A Treatise Upon Modern Instrumentation and Orchestration: Containing an Exact Table of the Compass, a Detail of the Mechcanism, and a Study of the Quality of Tone, and Expressive Character of Various Instruments; Accompanied by Numerous Examples in Score, from the Works of the Greatest Masters, and from Some Unpublished Works of the Author. New Ed., Rev., Cor., Augmented by Several ... Chapters on Newly-invented Instruments, and on the Whole Art of the Orchestral Conductor

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Novello, Ewer and Company, 1858 - Conducting - 257 pages
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Page 127 - ... this majestic instrument, to reduce it to this secondary condition. Moreover, it should be felt that its smooth, equal, and uniform sonorousness never entirely melts into the variously characterized sounds of the orchestra, and that there seems to exist between these two musical powers a secret antipathy. The organ and the orchestra are both kings ; or rather one is emperor, the other pope; their mission is not the same, their interests are too vast, and too diverse, to be confounded together.
Page 233 - ... and penetrating in the higher part and full and rich in the lower part of their compass. The Saxophones are six in number, the high, the soprano, the alto, the tenor, the baritone and the bass; they are played with a single reed and a clarinet mouthpiece, Saxotromba.
Page 1 - Histories make men wise, poets witty, the mathematics subtile, natural philosophy deep, moral grave, logic and rhetoric able to contend. " Abeunt studia in mores." * Nay, there is no stond | or impediment in the wit but may be wrought out by fit studies, like as diseases of the body may have appropriate exercises.
Page 146 - The quality of tone of the trumpet," says Berlioz, "is noble and brilliant; it comports with warlike ideas, with cries of fury and of vengeance, as with songs of triumph; it lends itself to the expression of all energetic, lofty, and grand sentiments, and to the majority of tragic accents.
Page 254 - If, in theatres where they perform scores of immense length, it be very difficult to endure the fatigue of remaining on foot the whole evening, it is none the less true that the orchestral conductor, when seated, loses a portion of his power and cannot give free course to his animation, if he possess any. Then, should he conduct reading from a full score or from a first violin part (leader's copy), as is customary in some theatres? It is evident that he should have before him a full score. Conducting...
Page 255 - ... than those of the sopranos and contraltos, may come forth freely and be neither stifled nor intercepted. When the presence of the chorus-singers in front of the orchestra is not necessary, the conductor will take care to send them away; since this large number of human bodies injures the sonority of the instruments. A symphony, performed by an orchestra thus more or less stifled, loses much of its effect. There are yet other precautions, relative especially to the orchestra, which the conductor...
Page 245 - ... be observed, that conducting a symphony, an overture, or any other composition whose movements remain continuous, vary little, and contain few nice gradations, is child's play in comparison with conducting an opera, or like work, where there are recitatives, airs, and numerous orchestral designs preceded by pauses of irregular length. The example of Beethoven, which I have just cited, leads me at once to say that if the direction of an orchestra...
Page 246 - ... time? And in how many ways might he not be deceived? The different degrees of slowness that might be assigned to the performance of such a largo are very numerous; the individual feeling of the orchestral conductor must then become the sole authority; and, after all, it is the author's feeling, not his, which is in question. Composers therefore ought not to neglect placing metronome indications in their works; and orchestral conductors are bound to study them closely. The neglect of this study...
Page 245 - Except in listening to great works already known and esteemed, intelligent hearers can hardly distinguish the true culprit, and allot to him his due share of blame; but the number of these is still so limited that their judgment has little weight; and the bad conductor — in presence of the public who would pitilessly hiss a vocal accident of a good singer — reigns, with all the calm of a bad conscience, in his baseness and inefficiency. Fortunately, I here attack an exception; for the malevolent...
Page 257 - ... necessary to practise the instruments of percussion alone; and lastly, the harps, if they be numerous. The studies in combination are then far more profitable, and more rapid; and there is then good hope of attaining fidelity of interpretation, now, alas, but too rare. The performances obtained by the old method of study are merely approaches to achievement; beneath which so very many masterpieces have succumbed. The superintending conductor, after the butchering of a master, none the less serenely...

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