The Washington times., 1906-02-18
"a Full Orchestra.

The question IS to what number or
musicians and what instruments consti-
tute a full orchestra frequently pre-
sents itself. and the laymau is often
puzzled when he finds the term tul
and complete orchestra" applied Indis-
criminatclr to musical bodies which
vary greatly in numbers and styles OF
Instruments. Adolf Liesegang, the vet
eran director. who conducts the orches-
ira for Henry w Savage's The Prince
OF Pilsen'' and who for many years con-
Quoted one Of Chicago's most efficient
and popular orchestral organizations. was
asked to name for this paper the con-
stituent parts required in complete or
chestral effects
Few people said Afr. Liesegang,
know what constitutes a-full and CON-
plete orchestra. Even among musicians
doubt as TO the exact instruments com
prising n complete orchestra viii often
be found. One of the most common
errors in this connection is that an Or
chestra To be complete should have at
least thirty-five instruments. and there
are many deluded people who imagine
that an even greater number is required
to complete musical body, As a mat
ter Of fact. an orchestra is complete
with a comparatively small number OF
Instruments. OF course. the number
usually found in theater orchcstras-
ranging from seven to twelve-is con
siderably under the actual requirements
''In fact, sixteen instrUments, ana only
sixteen. are necessary 10 give perfect in
depreciation to any musical work. These
instruments are the viola. volonce1io.
bass viol. fiut. first and second clarfnets.
oh f7~e+
second c0rnets. first and second French
horns. trombone, and bass and snare
drums.
with these instruments any music
can be played properly. any phrasing can
| be accomplished. and any effects Of
which music, Heavenly Maid is capa-
| bic can be cOmpassed. With any less
number /: is impossible to give the COM
pcser's full expression When more than
sixteen instruments are used in an or
| chestra 4 does not follow that new in
struments are introduced. but rather
| that combinations Of the instruments
enumerated are effected-a doubling OF
the number Of instruments and in
| creased volume. II frequently happens
J that d composer viii call for a speclhc
/ instrument to render some particular
portion of. his work. naTp. IoF H.
| Stance or a bassOon. or perhaps saXo-
! phone, or even a Xylophonei but IL does
not follow that these instruments are
absolutely required for the rendition or
the part to which the composer assigns
them.
| with the sixteen instruments L have
named, combinations can always be ef-
fected by which such portions OF the
counoser's work may be phrssed prop
erIy without diminishing the desired eff
! feet OF course, in very large musical
bodies the harp, the basSoon, and other
| instruments are frequently made use OF,
but they are not necessary to secure the
really proper musical effect;
''The complete orchestra is. as have
| given IL. and with the sixteen MstTu-
| 11ents I have named any music can bo
! Properly rendered. With less than this
| list few selections of real merit can be
| properly played. and in many instances
| better results can be secured in piano
| rccornpanimcnt than by the use of seven
or eight instruments Of an incomplete
] orchestra.