Scan 321
The American history and encyclopedia of music, 1910
10 lines. Read by computer on 11 September 2026. Printed page 277. See the scan on archive.org.
1must possess the ability of imparting his ideas to the orchestra. He is responsible for the interpretation of a composition just as is a pianist for a piano solo, and while he may seem to hypnotize his men, depend upon it, his is no such easy method. By the sympathy which exists between all artists or all who can feel and speak in one language, he is able to convey to his men his ideas, but it means work, and arduous work, both for him and for them to become as one great, powerful voice.
3Go to a concert prepared to understand intelligently the message a great composer has to give you, knowing what you have a right to expect in the way of interpretation and of execution, and do not be afraid to show your appreciation of the good work the men and their instruments are doing for your enjoyment, nor be timid about withholding praise where none is due.
5CHAMBER MUSIC.
7Chamber music includes compositions which are written for limited groups of instruments suitable for performance in small rooms only. It originated during the Middle Ages when music was used as a means of entertainment to add to the further pleasure of banqueters.
9As the demand for such performances grew, musicians realized there should be a special kind of music suitable to the size and nature of the instrumental collection. It was not, however, until the violin was made so prominent in all instrumental compositions that chamber music as we know it began to assume a definite form. It was in Germany that these smaller instrumental forms developed. To-day under the head of chamber music we place trios, quartets, quintets, sextets, septets and octets, named according to the number of instruments employed. The trio is usually written for piano, violin and cello, though frequently we hear combinations such as piano, violin and horn, or piano, violin and
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