to the highest point of perfection, are the first to abandon it: you now scarcely hear it introduced into the mass. These compositions, so sensitive and full of opposite effects, in their judgment, would be injured by its uniform tone; and many writers exclude it altogether. To neglect an instrument of such powers, to refuse its aid in heightening the sublime, betrays a want of judgment in the composer. If we peruse the posthumous Mass of Beethoven, we may there learn its true application: we may see in that magnificent work, how the conceptions of this great musician have been enforced, by a new mode of using the powers of this noble instrument. CHAPTER XXVII. THE CLARIONET. THE clarionet approaches the tone of the female voice nearer than any other instrument; and as a principal in the orchestra, it now sustains a distinguished part. This instrument, which is of German origin, was introduced into this country about the year 1770; and for the first twenty years, its use was confined to the military: for it is remarkable, at the last grand performance in Westminster Abbey, in 1791, that forty oboes, and forty bassoons, were admitted into that stupendous orchestra of a thousand performers, but the clarionet had not gained sufficient reputation to obtain a place. Soon after this period, from its warlike tone, it was adopted by all the military bands upon the continent; and the French found it of such singular efficacy in leading on their troops to battle, that all their regiments were headed by vast groups of these performers. At the federation in Paris, July 14, 1802, the writer was present when eighteen thousand troops passed in review before the Consul Buonaparte, to which were attached more than twenty bands of fifty performers each, forming an aggregate of more than a thousand musicians. The ordinary practice of a military man is not less than six hours per day, and that for twenty years is but just adequate to conquer all the difficulties* of this instrument. Probably the greatest good effected by the thirty years' war, was the improvement of the wind instruments. It was the incessant practice of fifty thousand performers spread over the continent, that drew forth the genius and powers * Many of these obstacles are now removed, by having clarionets made in different keys. With the following set, C, B flat, and A, we are enabled to play with ease in most keys. Music in two flats, is played upon the B clarionet, as in the key of C; and music with three sharps, with the A clarionet, as in the key of C. Music for the B clarionet, in three flats, must be written in F, with one flat; and music in four flats, written in B, with two. For the A clarionet, music in two sharps, must be written in F, with one flat; and music in four sharps, in G, with one sharp; i. e., a minor third above the real key, because the instrument is a minor third below it. of those instruments, by which Haydn and Mozart perfected the musical science. In the hands of Willman and Barman, the clarionet is brought under complete subjection. In quality of tone it is warm and powerful; partaking somewhat of the oboe and trumpet combined, and the lustre of its tones adds great refulgency to the orchestra. Composers employ the chalumeau, or lower octave, with singular effect. Notice its accompaniment Protegga il giusto cielo,' in Don Giovanni. เ The tone of the clarionet is peculiarly grateful in the open air. Who has not sailed down the Rhine, and held his oar, to listen to its joyous notes in the grove? Hidden in the thick umbrage of the mountains, on high you hear its clarion voice: it is the feast of the vine-dressers, and Drachenfells and Jura return the cheerful strain. Encircled by mountains, the peasant has a rich delight in pouring forth the tones of this instrument. Softened by the echoes, he listens to the dulcet notes he has raised, and his merry bits of melody make the mountains laugh and sing. CHAPTER XXVIII. THE ORCHESTRA. THE full and complete effect of a number of voices and instruments conjoined depends upon the just proportions in which they are brought together in the orchestra. Formerly, the materials were collected promiscuously; and too many of one kind, or too few of another, destroyed that balance of sound which is necessary to a grand effect. The proportion of the Abbey band,* in the year 1791, would now destroy the finest compositions of art. Then the oboes and bassoons were used as mere helpers, to fill up the chorus: but now they are raised to the rank of principals, and few duplicates are ever admitted. The great defect in most orchestras, proceeds from that part, which is the most essential, being commonly the weakest. This, no doubt, arises from the greater difficulty in procuring these performers; and the usual method of making up the number by materials more easily obtained, only adds to the evil instead of diminishing it. Among the instruments, we never have sufficient power and ability in the first violins and violoncellos; and we are overpowered by the wind instruments. In the voices, we lament the weakness of the soprani, which are borne down by the merciless tenor. The following is a scale for an orchestra of two hundred and fifty performers, the proportions of which have been adopted at the late festivals of Drums, 8; Organ, 1; Total, 1077.-Lives of Haydn and Mozart. 159 sacred music, held at Leicester and Derby, with If the orchestra be reduced to one-half the preceding number, the wind instruments will admit of no reduction beyond the duplicate clarionets and bassoons. Since the above was written, I have met with the following proportions suggested by M. Fétis of Paris, for an orchestra of three hundred and forty-six performers.* |