The Washington times., 1935-11-02

In the modern symphony Or
cheStra, q balance is sought be-
tween the various sections Theo-
retically there should be only one
violin voice, one cello voice, one
flute voice and so on. But as the
different instruments poSS ess
voices of different carrying power
and sorority, some sections must
be reinforced by many dupllca-
tionS.
The modern full-sized symphony
orchestra consists Of about ITO
players. The division is made ap-
proximately as follows: 18 first
ViolinS. l6 second violins, IA violaS,
IL celloS, 10 string baSses, 4 flutes
(and piccoloS), 3 oboes, English
horn, 4 basSoonS, 3 clarinetS,
bass clarinet, 10 horns, 4 trumpets,
4 trombones, tuba, l tympaum'
3 percussion, l harp, i piano.
The National symphony Or
cheStra with the addition Of a
few players this season is now
made up Of 81 players. The IL
nancial difficulties at present
prevent the orchestra from being
recruited up to full strength.
To make the National Sym
phony Orchestra Q full-strength
organization in the modern &C.
cepted manner would require the
following additions: 2 first VIC
Inns, 3 second violinS, violas, 4
cellos, 2 string BASES, / flute, l
oboe, English horn, 2 basSoonS,
clarinet, 5 horns, trumpet,
and / trombone.
Additional Players
OF course, DR.. Hans Kinder
might have varying ideas as to
the additional players he would
desire, but the above is the ap-
proximate need Of the orchestra.
with the present personnel, DR..
Kinder is frequently handicapped
in presenting works that may call
for resources beyond his COM
n1and.
Few Of the audience are in a
position to see the exact seating
arrangement Of the National Sym
phony Orchestra. The diagram pre-
sented last Saturday is the seating
arrangement preferred by Dr..
Kinder. Other conductors fire.
quently prefer other arrange
ments.
The National Symphony Or
hestra under the direction OF DR..
Hans Kinder has met with a
growing response of enthusiasm
each Of it's four years Of exist
ence.
The orchestra was the subject
Of nationwide comment when the
first attempt at summer concerts
known aS the Sunset Sympho'
nieS" met with such an over
whelming response. From present
indications there is no fear that
the National Symphony Orchestra
will be abandoned because Of lack
Of financial support, as was the
old Washington Symphony Or
chestra in 1904 after three seasons
Of existence.
The old Washington Symphony
Orchestra was directed by the
famous American composer, Regi-
maid de Koven. The organization
was made up Of about SIS players.
Both popular and symphonic con.
certS were given in the regular
season. Herman C. Rakemann,
who helped organize the older or
chestra and served as the concert
master, is the only player in the
National Symphony Orchestra
that served under the baton Of
De Koven.
The Violin Family
The violin family, having been
perfected in its present form
about the middle Of the sixteenth
century, became the starting
point Of the modern orchestra.
AL other types Of instruments
that were added, being slower in
mechanical development, became
subsidiary to the string instru-
ments.
Strangely enough, the first in
Strument Of the violin family to
be regularly accepted was not the
soprano violin, but the alto violin
now known as the viola. Even
after the smaller violin was
adopted into the orchestra, the
strings were not tuned to as high
o pitch as the modern violin.
Old violinS in use now have all
been reinforced with q heavier
bass bar in order to stand the
extra strain imposed by the
higher pitch.
Because Of the wide range Of
emotional expression possible on
the violin, it Is in some respects
the most important instrument Of
the orchestra. 1t Is capable OF
singing passages and plzzicato
plucking tones; rich, full tones
on the g string or thin ethereal
harmonics; incredibly fast bowling
or long sustained tones; single
tones or chords by double
stopping.
Various methods of bowing
achieve brilliant effects. Slow bow
ing produces soft tones; fast bow
ing, loud tones; bowing over the
fingerboard changes the tonal
color; Oowing near the bridge aids
in bringing out the harmonies; a
number Of rapid stops in one bow
stroke is called spiccato; the
bouncing bow is called Saltando;
bow1ng with the wooden part is
called cci legno.
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