Year: 1868




The subject of the orchestra Of theatre is
one that requires at present constant and per-
sistent discussion. The negligence Of mana
gers in this respect, to which we alluded last
Sunday, is too glaring to be passed over with
single remonstrance. The worthless who pre-
side over our places of amusement are too for
getful of their duties towards the public to be
moved by a single expose Of their short
comings, and the public will still be afflicted with
bad music unless the managers are compelled
to change their course. The modaas opsrandi Of
engaging an orchestra Is singular. A manager
takes charge Of theatre and makes all his
engagements and contracts, forgetting entirely
the necessity OF an orchestra. Some person
suggests to him that this branch Of q theatrical
entertainment has not yet received attention.
Our managerial friend at once summons two
or three fddlers and asks them how much this
necessary evil and orchestra will cost The
first question on their side is what number Of
musicians will be required. The manager,
confessing his utter ignorance of everything
connected with music, leaves the matter in
their hands. One mildly hints at twenty five
being the least number he can have to furnish
decent music for the theatre, and names his
terms at five hundred dollars per week for the
orchestra.


The manager forthwith has fit of Mysteries,
and intimates that he has only appropriated
half the money for orchestral purposes. After
consultation with the other two fddlers he
concludes on having an orchestra of probably
dozen performers, each being paid the small
est possible amount Of salary. What is the
consequence? The leader, who may be an
excellent musician, as many of our conductors
are, is completely fettered by the parsimony
of his employer, and the other fddlers,
hornblowers and drummers go off every night
to ball or concert, leaving miserable sub
stitutes in their stead. The fault then rests,
in the first place, with the manager, who re-
fuses to pay enough money to support re-
spectacle orchestra, and in the next place with
the musicians themselves, who degrade their
profession by allowing musical Barnums to
represent them in the theatre. There are some
musical unions or societies In this city into
which none of those miserable humbugs will
be admitted, but the pernicious custom of sub
stitutes gives them entrse into our best theatres
The state of theatrical orchestras in this city
sadly needs reformation. The selections of
music, as we have said before, are never ap-
propriate. The curtain has scarcely fallen on
the horrible scene of the death of Nancy
Sykes when we are regalod with "Pop goes
the weasel" or some other thing Of the kind.
Bottom falls asleep in Titania's arms and the
gloomy wood changes by wondrous trans
formation into scene of dazzling beauty. For
which might have been copyrighted in fairy
land. Merry sprites dance on the violin strings,
Puck is seated on the leaders, baton, and the
wings of countless fairies hum in every part
Of the orchestra. In this city we have, as a
substitute for this delicious music, some con-
cert saloon piece played by a.dozen instru-
ments. Again, in an opera we have poor
chorus singers bawling at the top of their
voices, in the vain attempt to be heard above
the hideous din Of the orchestra. 1t has been
wrongly asserted that the orchestra is relief
or safety valve between the acts, and should
tthc TIC uiiuu cutIely vi suc DOlHc
of our orchestras not only take the mind off
the drama, but take great many Of the
audience Off from the theatre. There should
be some connection between music and the
drama in theatre, and the train Of thought
or feeling engendered by each act Of the play
should never be rudely broken by the music.
The leader should study the plot, scenes and
characters Of the piece, and endeavor to reflect
them on the orchestral mirror. All good
leaders will do this and great deal more if
they be only encouraged by the managers.