Scan 57
Chats to violin students on how to study the violin, 1895
2 lines. Read by computer on 3 September 2026. Printed page 43. See the scan on archive.org.
1Many of our theatres now require really good orchestras, because incidental music by great composers is so often introduced. For example, Irving nearly always has music for his productions written by men like Sullivan, German and Parry. His example is followed by many of the other first class theatres. Then there are so many comic operas and burlesques now, the music to which, although not high class, is much more important than the old entr'acte music and melodramatic strains. Practising in orchestral classes, concerted music, quartettes, etc., is much more easily to be obtained than formerly, and cannot be too much encouraged for students anxious to be orchestral players, as intimacy with our standard works cannot be otherwise obtained and is absolutely necessary. In London there is a superabundance of such societies and there are very few towns in England now but what boast an orchestral association of better or worse repute. In all orchestras the family of violins forms a large part of the whole, and in such bands as the Philharmonic and Crystal Palace there are fifty-six or sixty stringed to twenty-five other instruments and that is an extra allowance, many of the lesser used wind instruments being only engaged when especially indicated by the composer. So that emphatically the violin holds the position of king of the orchestra; and this should make all who attempt to play it most anxious to do their best to support this position.
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