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NEW' HAVEN MORNING JOURNAL AND COURIER, WEDNESDAY, AUGUST 14, 1907. BIG OPERA PLANS FOR HARLEM SEASON Van Den Berg, Successful Impresario, Announces His Many Stars. New York, Aug. 9. New York is rapidly becoming the musical cen ter, of the new world and in fact it promises to closely compete with the capitals of Europe i:t this particu lar. With a Conreid at the. Metro politan and a Hammerstein at the Manhattan there is still room for a Van den Berg in Harlem. This was proven beyond a doubt last season, for the . enterprising Impresario of the "West End theater reaped a fortune with his grand opera in English and populartprices for uptown New York ers. Jose Van den Berg has leased the same house for the Fait and Win ter season of 1907-1908 and at pres ent he is working night and day to whip Into shape an operatic organiza tion which wil be a credit to thi me tropolis. In the midst of several rehearsals which were running in different parts of the West End yesterday, Mr. Van den Berg, who virtually lives in the theater at present, mopped his stream ing brow with one hand, while he touched a match to a big black cigar with the other. "Yes, I can tell you my plans, for the coming season," said he, "and the first and most important statement is to be found on that placard. The placard was repeated many times in different parts of , the theater and read as follows: NOTHING BUT ENGLISH TOLERATED HERE. "All of these ladies and gentlemen of foreign extraction must speak Eng lish during rehearsals. It Is hard for some of them but I regard it as the .. key-note of success, in view of the fact that our operas are all to be ren dered In English, I propose to give American opera for Americans. I have secured a great deal of celebrat ed talent but there will always be a place here for the unknown singer of merit. Busy as I am t will always be ready to hear a voice and to give Its possessor a chance to distinguish her self or himself. "I have leased a big building at 149th street and Lincoln square and elaborate scenery for the many operas we will produce is being painted there by Mr. Frazer, tho famous scenic ar tist. A corps of twenty-five seam stresses are working night and day in the theater on the costumes and re hearsals are In progress as you see In al parts of the house." , My chorus will be selcted from e who have sung in both the opera houses and I have secured sev eral voices of youth and beauty from among my patrons in Harlem. The was done in answer to popular de mand. ' Among the prima donnae thus far secured ire Mme. Noldi, Miss Jennie Lindon, Miss Magda Dahl, the Swed- - nightingale, Miss Almeda Nor ton, the beautiful and talented niece ,of Mme. Nordica, Miss Mae Calder, Miss Grace Belmont, Biss Albertine Margadant and Miss Pauline Perry. Among the men already signed are Bignor'iAlberti, Mr. Hubert WilUie, Mr. Robert Perkins," Mr. AVm. Schuester, Mr. Allan Turner, specially engaged from the Carl oRsa Opera company, of London. Mr. H. II. McRloskey, and as comedian Mr. Claude Amsden. My musical director will be Mr. John Braham, so well and favorably known In this city and, he will be assisted by Henry Braume, formerly musical di rector at the Staat theater, Hamburg. Mr. Charles Jones, for many years associated with Henry . Savage and his English Grand Opera company Will bethe stage director. Negotia tions are now pending with Mr. Jos eph Shinn, Mr. George Tallman and Mr. Julius Walter, the latest musical wonder of London and I think that all of these gentlemen will accept my of fer. The opening bill on September 2 will be Flotow's superb opera, "Mar tha" in which Miss Almeda Norton will make her first appearance in the role of Lady Harriett and Miss Jen nie Lindon will make her lnitlft.1 bow to Harlem music lovers, as "Nancy." "Martha" wil continue through the week, the bill being changed on Sept. 9 to Andrans "Mascot," which will mark the first appearance of Miss Maude Holins as Bettina and Mr. Hu bert Wilkie as Pippo. On September 16, Rlgolette wil be the opera, the Ills that Beset Every woman should guard her self against tiie ills that menace her health and happiness'. 1 -When Nature makes unusual de mands upon the system, extra pre cautions should be taken to main tain the health and strength of the organs.' At such times are recommended as a safe and natural remedy that gives exactly the needed help at the right time. The excellent results from these pills have made them the favorite standby of women for over half a century. Eeecham's Pills strength en the nerves, purify the blood, regulate the bowels, remove sick headache and promptly Relieve Back Paies mi Depression In boxes with full directions ioc. and 25c. leading roles being sung by Mme. Nol di and Signor Alberti. Strauss' beautiful work' "Die Fled orinans" will hold the boards during the week of September 23 and Miss Magda Dahl the Swedish nightingale will make her first appearance then in the role of "Rosalinde." Later in the season I will have the honor to present the followiijg operas: Lohengrin, Haensel and Graetel, Tannhauser, Aida, II Trovatore, Romeo and Juliet, Faust, Fidelio, I. Pagliaeci, The Jewess, Cavalleria Rus ticana, Dor Frcisehutz, Crown of. Diamonds, Merry War, Black Hussar, Boccaccio, Robin Hood, Ermine, Mme. Angot, and many other grand and light operas. It will be my constant effort to please my public In every particular. Like every one else, I have my own ideas but it is not my desire to satisfy myself at the expense of my patrons, they shall have what they" want and all they have to do Is to let me know their desires. The Fiske Aggregation., The productions to be made by Har rLson Grey Fiske during the coming season will be more numerous and va ried than in any previous dramatic year. Mrs. Fiske early in October will begin a tour of the South, where she will appear in "Tess of the D'Urber villes," "Leah Kleschna" and "Hedda Gabler." She has 'not acted in the Southern States in nine years and will be seen there for the first time in these three plays. The Manhattan company, including many of the players who have been with it from its foundation, will be associated with Mrs. Fiske on the southern tour. In December, Mrs. Fiske will appear in a new play, which will be the fea ture of her annual New York engage ment at the Lyric theater. For this production, Mr. Fiske will! surround her with a special company peculiarly adapted to the requirements of the play. An interesting development of this will be the appearance of the Manhattan Company as a separate or ganization, in furtherance of Mr. Flake's plan of giving it an individ uality of its own. In the four seasons that it lias supported Mrs. Fiske the company has been generally recognized aa the best-balancad and most effec tive dramatic organization In the coun try. The Manhattan company will be seen in New York In January in a play .that Langdon Mitchell, author of "The New York Idea" is writing. This dissociation from Mrs. Fiske is only temporary, as tho following season the Manhattan Company will again appear with her. The Lady From Lane's. The opening attraction at tho Lyric Theater, the week beginning Monday, Aug. 19, will be' Broadhurst and Cur rio's, production of "The Lady From Lane's" a three-act comedy with mu sic. The , book and lyrics of this new offering are by George Broadhurst, who after winning fame by writing such successful mlrth-provokers as "What Happened to Jones," "Why Smith Left Home," left the field of farce and wrote one pf the strongest and most successful dramas of recent year?, "The Man of the Hour.'! Neither is he a novice in the art of libretto writing for he was one of the authors of "Nancy Brown," the greatest success that Marie Cahlll ever had, and besides writing several successes for Nat Wills, he has rewritten many Broadway mu sical pieces which afterwards develop ed Into great successes. In "The Lady From Lane's" he has furnished a book with a real plot, one that would be a fine evening's diversion even without the music, which is in Gustave Kerk er's brizhtc-st vein. The company of funmakers Is head ed by Thomas Wise, who scored so strongly In "The Little Cherub," last season; Truly Shattuck who followed her clever work with George M. Cohan with another hit with Anna Held in "The Parisian Model"; Ida Hawley with Fritz! Scheff, "The Pearl and the Pumpkin" and other Broadway suc cesses; Georgia Lawrence, Mrs. E. A. Eberle, (Robert Peyton Carter, Walter Perclval, P. V. Bronson, Lionel Walsh, William Barrows, Frank Kelley and a chorus of forty, who can sing, dance and make merry as well as be the cynosure of all eyes that delight in beauty. "The Lady From Lane's" was writ ten for laughing purposes, an antidote for the blues. The characters are unique comedy creations and the sit uations are extremely ludicrous. The play is booked for en indefinite run at the Lyric. The sale of seats will open August 15, at the box office of the Lyric, and all mail orders will re ceive prompt attention. Green Room Gossip. It Isn't generally known in this country that the Lycetim theater in London, the home of Sir Henry Irv ing's greatest successes, is now con ducted as a popular price theater where the most thrilling melodramas are presented. The theater was about to be torn down after Sir Hen ry's death, for it was acknowledged that England had no actor to fill the great Irving's place. At the eleventh hour a little band of capitalists and theatrical managers tormed a syndi cate and took over the lease of the theater for the home of melodram. Tyrone Power, Miss Crosman's lead ing man next season In "The Chris tion Pilgrim," is spending the sum mer in the Canadian woods with his wife, Edith Crane. Some one has estimated that since Bunyan wrote it the Pilgrim's Progress has been read by one billion, two hundred and fif ty million (1,250,000,000) persons. This makes the circulation of the modern magazines and novels look like the edition of a country newspa per. The same authority estimates that 5,000,000 people read the Pil grim's Progress every year. Those interested in statistics per taining to the theater should rejoice in the following list of figures: James I O'Neill has playe'd the title role in "Monte Cristo" about 5,000 times. This estimate is approximate only, be en use Mr. O'Neil himself is not alto gether certain of the total. Denman Thompson has personally given over 4.000 performances of "The Old I Homestead." Phoebe Dr.vics has spoken the lines of the tearful hero ine of '"Way Down East" at 2,600 per- fonnances. Bayonne Whipple has reclaimed the drunkard of "The Nine ty and Nine" on 1,927 separate and distinct occasions and will have pass ed the 2,000 marke before the holidays. Flora Browning has been engaged to play the leading role in . George Ado's campus comedy, "The College Widow," this season. Miss Brown ing is a sister Hoosier of the Humor ist nnd was a real college widow her self at the Indiana University only a few summers back. She belongs to the Kappa Kappa Gamma Sorority and her sister rooters have notified her that they will charter a car and welcome her with banners when "The College Widow" plays at Indianapolis in October. During a hlgh-browed discussion at the Players' Club in New York the other day, a friend asked, Raymond Hitchcock to define the difference be tween a tragedian and a comedian, to which the "Yankee Tourist" star re piled: "Well, I hate to talk about my self, but I have come to believe that a comedian Is simply an actor with blende hair, while a tragedian is a brunette who thinks he isn actor." "How about the brunette comedians and jthe blonde tragedians" "They're nature fakirs." Scene shifting has become an art. In many plays dark changes are made when an Intermission is not allowed for the scene shifter to accomplish the re sult. In very few cases is the setting from an interior to an exterior at tempted, so difficult it is of accomplish ment, but Messrs. Burnslrte and Coin stock have in "Fascinating Flora," an example of this perfection of scenic re moval that bring applause nightly. The first scene of the last act is laid In the office of a Wall Street broker. An Instantaneous dark change is made to the second scene which is the exter ior of the Manhattan Beach Hotel and Casino with, tho chorus seated on the veranda, of the hotel. This change is complete and realistic in its details and the effect Is startling when the lights 'are raised and the s:ene revealed. Edward German's popular English opera "Tom Jones" that Henry W. Savage brings to this country In Octo ber, has passed its 100th performance at the Apollo in London and is now galloping toward its second century. The libretto is built on Henry FloM ing's famous Eighteen Century novel and the production Is described as one of the most elaborate shown in Eng land this year. Of Its music the Dally Telegraph says: "To such a theme there Is no living composer capable of doing greater jus tice than Mr. Edward German, whose score Is a model of what such things shculd be. Mr. German scorns to live in an atmosphere of Old English mel ody, and yet his music, while thor oughly characteristic of the period It represents, possesses all tho charirr of originality. Number after .number comes trippingly fromhls pen each as dainty, as rhythmical, and as capti vating as its fellow. Last night, when tho piece was given for tho 100th time, th audience waxed enthusiastic over all, and encores were numerous." Psychology of tho "Fan." A real baseball fan a "thirty-third degree" fan to use the vernacular Is a thorough partisan. He is not con tent to witness an Interesting game, cleanly played and earnestly contest ed. For the space of about two hours he desires, above everything else in lif, to see the homo club win. In order to enter the ball park, tho fan has deposited at 'the gate twenty five, firfty, or seventy-five cents per haps one dollar, if he owns a motor car nnd in buying an admission tick et he realizes that he is patronizing a money-making enterprise. Ho knows that the promoter of tho national game arc not In the business to pro vide the public with free amusement; that the player Is giving his services batting and catching, pitching and fielding In exchange for coin of the realm, and Is following bnreball to earn a living for himself and his fam ily. The fan does not-object to thin provided the lady on the dollar is not permitted t6 enter tho grounds, but Is detained at the box office. In other words, it must be a square game, hon estly and conscientiously contested, with every player striving for the suc cess of his team. It Is a square game. It Is honestly played. And the large majority of play ers, unless suffering from some real or Imaginary grievance, do strive for all they are worth. Why shouldn't they? They are all well paid for their ser vices. They are carefully looked after, and, when traveling, are provided with the best 'of food and accommodations. Moreover, they love the gam.e, most of them, and they enjoy playing it. To argue that a hlgh-clas. ball player does not clve' the best that Is in him, because he Is paid for Ms services, is to contend that the regular will not fight valiantly, merely because he is a hired soldier. Henry Beach Needham, In Success Magazine. Butcher Come, John, be lively now; break the bones in Mr. Simpson's chops and put Mr. Smith's ribs in your bas ket. John All light, sir; jits: as scon as I've sawed off Mr. Murphy's log. Tit Bits. Glenn's Sulphur Soap For redness, chafing, prickly heat and all skin annoyances incident to the heated term, no remedy gives the same grateful relief and comfort as Glenn's Sulphur Soap. Unequalcd for bathing and toilet purposes. PoM b' all druggists. IIIII'i Hair nnil Wlinirr Djo IEiack or llrown, 50c. S01ETBISC ABOUT lOSICSUMIEnlS Cioussr Ones to Which Opera Audiences Like to Listen. TROMBONES, SACKBUTS Saxophones and Bassoons Oboes, English Horns, Clarinets, Flutes. The story used to be told that the Shah of Persia of iSO-odd years ago attended his first grand opera in Lon don, and that Adelina Patti then In her prime never sang better. At the close, of the performance the Shah was asked what he thought of the diva,. He shrugged his shoulders When he was further questioned as to what he had liked best In the opera he replied, "the opening." It event ually turned out that he did not mean the overture but the tuning of the instruments. Of those "who happen to be early enough at the Metropoli tan or Manhattan Opera Houses to hear this not unharmonious striking of dissonances how many could tell the names of all the instruments? Probably not one in 10. Of course, ev erybody knows a violin when he sees it and most people could spot a 'cello; nor does it need any great musical education to be able to distinguish the big bass drum; but when it comes to an oboe, a bassoon, a tenor tuba, or even a trombone there wduld be con siderable hesitancy and pretty gener al ignorance as to bow and why these particular Instruments are employed. It is the purpose of this article, to give some account of these instruments as well as the others used in a big or chestra, and to point mit, when the opportunity occurs, where composers have made a special point of intro ducing them into their compositions. It will be worth while to note first to what extent the orchestra has de veloped in the last 3 50 years, if, in deed, it can be suld that an orchestra did exist so far back. There Is an account of a ballet given In 1581, at a very "smart" wedding in France when 10 violins, hautboys, flutes, cornets, trombones, lutrs, harps, a flageolet, and a viol da ganiba were used, but tho violins played alone in one sceire, and In the next two the remaining in struments took part in what from the description, must have been a most confusing performance so that the or chestra, as wo know it today may be said not to have existed at the close of the sixteenth, century. It is not till the end of tho following century that we find the elements of a com plete orchestra, , with a full stringed band and wind instruments to strengthen it, but those wind Instru ments wore even in Hanrel's time chiefly used to double in unison parts of the stringed. Handel Bach wrote for' bands of viols crowds of reeds. The moderns not. '' What a modern orchestra is the and and do like will best be Illustrated by giving a list of the instruments that compose the orchestra of the Metropolitan Opera House at the present moment. They any as follows: First violins 1.5, second violins 12, violas 'or tenors 8, violon cellos (bass) 8, double basses 8. flutes 2, piccolo 1, oboes 2, cor anglais or English horn 1, clarinets 2, bass clari net 1, bassoons 2, double bar'snon 1, trumpets 2, horns 4, trombones 3, two pairs of timpani or kettle drums, cor nets a piston 2, tenor tuba 1, bass tuba 1, harps 2, bass drum 1, a plar of cymbals, 1 triangle, 1 tambourine, 1 side drum, a pair of castanets and a set of bells or glockenspiel. When an opera of AVngner is pro duced, the trumpets are increased from two to four, and a contrabass tuba Is also added on a Wagner night. When "the Ring' is given, a mighty Increase Is made in the orchestra. The aditlons are a bass trumpet, three flutes, three oboes, three clari nets, eight horns, and four tubas. Many are the new voices that have come into the orchestra since the days of Handel and Bach, but many, too, have gone out. Still, the orchestra, although it has increased in size has not materially altered; the orchestra-, tlon has. One musical critic has gono so far as to say that the old bands were well adapted to the ineeds of the men who composed for them, while the new are not at all adapted to modern needs. The old Instrumenta tion was not the Instrumentation of to-day; but the old composers were not using every instrument in the band, because it happened to be there to use; and this critic points out how some of the voices have gone out, or, to uso a more practical trem, have been dropped, although they are needed toward the perfection of par ticular groups. Some cases will be noticed in the descriptions of the groups. The Trombone. To return to the less popularly known Instruments in a modern or chestra. There Is the trombone which attracts a good deal of attention among the brass instruments, because of its restless habit of growing bigger or smaller. It is the sackbut of Scrip ture that is of the James I. version and specimens of it are said to, have been in the ruins of Pompeii. Its peculiarity Is! that by moans of a slide a complete chromatic scale has been evolved from the open notes of a simple tube. It used to share this peculiarity with the trumpet, but of late years the trumpet has ceased to slide and no self-respecting orchestra today would contain a trumpet that was not fitted with valves or pistons which perform the duties of the slide with much less trouble. And it may be that before long the leaders of : orchestras will forget how perfect and useful that most simple of instru ments the trombone was, in spite of its slides, and will adopt the valve trombone, which is on the market and Is asking for Itself a bigger price than its ancient rival. A perfectly played trombone was said In old days to more nearly approach good voice production than any other instrument; but in those days t least according to the chroniclers of the times the musical instrument makers were trying to reach as nearly as possible the perfection of the hu man Voice, while the process to-day, according to the laudator temporis acti, is just the contrary. In appear ance, the trombone is a tube twice bent, ending in a bell and in the middle section it Is double, so that the two outer portions can slide upon the inner one. Mendelssohn concluded the "Hymn of Praise" which a trom bone phrase, considered to be the most magnificent he ever wrote. To descend from the sublime to the al most ridiculous, Wombwell, the Eng lish Barnum of-his day, had a band of trombones attached to his show of wild beasts, which is said to have been very fine. It may have been the origin of the steam calliope of the country circus. With the trombone the trumpet adds greatly to the splendor of a full orchestra. The true lpns-Hi nt a trum pet is five feet seven inches, and when the muslcans were angels, as may be seen in the early Italian masters and there was plenty of space in which to blow one's horn, the trumpet was used at its full length. But as soon as it got into the orchestra, its inor dinate length was found So it was twice turned back on itself ending in a bell. This is the fate of all metal instruments that outgrow them sedves, otherwise they could not be manipulated in the prescribed limits of an orchestra. Saxophone and Bassoon. The saxophone is a conical brass tube with 20 lateral orifices covered by keys and with six linger plates, that Is played by means of a mouth piece and a singki reed. In shape It is usually something like one of those German pipes with a porcelain mouth piece, though it can be and is made to look less conical. It is generally used in military bands but has been employed a good deal by Massenet in "Le Rot de Lahore," "Werther" and !"lIerodlade." Bizet also used it in the suite in "L'Arlestenne." One of the most ungainly looking j of instruments is the' double bassoon, the contrebasson of the French. If stretched out at full length it would mesaure 10 feet 4 Inches, but in or der to make it possible for use it is curved four times on Itself. It is a reed instrument, and, as with the bas soon proper, its reed Is inserted in a crook through which the player blows into it. The instrument, probably on acount of its ugliness, disap peared for many years, but turned up at a Handel festival in London in 1871. It was user by Haydn in "The Creation" and has obligato passages in the grave-digging scene of Bee thoven's only opera, "Fidelio,' 'and has returned to tho modern orches tra. . The bassoon itself c'an be recognized in the orchestra through Its being supported by a strap around the neck of the player. It is a wooden, dou ble reed instrument, a little over four fett long. The reed is inserted in a crook about 12 inches long, the other md of which is inserted In the lower half of tho instrument. Its musical VHjue is grout and it has been used by composers for more than 200 years. It is very prominent in all Mozart's music, and in the incantation scene of "Robert the Devil." Rossini opens "The Stabat Mater" with a phrase for bassoons and , 'cellos which occurs again at the end of the work. Oboes and English Horns. The bassoons belong to the oboe family, the bassoon proper being the natural bass to the oboe. The oboe is the hautboy of Shakespeare. It Is a graceful looking wood instrument, played with a double reed that orig inated far back in antiquity, in the flattening of the end of an oat.., or wheat straw. The Scotch bagpipe is another, if less musical, specimen of the same principle. A curious tradi tion connected with the oboe is that from oldfn times it has held the pre scriptive right of giving the A to the orchestra when It is tuning. This right probably originated in the oboe having been the only wind Instrument that was used in an orchestra before the days of Handel. It is at once the oldest historically and musically the most Important, of the reed band. An oboe bass, called" the heckelphone, af ter Its inventor, Heekel of Bieberich-om-Rhein, was used for the first time in orchestration by Richard Strauss In the now notorious opera "Salome." There is a sad note in the history of the heckelphone. Heckol, wh'ose bas soons have a world-wide fame, ctc voted himself so much to tho perfec tion of the instrument that soon after he had completed his masterpiece his brain broke down and, according to the latest reports from Bleberlch, hla family had decided to put him in a lu natic asylum (sanitarium). Another new instrument introduced in "Salome," and which tinkles all through the opera, is the celeston (German celesta). It has been heard only once before In public in this country, at a Russian concert given last season at Carnegie Hall. Puc cini Introduced it in most of his scores, if not in all but for some rea son or other it has not been used in tho performances of his operas here. It is a keyboard instrument of four octaves. It stood at the extreme right facing the stage of the orches tra in the "Salome" production. Its strings are of steel and they are struck by hammers. Its effect, more delicate and refined than that of the glocken spiel, rather suggests the big musical bo:'. ' The cor anglais, or English horn, Is a tenor oboe. The only reason for call ing it the English horn appears to be the same as that for naming a certain beautiful French lace point d'Angle terre" that it was neither invented nor made In England. In "William Tell" it represents the alpenhorn, and in "Tris tan und Isolde" Wagner made most ef fective use of it In the scene when Kurwenal Is vainly looking out to sea for some aid to come to the dying Tristan. The reed pipe of a careless peasant is played in the orchestra on an English horn, and gives pathetic color to the painful situation. lAgain did Wagner use It in a somewhat sim ilar situation when Wolfram's lament over the fall of Tannhauser, in the opera of that name, is interrupted by a goat-herd's song with a cor anglais ob ligate. Its tone is peculiarly wailing NATURE PROVIDE FOR SICK WOMEN a more potent remedy in the roots and herbs of the field than was ever produced from drugs. In the good old-fashioned days of our grandmothers few drugs were used in medicines and Lydia E. Finkham, of Lynn. Mass., in her study of roots and herbs and their power over disease discovered and gave to the women of the world a remedy for their peculiar ills mor6 potent . and efficacious than any combination of drugs. Lydia E. Pinkham's Vegetable Compound is an honest, tried and true remedy of unquestionable therapeutic value. During its record of more than thirty years, its long list of actual cures of those serious ills peculiar to women, entitles Lydia E. Pinkharn's Vegetable Compound to the respect and confidence of every fair minded person and every thinking woman. When women are troubled with irregular or painful functions, weakness, displacements, ulceration or inflammation, backache, flatulency, general debility, indigestion or, nervous prostration, they should remember there is one tried and trte remedy, Lydia E. Pink ham's Vegetable Compound. No other remedy in the country has such a record of cures of female ills, and thousands of women residing in every partof the United States bear willing testimony to the wonderful virtue of Lydia E. Pink ham's Vea-etable compound and what it has done for them; Mrs, Piukham invites all sick women to write her for advice. She has guide thousands to health. For twenty-five years she has been advising sick women free of charge. She is the daughter-in-law of Lydia E. Pink hara and as her assistant for years before her decease advised under lier immediate direction. Address, Lynn, and pathetic, but Is somewhat treach erous in an orchestra. . Clarinets and Flutes. The clarinet, ' or claionet, Is a fairly recent member of the wood wind band, and in appearance is very much like an oboe, only that it is a single reed. Weber used It a great deal In the over ture of "Dcr Frcisehutz," where the weird, low notes of the clarinet come in with great effect. One trouble about the instruments is that the player is at the mercy of a bad reed, which Is liable to be. the cause of1 the production of a fearfui shriek, the goose, or couac, as the French call it. In military bands, the clarinet takes the place of tho violin, although the ione is entire ly different. Saint-Saens makes use of a"n alto clarinet in E flat in "The De luge" and in ."Henry VIII," the In strument having been made especially for that purpose. The flute, the last of the so-called wind instruments, none can fail to rec ognize. The real tenor and bass flutes have entirely disappeared from the or chestra and the ono In present use, in vented by Boehm, a. Bavarian flute player, only date from 1832. It general ly gijro with the xlolin in an orchestra, sustaining, long notes with the .other wooden instruments or is Used in con versational passiiges ' with' other In struments. The piccolo, nr. .octave flute, j which is an octave higher than the flute proper, Is tho '-one usually fem- j ployed in an orchestra. It is very shrill and without great care may give a vulgar character to music, and' that is why Sir Arthur Sullivan, in a scene in "Ivanhoe," replaced it, with a high C flute. The so-called fifo', used with the side-drum in the military drum and five bands, is really a small flute which has replaced the old cylindrical, ear pirrcing fife. . The extraordinary Improvement ef fected during the .nineteenth century in the wind Instruments has given them an Importance, hardly exceeded by that of the stringed, in the forma tion of a modem orchestra. Stringed Instruments. At the Manhattan Opera House, 'Dcn Giovanr.ia has been performed tlika season with a pianoforte accom paniment to tho recitatives. What should have been used was the harpsi chord, for which Mozart wrote all his recitatives. In Paris, the clavecin, as the French call the- harpsichord, is in variably used for these accompani ments. The particular form of clavecin employed in Paris is the double-banked, that is, it has two keyboards, one above the other. There is a magniflpeht lot of harpsichords, single, double and triple-banked, In the Crosby Brown collection of musical instruments at the Metropolitan Museum, and the front board of ono ot least having been removed, it is possible to learn from it how .the sounds are produced from the strings. The principle is that' of the plectrum. Tho string are plucked lo produce sound, whereas in the piano It is made by a hammer.. The result is that there is a monotony too much uniformity in the sound. The player gets the exact value of the sound nothing more, nothing less. But it held an important place in Its day in the THE BAY- STATE FRAMllf til Jsst The Thing . ...... ' For Country and Seashore Vacation Cottages tjf l! r i if I fill Hf- U.i iX VII 'U ' l r ( 1 i i' ,r 1 t,f.T 1,1 tod for Prices and Circulars. T. G. WHITEHEAD, 360 STATE fPWfi LYDIA E. PINKHAM Mass. orchestra aa an accompanist to, th voice, from the time of the productioij in Italy of the first opera and oratorij about 1600. Handel and John SebastiaJ Bach used it before Mozart to supporl tho "dry recitative,", as it -was called The bass notes being weak, were reini forced by lutes and violo, and then b: violoncellos and double basses. It Is onl ot the voices that has. gone out ot modern composition, although, as statl ed, it is still to be heard in Paris. But two stringed Instruments thai are plucked by the fingers still 'remahi in use; they are the harp and thl guitar, the later of a class -that pre! vailed in the fifteenth, sixteenth an ' seventeenth centuries. . Of the . liara family tho only one, that is now iij vogue ana winch recent composer! have used with great advantage ano beauty is the double-action harp thai Sebastian Erard patented toward thl close of the eighteenth century. Beforl this invention metal crooks (crochets! were screwed into "the neck," that r the carved bracket between which th sounding board and strings are stretchy ed. These crooks . could bo bent bacll Upon a string -to sharpen its tone. ThJ Cousineaus, a French father and son! made instruments without crooks, pro! duced half-tones by pedal action, anrl Erard perfected their discovery. Thj harp was for years neglected by amaj teurs. In the days of the First Empire it. was tremendously affected by wof men on account of the singular beauty! of the instrument and the ,opportunl-l ties it afforded the players of snowline'! off their figures in the costumes of thftj day. Suddenly the harp has come lntcfj fashion again; ' some say because wo-tj men have grown tired of the piano if others . declare Hhat its popularity re-'j turned Svith the Empire costume; that it is to show themselves off, and notls for ' pure love of music, or for "thrlt sonorousness of the harp's mysterloiu f tones, to quote Berlioz, that the mod-lf ern woman has taken to her heart and bosom the Instrument that her grand- j mother discarded and her great-grand-!) mother loved so well; that it excellent-? ly displays fine arms and pretty handst and a well-shaped foot, which would f not despise the assistance of a harp's k pedal for exhibiting itself. Be this as it may, the harp Is all the fashion again, and is "selling like hot cakes," f at from $050 up into the1 thousands. The. ! best harps in the world are made lri Chicago. Violins and Their Bows. But, of course, the most important of the stringed instruments are t he violins both in power and delicacy of musical expression, in fitness for cx-f act intonation, and In arriving atk structural perfection almost at . once slr.ee no change has taken place In the! violin from Its Inventpin more than! three centuries and a half ago, Thu is pre-eminence generally accorded to the violin family. Its invention is atn trlbuted to Gasparo da Salo of Brescia,! and the date given Is about 1550. Im-I mediately after this we find MagglnU of Brescia and Andrea Amati of Cre mcna making. vyn3vjh Crempnesd School culminated in Stradivari nd Guarneri del''Gesu, in the early years (Continued on Twelfth Page.) Is made of Russi Iron; is light, so that! it can be easily mov-j ed from toom to; room. It is hand-' somely trimmed with brass and black en amel, making it or-; namental in appear ance. For cool mornings and even ings, while the fur nace is low or out, there is nothing more convenient or eco nomical than a f'i... Bay State Franklin. ttade In two alcea fJW WOOD ? COAX. STREET. Ill h dccUncu I'