, yet at intervals the time
was SO broken as to seem to be altogether
lost. But as our ears became accustom-
ed to It we could readily determine that
they were playing according to u sys-
tem--a system more complicated than our
own, but as perfect as any OF which We
boast, and evidently requiring more skill.
The air was plaintive minor melody,
sweet, quaint. and, to me. pathetic. 1t
seemed as old as their nation. as pecu-
liar as their customs, and as mysterious
as their traditions.
What contrast 1t was to the soul-stir-
ring strains to which We had just been
listening The first was aggressive, al
most defiant; the last pleading and shrink
ing as though seeking to retain Its ex-
clusiveness and retirement and pleading
feebly almost hopelessly. for 1t. The for
mer was constantly varying, frequently
presenting something new, rarely repeat
ing itself; the latter carried with 1t an