Arizona republican., 1918-01-28
CARLSON TELLS
 HON ID LISTEN T0 ORCHESTRA
By Charles Frederick Carlson

By Charles Frederick Carlson
 In order to listen to a symphony orchestra intelligently, one should first know what constitutes such an aggregation of musical instruments; what the instruments are; how they are grouped, and something of how they are combined. With this knowl- edge in mind-even though it be meager-one will be more apt to listen, understand and appreciate the various instruments, singly and com bined.
 In the first place, a modern sym phony orchestra is made up of from p to 30 different instruments of various size. shape, quality of tone and range. Many of the instruments have their peculiar characteristics, even though they resemble other in struments in size and tone.
 The first instruments of the or chestra are the violins. divided into four quartets; consisting of first violins, the second violins, the violas, little larger than the violins, the violoncellos, or cellos, much larger than the viola, and the double passes; the huge violin played by the player standing
 Next come the wood wind instru- ments, known as the first and second flute, the first and second oboe, the first and second clarinet, bass clari- net the first and second bassoon, and the double bassoon; also, some times the piccolo flute is added which plays as high or higher than the violins.
 Nnyt hn wind in ct : ments, consisting of four French horns, two trumpets, and comets three trombones, a brass trombone and a bass tube. Next in order come the instruments of percussion, con- sisting of the kettle drums, the brass drum, the side drum; set of bells the cymals, the gong, the triangle and sometimes the keyed harmonica and the melodium organ.
 Some of the stationary orchestras and even the travelling orchestras use many other instruments to re- inforce the above mentioned. when the occasion demands the addition. | With some idea in mind of the in s;ruments of the orchestra, ont l should perpare oneself to listen witt undivided attention, in order to ap- | preciate the several sections of the orchestra, and concentrate upon the music, so as not to miss the melo- 1 dies as they shift from instrument ! to instrument; or from one set o1 i instruments to another set of in l struments; or, as the melodies anC | the harmonies are combined witt all the instruments, in one euphoniou: ] whole. We are all more or les: 1 familiar with the sound of the vio lins; with the sound of the flute the clarinet, the cornet or trumpet | the trombones. the Violoncellos, cellos pronounced "tchello' and the bas violin. with the harp, which is als' an orchestra instrument-and witt many instruments of percussion: merely remains for us to adopt our | selves and concentrate upon the qual tiles. voices and sounds that com out of this greatest of all instru ments. the symphony orchestra Symphony, meaning the agreeing l harmonious sound, or sounding to gether. harmoniously.
 Some symphony orchestras are yer ordinary, because the players in thsr are not proficient, and because U conductor is not qualified, and not
 musician: to listen to such orchestra: is mostly to have a pandemonium c tonal turmoil thundered into ou ears. and to be made to feel tha our heads are being split, with tn roof. But not so with an orchestr 2 like the Boston symphony orchestr;
 the New York symphony orchestra
 or the Minneapolis symphony or
 chestra, the latter soon to visit ou
 city and play for us. This music;
 organization needs no introduction or praise: it's reputation has bee
 made. and is a fixed musical fact
 the United States from coast , coast.
 In such an orchestra, every man
 an artist upon his respective IT strument, and the conductor, mastt
 musician; otherwise he would not [ 7 at the head of such a body of mus cians. With such an orchestra, or , may be able to hear the most wor
 derful effects. because of music mastery: yes, even inconceivable e . fects: because of the gifted music
 imagination of the conductor; ar
 let it be known that no orchesu |, can become anything out of the ol
 dinary. unless the conductor IS genius: even considering that u 1 men may themselves be artists. IT
 man behind the baton" is the or ; who makes or mars the organlz;
 tion
 To listen to a symphony orchestr t he in a more receptive mood than
 any other time while listening
 music. Because there is more listen to. and more to be hear'
 more to be fascinated with and mo . to be captivated with. on account
 the multitudinous sounds and 2
 fects to be heard: on account or II
 heterogeneous and polyphonic kalel. l oscope of melody and harmony to v audibly assimilated. With no oth f instrument, other than the symphol e orchestra-unless it is the pipe org; S can soft and loud effects. with .. the gradations conceivable. be : wonderfully and magically obtaine V for with this musical mouth of maj Il tongues. the gamut of all emoti' V can be sounded-the whisper f night-winds heard; the color,
 tone. of rising and setting suns; t e laughter and the babble of chlldre e the musings of lovers, in moony fo e ests. and the groan of demons O e of the caverns of hidden tombs; al s the music of the spheres can e imagined, and sweet pastoral seen n depicted Listen for all this, al
 more; for. if you are in tune wi f tonal beauty, you will hear soun V both foreign and akin.