Radio Digest (Mar 1928-Oct 1929)

66 RADIO DIGES T — Illustrated Instruments in the Symphony Now That You Have Heard Symphony Orchestras Here Is Useful Information About Them THE SYMPHONY: As applied to instrumental music, we find from the time of Peri (1600) that whenever the voices were silent for a time and the orchestra played fragments by itself, that these such portions were called "Symphonies." Thus came into vogue the "Symphonie" as we understand it, a work for Orchestra alone, in several movements (generally four), these movements or parts being a more or less stereotyped order of (a) quick, (b) slow, (c) lively, and (d) quick. — From E. M. Lee's "Story of Symphony." Instruments of the Symphony The String Instruments THE VIOLIN. The violin, sometimes called the "Queen of the Orchestra," is essentially a melodic instrument, though it can be made very effective when several are employed together for the playing of sustained chords, properly divided among them. THE VIOLA. The tone character of the Viola is sombre and withal, mysterious. It has great charm when used in the middle register, but is more or less at a disadvantage when employed as a solo instrument. It is frequently used to reinforce the 2nd Violins, especially in small orchestras, to obtain a proper balance of tone. THE VIOLONCELLO. This instrument many times is used to carry the melody of the composition, along with the 1st Violins, and also for improving the tone-color or strength of the Violas. Possessing many different tone contrasts and qualities, having great carrying power, it makes a splendid solo-instrument. THE CONTRA-BASS OR DOUBLE-BASS. The Double-Bass, so to speak, is the foundation or "base" of the orchestra. It is useless as a solo-instrument, since its long, heavy strings cannot be made to respond quickly to bowing. A poor bass section spoils an orchestra more than any other defect. The Wood Wind Instruments THE PICCOLO. Essentially a solo instrument. it is well adapted to illustrating the sounds of Nature, as whistling winds, et cetera. It can be used for bird-songs and as an interpreter of moods, as the martial spirit and jocularity. It is properly used only for these special effects in the symphony orchestra. THE FLUTE. The lower notes of the Flute are grave and mellow, with a suggestion of the religious spirit; the middle register is soft and dreamy, while the upper one is brilliant but never shrill. The instrument bears some resemblence to the female voice and sometimes, as in "Lakame," is used to alternate with it. In the orchestra proper it is employed to reinforce the 1st Violins and for adding embellishments or imitations of a preceding phrase. THE OBOE. This instrument has an expressive sadness and complaint, for its' tone-color lias a nasal quality. Its tonal quality is more penetrating than the Flute and Clarinet. It is the least affected by changes of temperature of all the wind instruments, and is, therefore, depended upon for sounding the "A,"' or pitch, to the orchestra. THE ENGLISH HORN. This instrument has many "f the tonal qualities peculiar to the Oboe. lis lower register is very sonorous, yet has more power than the Oboe. It is very well adapted Id express sad or painful feelings or dramatic ' ions. THE CLARINET. The Clarinet is an excellent instrument, its three registers being quite unlike each other, the lower one (Chalumeau) being able to interpret sad, dramatic or religous moods. The middle register reflects happy, joyous and tender emotions, while its higher regproclaims joy of a more boisterous character. THE BASS-CLARINET. Anything written for the ordinary Clarinet can be played upon the ' I Minding an octave lower), though the nature of the instrument makes it best suited for cantabile passages. Its lower register is of wonderful beauty. THE BASSOON. The Bassoon is the bass of of the wood-wind section. The Bassoon is capable of rendering grave or mysterious effects, or lamentation, and, also, can be easily adapted to humorous situations and can become comical in its depictions. THE DOUBLE-BASSOON OR CONTRABASSOON. It is the Double-Bass of the wood wind section. It is best adapted for sustained notes, its stupendously low B-flat being the lowest tone in the orchestra. The Brass Wind Instruments THE FRENCH HORN. The French Horns are the principal and central support of harmony in the orchestra. They cannot be dispensed with. In the complete, modern orchestra four such instruments are employed. It can be made a beautiful and expressive solo instrument. From a distance the tones of the French Horn are always more distinct than those of any other instrument. It is a "tricky" instrument, and the least mechanical of all the wind instruments. THE TRUMPET. The tone of this instrument blends well with the French Horn, though it has aa more metallic quality than the latter. Its character is essentially martial. THE CORNET. The Cornet is a brilliantly toned instrument, possessing an exceptionally bright, metallic timbre. It is an important solo instrument in this country. It is seldom employed in a full symphony orchestra, though it is employed in Gounod's "Faust." THE SLIDE-TROMBONE. This is a good melodic instrument, yet handicapped by not beingvery flexible in its tone production. In this country, while the instrument is the bass of the brass section, it is also a valuable solo instrument. THE BASS-TUBA. It is the Double-Bass of the brass section, is capable, with the aid of Trombones, of producing a grandiose effect, and can be imitated by the Double-Bass. THE HARP. When used as an orchestral instrument, the Harp is best adapted for passage work, arpeggi, glissandi, and large chords. Simple accompaniments written for the Piano may be played fairly well upon the Harp. A Symphony orchestra is not complete without a Harp, and frequently several are employed. Percussion Instruments THE TIMPANI OR KETTLE-DRUMS. The Timpani are used to accentuate the rhythm or to give tonal as well as rhythmic emphasis to the bass. There are generally two employed in the orchestra, and modern scores have neces EDNA LEEDOM and Norman Pierce introducing Mr. Garglesong at WMCA, New York. George Kelting harmonicrowing. sitated the addition of one or two more in the Symphony orchestra. THE SNARE-DRUM. This Small or SideDrum is a military rhythmic instrument, and its proper place is in the military band. Its use in the orchestra should be restricted to the compositions of a martial character, or to dance music. THE BASS-DRUM. Its principal use is in accentuating the force of a climax. For dance music, or in military marches, it is used for practically every "down-beat." A good imitation of a cannon shot can be obtained by its use, and the distant echo well copied (light roll and thump). THE CYMBALS. They are usually employed together with the Bass-Drum, but certain effects can be obtained with one or more of the Cymbals alone. One Cymbal, struck with a soft KettleDrum stick produces the effect of a Tam-Tam. Vigorously clashed together they well depict a stroke of lightning. THE TRIANGLE. Used for special effects, sometimes with divided Violins, sometimes with the wood winds. THE BELLS OR GLOCKENSPIEL. Infrequently used, except for responses or answer to a foregoing figure. THE XYLOPHONE. Many showy soli have been written for this instrument. Its use in the Symphony orchestra is restricted to certain characteristic effects. From Gaston Borch's Practical Manual of Instrumentation. LEADING AMERICAN SYMPHONY ORCHESTRAS AND CONDUCTORS Boston Symphony Orch. — Serge Koussevitzky. Chicago Symphony Orch. — Frederick Stock. Cincinnati Symphony Orch. — Fritz Reiner. Cleveland Orchestra — Nikolai Sokoloff. Detroit Symphony Orch. — Ossip Gabrilowitch. Los Angeles Philharmonic Orch.— Walter Henry Rothwell. Minneapolis Symphony Orch.— Henri Verbrug ghen. New York Philharmonic — Guest conductors. New York Symphony Orch.— Walter Damrosch. Omaha Symphony Orch.— Sandor Harmati. Philadelphia Symphony Orch.— Leopold Stokow ski. St. Louis Symphony Orch.— Rudolph Ganz. San Francisco Symphony Orch. — Alfred Hertz. State Symphony Orch., New York— Joseph Stransky. Syracuse Symphony Orch.— Vladimirshavitsch. Washington Symphony Orch.— Kurt Hetzel. 1 ::"■»'"■. ' ■■ '■' *.j