The orchestra and its instruments

ILLUSTRATIONS

King René of Anjou with his Court Musicians	Frontispiece
From the Breviary of King René, written and illuminated in the Fifteenth Century by some of those appearing in the picture. Preserved in the Bibliothèque de l’Arsenal, Paris.
First Violin, Symphony Society of New York, Alexander Saslavsky	Facing page 10
A Little Savoyard in Paris with vielle, or hurdy-gurdy (old print)	14
St. Cecilia	18
From the Adoration of the Lamb by Jan and Hubert van Eyck, in the Cathedral of St. Bavon, Ghent. St. Cecilia is playing the organ, one of the Angels a harp (of the “Irish” type) and another a violin without “bouts” and with crescent-shaped sound-holes. Note the peculiar and archaic shape of the bow. This picture was painted in the Fifteenth Century.
Violin by Gasparo di Salò	22
Violin by Maggini	24
Cremona in 1830	26
From an engraving by Caporali.
Violin by Antonius and Hieronymus Amati	30
The Hellier Stradivari	34
Bought by Sir Samuel Hellier of Womborne, Staffordshire, England, from Stradivari about 1734. It was made in 1679, but its history between these dates is unknown. The Hellier Stradivari is one of the most famous examples of Stradivari’s work and is one of his very rare inlaid violins. The bows are of an old model, as their points plainly show, made before the days of Tourte.
Violin by Guarneri del Gesù	38
Used by Paganini in most of his concerts. Now in Genoa.
Instrument-maker’s Workshop (Eighteenth Century)	40
From the Encyclopaedia of Diderot and d’Alembert.
François Tourte, “the Stradivari of the bow”	44
First Viola, Symphony Society of New York, Samuel Lifschey	48
Viola d’amore	50
Owned by the University of Edinburgh. Note the beautiful inlay of the tail-piece and neck, the carved female head instead of scroll with the eyes strangely veiled. The sound-holes of the “flaming-sword” type are beautifully and gracefully cut. This instrument lacks the “sympathetic strings,” with which it was originally strung.
Gaspard Duiffoprugcar	52
Viola da Gamba	54
Made by Gaspard Duiffoprugcar, with picture inlaid in the back.
First violoncellist, Symphony Society of New York, Engelbert Roentgen	56
Viola da Gamba	60
Owned by the Museum of the Brussels Conservatory of Music. The back is of rosewood. The inlay, neck, scroll and tail-piece (carved in the shape of Mercury’s caduceus) are of ivory. The instrument is an exquisite work of art. It is of later date than the viola d’amore facing page 50, as the crescent-shaped sound-holes show.
Gentleman of the Seventeenth Century playing the viola da gamba, or basse de viole	64
First Double Bass, Symphony Society of New York, Morris Tivin	68
Lutemaker’s shop and Two Men playing the Double Bass. Date 1568	70
First Flute, Symphony Society of New York, George Barrère	74
Frederick the Great playing a flute concerto with his orchestra at Sans Souci	78
By Chodowieki.
First Oboe, Symphony Society of New York, Henri de Busscher	84
Cor Anglais, Symphony Society of New York, A. Bianco	90
Bassoon, Symphony Society of New York, Ugo Savolini	94
Clarinet, Symphony Society of New York, Gustav Langenus	98
Contrabass Clarinet, Symphony Society of New York, Richard Kohl	102
Horn, Symphony Society of New York, Josef Franzl	106
Trumpet, Symphony Society of New York, Carl Heinrich	110
Trombone, Symphony Society of New York, R. Van der Elst	114
Tuba, Symphony Society of New York, Luca Del Negro	118
Tympani, Symphony Society of New York, Karl Glassmann	122
Percussion, Symphony Society of New York, Hans Goettich	126
Drum, Xylophone and Triangle, Symphony Society of New York, Samuel Borodkin	130
Theorbo	136
Made by Giovanni Krebar of Padua in 1629. The body is of ivory and the neck and peg-box of ivory engraved with a view of Venice, incised figures dancing and fencing and a garden scene. The pegs show that there were eight bass notes, or diapasons; a single string to each note, five double strings on the fingerboard and one, the highest of all and single, called the chanterelle, or melody string.
Three Chitaroni	140
The first is a theorbo, or bass lute, with a long upper neck to give length for the bass strings. It is five feet long. Notice the three sound-holes joined together (rosaces) and the mother-of-pearl ornamentation. This lute is strung with six pairs of strings on the fingerboard: each pair is tuned in unison. Seven single, or diapason strings (or open basses) are stretched from the upper peg-box. The Chitarone in the centre, also richly inlaid with mother-of-pearl, has also three connected sound-holes, six pairs of unisons upon the fingerboard and eight diapason, or open bass, strings on the neck. It is six feet long! The third chitarone has six pairs of unisons and seven diapason (or bass) strings. The neck is ornamented with checker work.
Claudio Monteverde	144
Car of musicians. Triumph of Maximilian	148
By Albrecht Dürer, about 1518.
Car of musicians. Triumph of Maximilian	150
By Albrecht Dürer, about 1518.
Car of musicians. Triumph of Maximilian	152
By Albrecht Dürer, about 1518.
Chamber music in France, in 1635	156
By Abraham Bosse.
One of the Twenty-Four Violins of the King, 1688	160
Jean Baptiste Lully	164
Engraved by Gérard Edelinck.
Marin Marais	170
The most famous player of the viola da gamba of the Seventeenth Century and Lully’s assistant conductor.
Arcangelo Corelli	178
Concert	182
Domenico Scarlatti at the gravicembalo (harpsichord); Tartini, violin; Martini, flute; Locatelli and Lanzetti.
Rameau	184
Portrait by Restout, engraved by Benoist. Bibliothèque Nationale, Paris.
Johann Sebastian Bach	186
Portrait by C. F. R. Lissewsky (1772) in the Joachimstalschen Gymnasiums, Berlin.
Handel	188
Portrait by Thomson.
Handel conducting the Orchestra	190
Handel at the cembalo (old print).
Gluck	194
Portrait by Duplessis.
Haydn	200
Portrait by Gutenbrunn painted in London in 1770. Engraved by Luigi Schiavonetti.
Mozart	208
Portrait by Cignaroli in 1770.
Beethoven	218
Portrait by Lebronne. Engraved by Höfer.
C. M. von Weber	232
Portrait by Schimon.
Schubert	238
Water color sketch by W. A. Rieder.
Mendelssohn	242
From a pencil-drawing by Bendemann in 1835. Autographed by Mendelssohn.
Berlioz	246
Lithograph by Fischer in 1863. Autographed by Berlioz.
Liszt	252
From a photograph taken in Budapest in 1875.
Wagner	258
Photograph taken in Munich.
Tschaikowsky	266
Photograph taken in Petrograd.
Saint-Saëns’s Festival Concert, Salle Pleyel, Paris, in 1896	268
Saint-Saëns at the piano; Sarasate, violin; and Taffanel conducting the Orchestra of the Société des Concerts du Conservatoire. Drawn by J. Grigny.
Debussy	270
Photograph taken in Paris.
Orchestra of the Symphony Society of New York	272
Walter Damrosch conducting.
Orchestra of the Eleventh Century	274
Development of the capital of a column in St. George’s, Boscherville, Normandy.
Page from Conductor’s score	276
Beginning of Second Movement of Beethoven’s Fifth Symphony.
Richard Strauss conducting	278
Minstrels playing harp, flute, and pipe and tabor	280
From an illuminated Ms. of the Romaunt of the Rose, owned by the British Museum. Fifteenth Century.
Harp of the Fourteenth Century (King David)	286
From a Ms. of the Fourteenth Century.
Violinist, singer, and lady at the virginal	292
From Playford’s Banquet of Music. Printed in the Savoy for Henry Playford at his shop near the Temple Church (London, 1688).
Concert with harpsichord	296
From Peter Preller’s Modern Music Master (London, Eighteenth Century).

The orchestra and its instruments

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ILLUSTRATIONS