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Updated: June 17, 2025
There are tiny traps, and delicately constructed "lifts," and real footlights fed with burning-fluid, and in the orchestra sits a diminutive conductor before his desk, surrounded by musical manikins, all provided with the smallest of violoncellos, flutes, oboes, drums, and such like. There are characters also on the stage.
The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets, bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon); 4 horns, 2 trumpets (often muted); 2 cornets-
The list of instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons, contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums, cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and strings. The plan of movements is very original and in a way, two-fold.
The strings were forced back and back, wailing an ineffective protest against the shrilling advance of the woods. A solitary 'cello made dogged resistance, knowing its cause hopeless, but determined to sell life as dearly as possible. But the 'cello, too, went down and for a bar or two the flutes and oboes sang a pæan of victory. Too soon.
Horns and violins quaver and snarl, flutes shrill, a brief figure descends in the oboes and clarinets, and Till has shed his rascal-sweat and danced on the air.
With those who have written concertos should be classed Rosa La Roche, who lived in the latter half of the eighteenth century, and published a number of sonatas besides a successful piece for piano and orchestra. Mlle. Lechantre, of the same period, composed a work that was only a concerto by courtesy, for her orchestra consisted of two violins, two oboes, viola, and double-bass.
His orchestra contains the usual modern equipment 3 flutes, 2 oboes, 2 clarinets, an English horn, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, bass tuba, kettledrums, glockenspiel, cymbals, 2 harps, and strings; yet one may count on but little more than the fingers of both hands the pages in which this apparatus is employed in its full strength.
There had, no doubt, existed skilful and sensitive orchestrators before him, men who were deeply aware of the nature of their tools, men who, like Mozart, could scarcely repress their tears at the sound of a favorite instrument, and wrote marvelously for flutes and horns and oboes and all the components of their bands. But matched with his, their knowledge of the instrument was patently relative.
Ah! the dear flutes and oboes and horns drifted me hither and thither, and the great violins and small violins swayed me upon waves, and overflowed me with strong lavations, and sprinkled glistening foam in my face, and in among the clarinetti, as among waving water-lilies with plexile stems, pushed my easy way, and so, even lying in the music waters, I floated and flowed, my soul utterly bent and prostrate."
When he had precipitated himself into the sea he sang a solo accompanied by a harp, not by a lyre as in the ancient fable. When the avaricious sailors thought him engulfed forever, they sang a chorus of rejoicing, accompanied by oboes, bassoons, cornets and trombones. The music of this intermezzo was by Malvezzi, who was a distinguished madrigalist.
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