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Immediately that the King's machine had entered the water a group of florid men with fiddles, violoncellos, a trombone, and a drum, came forward, packed themselves into another machine that was in waiting, and were drawn out into the waves in the King's rear.
Our violoncellos will be strengthened by the arrival from Paris of Cossmann, who will join our orchestra on August 15th. This is an excellent acquisition, which will, I hope, be followed by some others of the same sort, etc., etc.
There, snuff and cigars, and German pipes and flutes, and violins and violoncellos, divide the supremacy between them. It is the region of song and smoke. Street bands are on their mettle in Golden Square; and itinerant glee-singers quaver involuntarily as they raise their voices within its boundaries.
The magic perfume of the melody for the horns was now shed over the PIANISSIMO indicated in the score for the strings. The Violoncellos similarly reduced the usual heavy accent, which was now heard above the tremolo of the violins like the delicate sigh it is intended to be, and which finally gave to the fortissimo that follows the crescendo that air of desperation which properly belongs to it.
Ominous drum beats under a dissonant tremolo of the strings and deep tones of the clarinets, a plangent declamatory phrase of the violoncellos: proclaims his terror at the thought that he has fallen into the power of the Evil One, while the jubilant second theme: gives voice to the happiness of the heroine and the triumph of love and virtue which is the outcome of the drama.
On each side ten or eleven violins, four tenors, two hautboys, two flutes, and two clarionets, two corni, four violoncellos, four bassoons, and four double basses, besides trumpets and kettle-drums. This should give fine music, but I would not venture to produce one of my masses here. Why? From their being short? No, everything is liked short. From their church style?
His first attempts were mere copies, but after he was equipped with his master's splendid legacy of tools and wood, his originality asserted itself. His "Golden" period was from 1700 to 1725, but he accomplished good work until death overtook him. From his bench were sent out some seven thousand instruments, including tenors and violoncellos. Of these perhaps two thousand were violins.
His lordship was himself the leader of the band; among the violoncellos were Lord Bellamont, Sir John Dillon, and Dean Burke; among the flutes, Lord Lucan; at the harpsichord, Lady Freke; and so on. Their meetings, we are told, were private, except once a year, when they performed in public for a charitable purpose, and admitted all who chose to buy tickets.
We can imagine, therefore, the stupefaction and horror when a young man, just out of school, demanded fifty violins, twenty violas, twenty violoncellos, eighteen contrabasses, four flutes, four oboes, four clarinets, eight bassoons, twelve horns, and a chorus of two hundred voices as a minimum. And that is not all.
They do their work so well as to entrance, not only Faust, but all who hear their strains, The instrumental ballet is a fairy waltz, a filmy musical fabric, seemingly woven of moonbeams and dewy cobwebs, over a pedal-point on the muted violoncellos, ending with drum taps and harmonics from the harp one of the daintiest and most original orchestral effects imaginable.
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