The Orchestra

Author(s): Hector Berlioz

Source: The Musical Times and Singing Class Circular, Vol. 9, No. 211 (Sep. 1, 1860), pp. 327-330+
335
Published by: Musical Times Publications Ltd.
Stable URL: http://www.jstor.org/stable/3369887
Accessed: 24-08-2015 20:52 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.

Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and
Singing Class Circular.

http://www.jstor.org

This content downloaded from 200.130.19.157 on Mon, 24 Aug 2015 20:52:14 UTC
All use subject to JSTOR Terms and Conditions

THE MUSICAL TIMES.---SEPTEER 1, 1860.

327

thousand
voicesplacedin a plain,wouldnothave
thetwentieth
partof the musicalactionthatan
orchestra
ofeighty
ordinary
playerswitha chorus
of
a
hundred
if welldisposed
voices
would
have
SEPTEMBER 1st, 1860.
the concert-room
at theConservatoire.The
1 111
1
?- 1 --------?lbllllY in
brilliant
effect
bandsin the
producedbymilitary
THE
ORCHESTRA.
streetsof greattownscomesin supportof this
whichit seemsto contradict.Butthe
statement,
By HECTOR BERLIOZ.*
THE orchestramaybe consideredas a large musicis notthenin theopen air; thewalls of
skirtingthe streetsrightand left,
at once or suc- highhouses
instrument
capableof uttering
of
avenues
the frontsof grand palaces,
trees,
ofsoundsofdifferent
a multitude
kinds;
cessively
all serve as revermonuments,
and of whichthe poweris mediocreor colossal,neighbouring
the
sound
and circulates
revolves
berators;
freely
thewholeora partonly
as it comprises
according
in
it,
space thus surrounding
of thoseexecutivemeansbelongingto modern thecircumscribed
before
thepointsleftopen; but let
music,and accordingas thosemeansare well or the escapingby
militaryband, pursuingits march, and
ill chosenandplacedin acousticconditions
more
to play,leave the large streetfora
continuing
or lessfavorable.
of treesand habitations,
devoid
and the
plain
of all kinds,whoseassemblage
The performers
diffusion
ofitssoundsis immediate,
theorchestra
to
thus
be
its
seem
its
constitutes
it,
strings, tubes,
thereis no moremusic.
its pipes,its plainsof woodormetal; machinesvanishes,
The bestwayofdisposing
theperformers,
in a
to
the
it
is
of
but
action
intelligent true, subject
whose
room
dimensions
are
to
their
proportioned
an immense
key-board,
playeduponby thecon- number,
anotherbya
ofthecomposer. series is toraisethemone above
ductor,underthedirection
a waythateach
of
in
such
steps,
arranged
I
that
it
seemed
I have alreadysaid, believe,
rowmaysendoutitssoundstothehearerwithout
to indicatehowfineorchestral
to me impossible
obstacle.
are to be found;and thatthisfaculty,- anyintermediate
effects
All
shouldbe
concertorchestras
developeddoubtlessby practiceand rationalthus well-organised
in
If
been
it
have
erected
arranged
steps.
of
like
faculties
of
the
observation,-is
melody,
thestageshouldbe completely
closed
and evenof harmony;and is of the ina theatre,
expression,
in at the back,at the sides bothrightand left,
the
musicianwhich
ofthoseprecious
number
gifts
mustreceivefromandabove,byan enclosureofwoodenplanks.
poet,the inspiredinventor,
it be erectedin a room
Natureherself.
If, on the contrary,
orin a churchwhereit
it maybe demonstrated
But certainly
easily,dedicatedto thepurpose,
and if, as it
and in a methodalmostexact,theartof makingoccupiesone of the extremities,
in
back of this
such
the
of
orchestrasfitto render
cases,
happens
faithfully
compositions frequently
ofmassivebuildingwhichsends
all shapesand dimensions.
spacebe formed
backwithtoomuchforceandhardness
thesound
Theatricalorchestrasand concertorchestras
theone fromtheother.of the instruments
shouldbe distinguished
placed againstit, the force
in certainrespects,are generallyof the reverberation
The former,
may easily be mitigated,
-and consequently
thetoo greatresounding,to thelatter.
inferior
ofdraperies,
and
The place occupiedby the musicians,theirbyhangingup a certainnumber
at
this
such
bodies
as
together
on
an
or
inclined
a
horizontal
on
bringing
point
by
plane
disposal
plane,in an enclosedspacewiththreesides,orin willbreakthemotionofthewavesofsound.
the very centreof a room,withreverberatorsOwingto theconstruction
ofourtheatres,
and
formedbyhardbodiesfitforsendingback the totheexigenciesofdramatic
this
representation,
sound,or softbodieswhichabsorband interrupt
disposalis not possiblefororamphitheatrical
and moreor lessnearto theper- chestras
the vibrations,
intendedfortheperformance
of operas.
are all of greatimportance.Rever- The instrumentalists
on the
broughttogether,
formers,
beratorsareindispensable;
inthelowestcentralpointofthetheatre,
theyareto be foundcontrary,
and on a horizontalplane,
variouslysituatedin all enclosedspaces. The beforethe footlights,
nearertheyare to the pointwhencethe soundsaredeprivedof the majority
of the advantages
I have just
proceed,themorepotentis theirinfluence.
resultingfromthe arrangement
Thisis whythereis no suchthingas musicin indicatedfora concertorchestra:hence,what
delicategradations
the open air. The most enormousorchestra
whatunperceived
losteffects,
in spiteofthemostadmirable
gardenopen in operaorchestras,
placedin themiddleofan extensive
is such,that comon all sides-like thatof the Tuileries-wouldexecution! The difference
fromthe posers are almost compelledto bear this in
produceno effect. The reverberation
theirdramatic
scores
palace wallseven,wereit placed againstthem,mind,and nottoinstrument
the soundinstantaneously
is insufficient;
masses,
losingquite in the same way,as symphonies,
of a or oratorios,intendedfor concert-rooms
itselfon all theothersides. An orchestra
and
witha chorusof two churches.
thousandwindinstruments,
werealwaysformerly
composed
Operaorchestras
* Reprinted fromBerlioz on Modern Instrumentationand
instruments
ofstringed
ofa number
proportioned
Orchestration(by permission).

THE MUS CAL TIMES,

RanbSingitg
E las tirciular.

This content downloaded from 200.130.19.157 on Mon, 24 Aug 2015 20:52:14 UTC
All use subject to JSTOR Terms and Conditions

328

THE MUSICAL TIMES.-SEPTEMBER1, 1860.

r instruments
to themassof othe]
; butithas not well leftunusedin all thosepieces wherethe
been thus for maany years. A comic-operaaccompaniments
areto be verysoft.
orchestra
in whichtherewere onlytwo flutes, The proportions
of a comic-opera
orchestra
) clarinets,two horns,two wouldsuffice
two hautboys,twc
fora conlcert
orchestra
intendedfor
o trumpets,
and hardlyever theperformance
bassoons,rarelytw(
of Haydn'sand Mozart'ssymhad enoughthenin ninefirstphonies.
anykettle-drums,
;^ ,-.
..;I
,I
-,1
I
-1
ia vuioiii, sx vUidas, seven A largernumberof
violins,eightsecon
would
and six:double-basses; but as foureven onseveral stringedinstruments
violoncellos,
too muchforthe
be,
occasions,
a long delicateeffectswhicl these two mastershave
horns,threetromb
ones, two trumpets,
s figuretherenow-a-days,
drum,and cymbal
usuallyassignedto the flutes,hautboys,and
withoutthe number of stringed instrumentsbassoons
alone.
havingbeen increased,thebalanceis destroyed, r lon. o
theviolinsarescarc<
overtures,
elyto be heard,andtheresult ForBeethoven'ssymphonies,Weber's
ofthewholeis deter
of the andmoderncompositions
stable. The orchestra
conceivedin thegrand
style,thereneeds,on the congrandopera,wherethereare, beside the wind andimpassioned
themassofviolins,
violas,andbasseswhich
instruments
alreadynamed,twocornetsa pistonstrary,
and an ophicleide,
tthenthe instruments
of per- I havejust indicatedforthegrandopera.
imessix or eightharps,--has But the finestconcertorchestra,
fora room
cussion,and someti
notenougheitherin twelvefirst
violins,eleven scarcelylargerthanthatof theConservatoire,secondviolins,eight violas,tenvioloncellos,
and themostcomplete,
the richestin gradations,
in
3; it should have at least varietiesof tone, the mostmajestic,the most
eight double-basses
fifteen
firstviolins,fourteen
and at thesametimethemostsoftand
secondviolins,ten powerful,
wouldbe an orchestra
thuscomposed:whichwouldbe smooth,
violas,and twelvevioloncellos,
21 FirstViolins.
a Pistons
2 LargeFlutes.
2 Cornets
(orwithCylinders).
20 Seconddo.
2 Hautboys.
Alto, or3 Tenors.
3 Trombones
1{2 Tenors,
18 Violas.
.
1 Corno
Inglese.
8 FirstVioloncellos.
1 GreatBassTrombone.
2 Clarinets.
7 Second do.
1 Ophicleide
inB flat(ora Bass-Tuba).
1 Corno
diBassetto,
oroneBass-Clarinet.
10 Double-Basses. 4 Bassoons.
2 PairsofKettle-Drums,
and4 Drummers.
4 Harps.
1 LongDrum.
4 HornswithCylinders.
2 PiccoloFlutes. 2 Trumpets
1 PairofCymbals.
withCylinders.
If a choralcomposition
wereto be executed,mainorchestra,
formedof an imposingbodyof
suchan orchestra
wouldrequire:of all the otherwindininstruments,
stringed
struments
doubledandtripled,
andoften
drummers
46 Sopranos-Firstsand Seconds.
40 Tenors-Firstsand Seconds.
tunedin
playingon eightpairsof kettle-drums
40 Basses-Firsts and Seconds.
different
keys. It is quite certainthat the
effects
obtainedbythisnovelformof
By doublingor triplingin thesame proportions,particular
were absolutelyunattainable
and in the same order,this mass of performers,orchestra,
by any
a magnificentFestival orchestramightdoubtless other.
be obtained. But it is erroneousto believe that There occursherean opportunity
to remark
of thevariouspoints of
all orchestrasshould be constitutedaccordingto upon the importance
thissystem,based on thepredominanceofstringedprocedurefor thesounds. Certainpartsof an
areintendedbythecomposer
to interinstruments;very admirable resultsmay be ob- orchestra
tained from a contrarysystem. The stringedrogateandanswereachother; now,thisintention
and of fineeffect,
instruments,-tooweak to prevail over masses of can onlybe mademanifest
by
clarinetsand brass instruments,-thenserve as a causingthegroupsbetweenwhichthedialogue
harmoniouslink with the thrillingsounds of the occursto be placedat sufficient
mutualdistance.
wind instruments; softeningtheir brilliancyin The composershould therefore,
in his score,
some cases, and animatingtheireffectin others, appointforthemseverally
thedisposalwhichhe
-

---

by means of the tremolo,whichrendersmusical judges proper.

even the roll of the drumsby blendingwiththem. For the drums,long drums,cymbals,and
Common sense tells the composer-unless he kettle-drums,
forinstance,
iftheybe employed
to
be compelled to a differentcourse by any par- strikecertainrhythms
all at once-after the
ticularformoforchestra-thathe shouldcombine common
modeof proceeding-they
mayremain
his mass of performers
accordingto the styleand together;but if theyhaveto executean intercharacter of the work he brings forth; and locutory
ofwhichonefragment
is struck
rhythm,
andtheotherby
according to the nature of the principal effectsbythelongdrumsand cymbals,
which the subject induces. Thus, in a Requiem, thekettle-drums
and drums,thereis no doubt
and in orderto delivermusicallythegrandimages theeffect
willbe incomparably
and
better,
finer,
of thishymn of the dead, I have employedfour more
byplacingthe two massesof
interesting,
small orchestrasof brass instruments
of percussion
at thetwoextremities
(trumpets,instruments
trombones,cornets, and ophicleides), placed at oftheorchestra,
and consequently
at a sufficient
reciprocal distance, at the four corners of the distancefromoneanother. Henceit arises,
that

This content downloaded from 200.130.19.157 on Mon, 24 Aug 2015 20:52:14 UTC
All use subject to JSTOR Terms and Conditions

THE MUSICAL TIMES.-SEPTEMBER 1, 1860.

of the executive masses
the constantuniformity
is one of the great obstacles to the productionof
sterlingand reallynewworks; it besetscomposers
more from old custom, routine, laziness, and
thanfrommotivesof economy,
wantof reflection,
but too important,in
-motives unfortunately
France especially, where Music is so far from
forminga partof the moral being of the nation,
where the government does everything for
theatres,and nothingat all formusic properlyso
called, where great capitalistsare ready to give
50,000f.and moreforsome greatmaster'spicture,

becausethat representsan intrinsicvalue,yet

329

18 Double-Basseswith 3 strings,tuned in fifths

(G, D, A).
tunedinfourths
15 otherDouble-Basses
with4strings,
(E, A, D, G).
4 Octo-Basses.
6 LargeFlutes.
4 Third-Flutes
calledin P.
(in E flat),improperly
2 OctavePiccoloFlutes.
2 Piccolo Flutes (in D flat),improperly
called in
E flat.
6 Hautboys.
6 CorniInglesi.
5 Saxophones.
4 Bassoons-quinte.
12 Bassoons.
4 SmallClarinets(in E flat).
8 Clarinets(in C, orin B flat,or in A).
3 Bass-Clarinets
(in B flat).
16 Horns(ofwhichsix shouldbe withpistons).
8 Trumpets.

would not lay out 50f. to renderfeasible,once a

year,some solemnityworthyof a nationlike ours,
and fittedto displaythe verynumerous musical
resources which it really possesses withoutthe
capabilityof makingthemof use.*
6 Cornets a Pistons.
It wouldneverthelessbe curiousto tryforonce, 4 Alto-Trombones.
in a compositionwrittenad hoc, the simultaneous 6 Tenor-Trombones.
of all themusicalforceswhichmight 2 GreatBass-Trombones.
employment
1 Ophicleidein C.
be gatheredtogetherin Paris. Supposingthata
in B flat.
masterhad at his disposal,in a vast space adapted 2 Ophicleides
forthis purpose by an architectwho should be 2 Bass-Tubas.
well versedin acoustics and a good musician,he 30 Harps.
30 Pianofortes.
ought,beforewriting,to determinewithprecision 1 verylow
Organ,providedwithstops of at least
the plan and arrangementof this immense or16 feet.
chestra,and thento keep them alwayspresentto 8 PairsofKettle-Drums
(10 Drummers).
his mind whilewriting.It is obviousthatitwould 6 Drums.
be of the highestimportance,in the employment 3 Long Drums.
of so enormousa musical mass,to take accountof 4 PairsofCymbals.
the distanceor thenearnessof thedifferent
groups 6 Triangles.
whichcomposeit; and this conditionis one of 6 Sets ofBells.
12 PairsofAncientCymbals(in different
keys).
themostessentialinderivingtheutmostadvantage 2
low GreatBells.
thescope 2 very
fromit,and in calculatingwithcertainty
Gongs.
of itseffects. Until now,at the Festivals,merely 4 PavilionsChinois.
been
chorus
have
and
the ordinaryorchestra
quadrupledor quintupled in theirseveral parts, 467 Instrumentalists.
and seconds).
according to the greater or less numberof the 40 ChildrenSopranos(firsts
and seconds).
performers;but in the case proposedit would be 100WomenSopranos(firsts
and seconds).
quite another affair; and the composer who 100Tenors(firsts
and seconds).
should attemptexhibitingall the prodigiousand 120 Basses (firsts
innumerableresources of such an instrument,
360 Chorussingers.
wouldassuredlyhave to fulfilan entirelynewtask.
It will be perceived that in this aggregate of
Here, then,is how-with time, care, and the 827
performers,the chorus-singersdo not prenecessaryoutloy-it could be effectedin Paris.
The disposal of the groupswould remain at the dominate; and even thus,therewould be much
in collectingin Paris threehundredand
will,and subject to the particularintentions,of difficulty
the composer; the instrumentsof percussion,sixtyvoices of any excellence,-so little is the
which exercise an irresistibleinfluenceon the studyof singingat presentcultivatedoradvanced.
It would evidentlybe necessary to adopt a
rhythm,and whichalways lag when theyare far
from the conductor,should always be placed style of extraordinarybreadth, each time the
near him to be able instantaneouslyentiremass should be put in action; reserving
sufficiently
the delicate effects,the light and rapid moveand strictlyto obey the slightestvariations of
ments,for small bands which the author could
movementand measure :easily arrange,and make themdiscoursetogether
120 Violins,dividedintotwo,three,andfourparts. in the midstof thismusical multitude.
and seconds;and
40 Violas,dividedornotintofirsts
of whichtenat least shouldbe readyto play, Beside the radiant colourswhich this myriad
of different
whenneeded,theViole d'amour.
qualities in tone would give out at
andseconds.everymoment,there would be unheard-ofhardividedornotintofirsts
45 Violoncellos,
v I
monic effectsto be deduced fromthem.
* This ideal orchestra was sketched in 1856, previous to the great
From the divisionintoeightor ten parts of the
realizationsbythe landel Festivalsat the CrystalPalace in 1857
120 violins,aided b the 40 violas, in their high
and 1859.-ED.

This content downloaded from 200.130.19.157 on Mon, 24 Aug 2015 20:52:14 UTC
All use subject to JSTOR Terms and Conditions

330

THE MUSICAL TIMES.--SEPTEMBER 1, 1860.

by a rhythmical
notes,forthe angelicaerial accent,and forthe This sametrioaccompanied
form
ofpercussion,
pianissimotint.
designedbyalltheinstruments
From the divisionof the violoncellosand thedouble-basses,
theharps,andthepianofortes.
double-bassesbelowin slowmovements,
forthe A simplechorus,double or triple,without
melancholy
religiousaccent,and forthemezzo- accompaniment.
An air for violins,violas, and violoncellos
fortetint.
Fromtheunion,in a small band,of theverytogether,
orforwooden
windinstruments
together,
lownotesof theclarinetfamily,
forthe gloomyorforbrassinstruments
together,
by
accompanied
accent,andfortheforteand mezzo-fortetints.a vocalband.
orfortenors,
orforbasses,
Fromtheunion,in a small hand,of the low Anairforsopranos,
notesofthehautboys,
byan
corniinglesi,
andbassoons-orforall thevoicesin octave,accompanied
band.
quinte,mingledwiththe lownotesof the large instrumental
forthereligiously
mournful
bythelarge
accompanied
accent,andthe A smallchoirsinging,
flutes,
choir,and by someinstruments.
piano tint.
Fromtheunion,in a small band,of the low A smallbandplaying,
bythelarge
accompanied
and by somevoices.
notesof the ophicleides,
bass-tuba,and horns,orchestra,
mingledwiththepedals ofthetenor-trombones,A granddeep melody,executedby all the
withthelowestnotesof thebass-trombones,
and bowedbasses; and accompaniedabove by the
of the16 feetstop(openflute)of the organ,forviolinsdivided,andtheharps,andpianofortes.
executedbyall thewind
andcalmaccents,and A granddeepmelody,
profoundly
grave,religious,
bassesand the organ; and accompaniedabove
in thepiano tint.
and theviolins
Fromtheunion,in a smallband,ofthehighestbytheflutes,
clarinets,
hautboys,
notesof the small clarinets,
flutes,and piccolo divided.
etcetera.
Etcetera,etcetera,
flutes,fortheshrillaccent,and thefortetint.
Fromtheunion,in a small band,ofthehorns, The systemof rehearsalsrequisitefor this
and ophicleides,colossalorchestra
cannotbe doubtful;itis that
corlets, trombones,
trumpets,
fora pompousand brilliantaccent,and forthe whichmustbe adoptedwhenever
theremaybe
the intentionof gettingup a work of grand
fortetint.
Fromtheunion,in a large band,of the 30 dimensions,
the plan of whichis complex,and
certainpartsor thewholeof whichoffersdiffiharpswiththeentiremassof bowedinstruments,
it is thesystem
ofpartial
playingpizzicato, and thus formingtogethercultiesin performance;
anothergiganticharp withnine hundredand rehearsals.Thisis howtheconductor
willhave
and to proceedin thisanalytical
thirty-four
strings,forgraceful,brilliant,
operation.
accents,in all tintsandgradations. I takeitforgrantedthatheknowsthoroughly,
voluptuous
Fromtheunionof the30 pianofortes
withthe and in its minutestdetails,the scorewhichhe
six sets of bells, the twelvepairs of ancientis aboutto haveperformed.
He willfirst
appoint
thesix triangles
who should-markingthe
cymbals,
(whichmightbe tuned,two sub-conductors,
like the ancientcymbals,
in different
keys),and beatsof the bar in thegeneralrehearsals-keep
the fourpavillonschinois,constituting
a me- theireyes continually
upon him,in order to
tallic orchestraof percussion,
forjoyous and communicate
themovement
to thosemassestoo
brilliant
tint.
farremovedfromthecentre.He willthenselect
accents,in themezzo-forte
foreach ofthevocalandinstrumental
From theunionof the eightpairsof kettle-rehearsers
drumswiththe six drums,and the threelong groups.
a smallorchestraof percussion, He willfirstmake themrehearsethemselves,
drums,forming
in the way in
and almost exclusivelyrhythmical,for the thattheymay be well instructed
whichtheywillhavetodirecttheportion
ofstudy
menacingaccent,in all tints.
From the mixtureof thetwogongs,thetwo allottedto them.
rehearser
willrehearse
withcertain The first
bells,and thethreelarge cymbals,
isolatedlythe
thentheseconds,
chordsoftrombones,for
andthenthefirsts
thelugubrious
andsinisterfirst
sopranos,
andsecondstogether.
tint.
accent,in themezzo-forte
How to enumerateall the harmonicaspects The secondrehearser
willpractisein thesame
underwhicheach of thesedifferent
groupsasso- waythefirstand secondtenors.
ciatedwithothergroupseithersympathetic
or The thirdrehearserwilldo the same by the
basses. Afterwhich,threechoirs,each comwiththemwouldappear!
antipathetic
Theremightbe givengrandduetsbetween
the posedofa thirdofthetotalmass,willbe formed;
bandof windinstruments
and thestringed
band. and thenlastly,thewholechoruswill be pracBetweenoneofthesetwobandsandthechorus; tisedtogether.
orbetweenthechorusand the harpsand piano- As an accompaniment
to thesechoralstudies,
eitheran organ or a pianoforte
fortesonly.
maybe used;
A grandtriobetweenthechorusin unisonand assistedby a fewwindinstruments,
violins,and
in octave,thewindinstruments
in unisonand in basses.
and the orchestralreoctave,and the violins,violas,and violoncellos The sub-conductors
also in unisonandin octave.
(Continued on page 835,)
This content downloaded from 200.130.19.157 on Mon, 24 Aug 2015 20:52:14 UTC
All use subject to JSTOR Terms and Conditions

THE MUSICAL TIMES.-SEPTEMBER1, 1860.

335

(Continued frompage 330.)

forceof unparalleledstrength,
a prodigioussenhearserswill practiseisolatedlyin the same
sitiveness
for
of
gradations aggregateand of
way:
detail. Its repose would be majestic as the
Istly. The firstand secondviolinsseparately;slumberof theocean; itsagitations
wouldrecall
thenall theviolinstogether.
the tempestof the tropics; its explosions,the
and double-outburstsof
2ndly.The violas,violoncellos,
volcanos; thereinwould be found
bassesseparately;thenall together.
theplaints,themurmurs,
the mysterious
sounds
3rdly.The entiremassof bowedinstruments.
of primevalforests;the clamours,the prayers,
4thly.The harpsalone.
the songs of triumphor of mourningof a people
alone.
5thly.The pianofortes
with expansivesoul, ardent heart,and fiery
6thly.The harpsand pianofortes
together. passions; its silencewould inspireawe by its
alone.
7thly.The woodenwindinstruments
themostrebellious
solemnity;and organizations
alone.
8thly.The brasswindinstruments
wouldshudderto beholdits crescendospread
9thly.All thewindinstruments
together.
a
conflagration
of percussionalone; roaringly,-like stupendous
lOthly.The instruments
the
to
kettle-drummers
tune
teaching
particularly
DESTRUCTION
OF ST. MARTIN'S HALL BY
well.
theirkettle-drums
FIRE.
1lthly.The instruments
of percussion
joined WE regretto statethat this highlypopular music hall
was almostentirelydestroyedby fire,on Sundaymorning
withthewindinstruments.
August26th. The fireis said to have originatedin
12thly.Lastly,the wholevocal and instru-last,
premises of Messrs. Kesterton,Coachmentalmassunited,underthe directionof the the extensive
at thecornerof Hanover Street,in Long Acre,
builders,
himself.
conductor
adjoiningSt. Martin's Hall), the whole of
Thismethodofproceeding
willhavetheresult(immediately
which were entirelydestroyed. Notwithstandingthe
made to protectit, the flamescaughttheroof
an excellenceofexecutionthatgreatefforts
ofinducing,
first,
nevercouldbe obtainedbeneaththe old systemof St. Martin'sHall and extendeddownwards,destroying
concert-room
and its valuablecontents. The
fromthe large
of collective
study; andnext,of requiring
floorand basementhave fortunately
ground
escaped with
but fourrehearsalsat most. It but slightinjuryfromthefire,as well as the
eachperformer
portionof
of the building looking into Long Acre, comprising
shouldnot be neglectedto have a profusion
Mr.
oftheexactpitch,amongthemem-Hullah's privateapartments. The buildingand property
tuning-forks
ofcourseinsuredto a considerableamount; but there
bers of the orchestra;it is the sole meansby are
reason to fear that Mr. Hullah's loss will greatlyexofthiscrowdofinstru-is
whichtheaccuratetuning
ceed the amountof insurance,and that he will stand in
mentsof such variousnatureand temperament
need-and doubtlessreceive-the activesympathy
of the
canbe ensured.
"mnusical"public, forwhose benefitand enjoymenthe
has so successfully
cateredformanyyears.
Vulgarprejudicestigmatizes
large orchestras
Mr. Hullah was out of town at the timeof theunwell fortunate
as noisy: but if theybe well constituted,
as wasalso Mr. Headland,his active
occurrence,
and well conducted;if theyperform
practised,
manager. Mrs. Hullah and otherswereon the premises
music,theyshouldbe calledpowerful: at thetime,but weregot out in safety.
sterling
to be able to statethat,notwithstanding
than It is gratifying
and certainly,
nothingis moredissimular
no lives werelost; and
littlevaude- themagnitudeoftheconflagration,
thesetwoexpressions.A trumpery
theonlypersonalinjuriessustainedwereby thefiremen,
a
be
when
villeorchestra
body
large
may noisy,
some of whomsuffered
severely.
of musiciansproperlyemployedshall be of It is worthy
ofremark,thatthissame Coach-factory
was
extremesoftness;and shall produce-even in entirelydestroyedby fire on a Sunday
morningin the
themostbeautiful.year1851. When rebuilt,it was a noble-lookingstructheirloudesteffects-sounds
willseem noisy,in- ture,and quitean ornamentto theneighbourhood.
Threeill-placedtrombones
-Y- -- -?
sufferable;and the instantafter,in the same
willstrikethepublicby
3riet hrotntcle
of the last fionth.
room,twelvetrombones
theirnoble and powerful harmony.

Rev. W. D. West has presented

Moreover,unisonsacquire real value onlytoBRENTWOOD.-The
Mr. A. H. Brown,conductorof the BrentwoodHarwhen multipliedbeyond a certain number.monic
Society,a veryhandsomesilver-mounted
baton,in
skill playingacknowledgment
Thus, four violins of first-rate
of themusicalaccompaniment
at thelate
the same partwillproducebuta verytheatricalperformances
in theGrammarSchool.
together
-nay, perhaps,even detestable; CHELSEA.-On Wednesdayevening,the15thofAugust,
poor effect,
talentshall be a concertwas given at the Oakley Rooms,forthebenefit
violinsof ordinary
whilefifteen
of a professor
of music in adverse circumstances.The
excellent.This is whysmallorchestras-whatwho composeprincipalvocalists were Miss Fraser, Mrs. Paget, Mr.
everthe meritof the performers
Mr. Kenny, and Mr. Thornley; pianist, Mr.
and consequently
so Tedder,
them-haveso littleeffect,
Mr. Davis. The concertgave great
Parker; conductor,
littlevalue.
satisfaction,and was a decided success in a pecuniary
But in thethousandcombinations
practicablepointofview. Much creditis due to Mr. Joln Lane and
we have just described,Mr. Charles Long, the promoters,for theirexertionsin
withthevast orchestra
a varietyof thecause ofcharity.
woulddwella wealthof harmony,
which CRYSTALPALACE.-On Friday, the3rd of August,a
qualitiesin tone,a successionofcontrasts,
of music was performedunder the superinhitherto
achievedin selection
canbe compared
to nothing
tendance of the Vocal Association. The chorusnumArt; and above all, an incalculablemelodial,beredabout 1000 voices. The solo singerswereMadlle.
and rhythmical
expressive,
power,a penetrating
Parepa and Madlle. Artot. Mr. Benedictconducted,and

This content downloaded from 200.130.19.157 on Mon, 24 Aug 2015 20:52:14 UTC
All use subject to JSTOR Terms and Conditions