Page:A Dictionary of Music and Musicians vol 2.djvu/577

Trombones (which were needed for the selections from 'Saul'), 4 Drums, and 2 Organs. Here the proportion of Hautboys and Violins was considerably more than one to four; while the Bassoons actually outnumbered the Violoncellos, and the Trumpet and Horn parts were doubled over and over again. We can quite understand the feeling which led Burney to say that the effect of this grand array of Drums and Trumpets in the opening of the Dettingen 'Te Deum' was 'indescribable.'

It is time that we should now proceed to classify the various aspects under which we have met with the Orchestra, in order that we may the better understand its later modifications. Up to this time it has presented itself to us in five different forms, which we shall enumerate in the order of their relative importance.

1. A complete Stringed Band, consisting of two Violins, Viola, Violoncello, and Contra Basso, the parts being doubled ad libitum.
2. A complete Stringed Band, as above, strengthened, by means of Wind Instruments playing in unison with the Violins, Viole, or Basses.
3. A complete Stringed Band, enlarged by Wind Instruments playing in real parts.
4. A complete Stringed Band, assisted by Wind Instruments playing independent passages.
5. A complete Stringed Band, contrasted with, and supported by, a complete Wind Band.

All these forms are used by modern writers; and, by their artistic combination, the best of our orchestral effects are produced. It is needless to say that the effects of to-day are very different from those produced a hundred and fifty, or even a hundred years ago. The materials employed were very nearly the same, but the grouping is different. This will be very clearly seen, if we compare the Orchestra used at the 'Handel Commemoration' with an ordinary Classical Orchestra of the present day. The constitution of the former has already been described; that of the latter is shown in the following table, which gives the average numerical strength of a Band, of fair proportions, such as would be needed for the effective performance of the later works of Haydn, or all those of Mozart, Beethoven, Weber, Cherubini, Spohr, and Mendelssohn.

Stringed Band.
First Violins (from 6 to 12). Second Violins (from 6 to 12). Viole (from 4 to 8). Violoncelli (from 4 to 8). Contra-Bassi (from 4 to 8).
Wood Wind.⁠	Brass Instruments.
2 Flutes. 2 Oboes. 2 Clarinets. 2 Bassoons.	2 Trumpets. 2 or 4 Horns. 3 Trombones. 2 Drums.[1]

An Orchestra consisting of these component parts is generally looked upon as sufficiently complete for all practical purposes, including the performance of the Oratorio, the Opera, or the Symphony. It may however be necessary, on special occasions, to make additions to it. Thus, for Beethoven's Overture to 'Egmont' a Flauto Piccolo is needed; for Haydn's 'Creation,' a Double Bassoon; for Mozart's 'Requiem,' 2 Corni di Bassetto; for Mendelssohn's Overture to 'A Midsummer Night's Dream,' an Ophicleide (used for the purpose of imitating the Voice of the spell-bound Bottom). These however are exceptional cases. As a general rule, the scheme we have laid down will be found sufficient for the purposes of all ordinary Classical Music; and the best proof of its excellence is, that all the great classical writers of the present century have unhesitatingly adopted it.

Now, one of the most obvious peculiarities of an Orchestra thus constituted is, that it naturally divides itself into at least three distinct groups, and may, by a little consideration, be easily subdivided into as many more. The first group is formed by the full Stringed Band, of which we have already spoken as the foundation of the whole. The second comprises the Instruments popularly called the 'Wood Wind'—that is to say, the Flutes, Oboes, Clarinets, and Bassoons. The third includes all the Brass Instruments, whether Trumpets, Horns, or Trombones; and, as the Drums form the natural Bass to the Trumpets, it may without inconsistency be made to include them also. The Stringed Band is less frequently subdivided than the Wind: sometimes, however, we meet with a sub-group, consisting of four Violin parts, as in Weber's Overture to 'Euryanthe' and Wagner's Introduction to 'Lohengrin'; and, sometimes, as in Beethoven's Seventh Symphony, the Violoncellos and Double Basses are formed into a sub-group, either with or without the Violas. The 'Wood Wind' easily divides itself into Flutes and Oboes, and Clarinets and Bassoons; or into Flutes and Clarinets, and Oboes and Bassoons. The Brass Band also very naturally subdivides itself into two sub-groups; the Trumpets, Horns, and Drums; and the three Trombones. Each of these groups and sub-groups serves its own great purpose in the œconomy of modern Instrumentation. Each is complete in itself, and capable of expressing a perfect and independent harmony. Each therefore may claim to be regarded as a diminutive Orchestra, capable either of separate treatment, or of combination with its fellow sub-Orchestras, into a grand and well-contrasted whole. With such a comprehensive engine at his command, it is indeed strange if the Composer cannot strike out effects, not only telling, but original; not only new, but characteristic. It must not however be supposed that we are permitted at the present day to enjoy the privilege of hearing the effects imagined by the Composers of fifty years ago in the form in which they were originally written. Mozart used three Trombones in 'Il Don Giovanni'; but modern taste decrees that he

1. For the Compass, quality of Tone, and other peculiaritles of these instruments, see each described under its own proper name.