Scan 56
Chats to violin students on how to study the violin, 1895
6 lines. Read by computer on 3 September 2026. Printed page 42. See the scan on archive.org.
1as leader of the orchestra, also at the principal Festivals (Three Choir, Leeds, etc.), and I think although the work is immense, on the whole this last is as interesting as any orchestral work with which I have been connected.
3To be a first-rate orchestral player necessitates intimate acquaintance with all the standard works; symphonies, overtures, concertos, etc., and a good capacity for reading at sight and keeping strict time. I have often heard it remarked with astonishment, how well certain bodies of musicians interpreted works at first sight. Now these first class musicians (I am speaking of those orchestras holding the best positions) are very often expected to do more at less pay than any artist should. Recently a society has been formed in London called the Orchestral Association, which will, it is hoped, protect the interests and generally improve the financial position of the orchestral player.
5The original form out of which our present orchestra has gradually grown was as a string quartette, the different instruments being doubled when desirable; gradually wind instruments took part, growing more and more important as they became perfected in their acoustical and mechanical details. Orchestral accompaniments to concertos and solos are in most cases now of great importance, in fact too much of the interest is centred in the orchestra, overpowering and dwarfing the effects of the solo—very different from the simple form which used really to be an accompaniment to the soloist with occasional tutti.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.