Of course, we can easily see how such would be the case, when the sound is reflected back and forth inside the bell and the old echoes do not have a chance to die away before new vibrations are set in motion.

DRUM, XYLOPHONE, AND TRIANGLE, SYMPHONY SOCIETY OF NEW YORK

Samuel Borodkin

Modern composers rarely use real bells. They give the impression by other means; for instance, for the midnight chime in his Danse Macabre, Saint-Saëns has twelve notes plucked on the harp. Strauss in his Sinfonia Domestica tells us it is seven o’clock by seven little taps on the glockenspiel (see page [127]). The Bells of Montsalvat in Parsifal are usually played on the “Tubular Chimes,” a row of steel pipes, which are shown in the illustration facing page [126].

CHAPTER VIII
THE ORCHESTRA

The Orchestra as an instrument; instruments of the Sixteenth Century,—Chitaroni, theorbo, lutes; Claudio Monteverde (1567-1643); Marc Antonio Ingegneri; Orchestra of Orfeo; Chitaroni; Il Combattimento di Tancredi e Clorinda; Incoronazione di Poppea; Adrianna; Vergilio Mazzocchi (1593-1646), and his music school; Stefano Landi; Orchestras in Rome; Orchestras in Venice; Antonio Cesti and his opera, “Il Pomo d’ Oro”; Cardinal Mazarin; growing popularity of the violin; the first French Orchestra—the Twenty-four Violins of the King; Bocan’s playing; anecdote of Cardinal Richelieu; Louis XIV and his magnificence; Twenty-four Violins of the King; amateur orchestras; instrumental musicians; Jean Baptiste Lully (1632-1687); La Grande Mademoiselle; the “Petits Violons”; Lully and Molière; death of Lully; Lully, the first real conductor; Lully’s Orchestra; Descoteaux, the famous flute-player and tulip-fancier; Philbert; quotation from La Bruyère; La Bas, the bassoon-player; Verdier; Jean Baptiste Marchand, the lute-player; Teobaldo di Gatti, the basse de viole; Jean François Lalouette; Pascal Collasse; Marin Marais; La Londe, the violinist; pay-roll of Lully’s men; Orchestra of Charles II of England; Thomas Baltzar of Lübeck; music in England in the Seventeenth Century; quotation from Anthony Wood; quotation from Dr. Burney; Corelli; Amati and Stradivari; development of the violin; Giovanni Baptista Bassani; Corelli’s great vogue; Geminiani’s estimate of Corelli; Corelli’s Orchestra and conducting; Corelli’s compositions and their influence on violin-playing; Alessandro Scarlatti, “the Father of Classical Music”; Francischello’s violoncello-playing; importance of strings in Scarlatti’s compositions; Domenico Scarlatti, originator of the Sonata form; Rameau and what he did to develop the Orchestra; the North-German Chorale; Johann Sebastian Bach, the “Musicians’ Musician”; Bach’s contribution to the Orchestra; Handel and his treatment of instruments; Handel’s Orchestra; Handel’s conducting; Handel’s use of the horn, violoncello, bassoon and kettledrums; neutral tints of the Orchestra of Bach and Handel; Handel’s great use of crescendo and diminuendo; Gluck’s devotion to Handel; Gluckists and Piccinists; Gluck’s contribution to the Orchestra; Gluck’s dramatic sense; Gluck’s ballet-music; Haydn; Prince Esterhazy; the second and “magnificent Prince Esterhazy”; “Papa Haydn,” the “Father of the Orchestra”; Haydn’s Orchestra; Haydn’s knowledge of the kettledrums; quotation from Stendhal; how Haydn composed; Dr. Burney’s estimation of Haydn and his new style of music; a modern critic on Haydn’s style; Mozart, the supreme genius; Stendhal on Mozart; Mozart’s gift to the Orchestra,—tone-color; influence of Mozart and Haydn upon each other; the Mannheim Orchestra; Mozart’s love of the clarinet; Mozart’s conducting; Mozart’s first composition; Beethoven s admiration for Mozart; an early appreciation of Beethoven (1818); Beethoven’s unhappy life; Orchestra of the Elector of Cologne in 1791 in which Beethoven played; Beethoven’s improvization; Beethoven in Vienna; the Lichnowskys; a Beethoven concert in 1795; Beethoven at the piano; appearance of Beethoven; Mozart’s and Beethoven’s Orchestra; Beethoven’s Symphonies; Beethoven’s treatment of instruments; Beethoven’s enrichment of the Orchestra; Beethoven, the last great classic and prophet of the New Era; Classic and Romantic contrasted; the Romantic School; Carl Maria von Weber; Weber as conductor of the Dresden Orchestra; Weber’s development of the woodwind; Weber’s fondness for the clarinet and horn; Weber, a painter of Nature; Schubert’s gifts to the Orchestra; Schubert’s Symphonies; Mendelssohn’s grace, charm and brightness of spirit; Mendelssohn’s happy life and varied accomplishments; Mendelssohn’s orchestration; Mendelssohn’s conducting; “Music of the Future” and its three great exponents,—Berlioz, Liszt and Wagner; Romantic Movement of 1830; Berlioz, a follower of Beethoven, Weber and Gluck; Berlioz’s love for the colossal; Heine on Berlioz; Berlioz’s volcanic temperament; Berlioz, the “Father of Modern Orchestration,” Berlioz, a forerunner of Wagner; Wagner’s confessed indebtedness to Berlioz; monster concerts; Berlioz’s symphonies; Paganini’s gift to Berlioz; Franz Liszt, a favorite of fortune; Liszt’s education; Liszt in Paris; the Romantic Movement; Liszt impressed by Paganini; phenomenal concert-tours; Liszt’s generosity; Liszt in Weimar; Liszt becomes an Abbé; Finck on Liszt’s genius; Liszt, a follower of Berlioz; the Symphonic Poem; Liszt’s orchestration; Franz Liszt, a wonderful spirit; Richard Wagner; Liszt’s aid to Wagner; Wagner’s dream fulfilled; Wagner’s introduction of the Symphonic Orchestra into the opera; Wagner’s treatment of instruments; Wagner’s orchestration and Wagner’s Orchestra; Wagner’s novel effects; Richard Strauss; Strauss’s life and education; novel use of instruments; complex and gigantic effects; Tschaikowsky; his education and career; Orchestra and scoring of Tschaikowsky; the “Casse Noisette Suite” (Nut-cracker Suite); Tschaikowsky’s love for Mozart; French composers and symphonic music; Saint-Saëns; French composers return to national fountains of inspiration; modern French composers; Debussy and his music; Debussy’s orchestral effects; Debussy’s Orchestra,—a melodious atmosphere and musical web; Debussy’s opalescent effects; Debussy’s love of water—sea, fountains and silvery rain; L’Après Midi d’un faune; Debussy’s Nocturnes; Catholic tastes of American audiences; Symphony Orchestra and Orchestra of the Eleventh Century compared.

Now that we have become acquainted with all the instruments in the Orchestra, we must turn our attention to the Orchestra itself.

We must consider the Orchestra as one great instrument on which the conductor plays.