Page:A Dictionary of Music and Musicians vol 2.djvu/572

560 that highest place which only a very very few have occupied before him, we may be sure that he, at least, will find no difficulty in bringing his work to the light. It is impossible that works of the highest class should remain hidden from want of opportunity to bring them forward; and, so far as the Oratorio is concerned, it is for works of the highest class only that the field remains open. [ W. S. R. ]

ORAZZI E CURIAZI. Opera in 3 acts; libretto by Sografi, music by Cimarosa. Produced at Venice, 1794 [App. p.735 "1796"], and at the Théâtre Odéon, Paris, June 16, 1813. [ G. ]

'ORCHÉSOGRAPHIE, et traicté en forme de dialogue, par lequel toutes personnes peuvent facilement apprendre et pratiquer l'honneste exercice des dances,' is the title of a rare 4to volume of 104 pages, published by Jehan des Preys at Langres in 1589. In the Privilegium of another edition is the date Nov. 22, 1588, and the work was reprinted at Langres in 1596 with a somewhat different title. The author, who writes under the anagram of Thoinot Arbeau, was one Jehan Tabourot, a canon of Langres, of whom nothing is known except that he was the uncle of the poet Etienne Tabourot (1549–1590), Seigneur des Accords (sometimes called 'the Burgundian Rabelais'), that he was the author of the 'Orchésographie,' and of an equally rare Shepherd's Calendar in dialogue, and that he died in 1595, aged 76. The 'Orchésographie' is a particularly valuable work, as it is the earliest treatise on dancing extant, which contains the notation of the different dance-tunes. Quaintly written in the form of a dialogue between Thoinot Arbeau and Capriol (a lawyer who finds that the art of dancing is a necessary accomplishment in his profession), the work contains a review of dancing as practised by the ancients, directions for playing drums, fifes, oboes, etc., as well as minute descriptions of the manner of dancing Basse Dances. The book is illustrated with curious woodcuts, representing the different steps to be executed in the dances, and contains music for fifes and drums, as well as for the following dances, several of which may be found in the present work. See.

Pavanes. Tourdions. Gaillardes—'La traditore my fa morire'; 'Anthoinette'; 'Baisons nous belle'; 'Si j'ayme ou non'; 'La fatigué'; 'La Milannoise'; 'J'aymerois mieulx dormir seulette'; 'L'ennuy qui me tourmente.' La Volte. La Courante. L'Allemande. Branles—Double, Simple, Gay, de Bourgogne, du Hault Barrois. Branles couppés—'Cassandre'; 'Pinagay'; 'Charlotte'; de la Guerre; 'Aridan.' Branles de Poictou; d'Escosse; de Bretagne (Triory); de Malte; des Lavandieres; des Pois; des Hermites; du Chandelier; de la Torche; des Sabots; des Chevaulx; da la Montarde; de la Haye; de l'Official. Gavotte. Morisique. Canaries. Pavane d'Espagne. Bouffons, or Mattachins.

2. A work entitled 'Orchesography, or the Art of Dancing by characters and demonstrations,' etc., was published in 1706 by J. Walsh. It is a translation by J. Weaver of R. A. Feuillet's 'Chorégraphie, ou l'Art de Décrire La Danse, par caractères, figures et signes démonstratifs,' etc., which was published in 1699, and is founded on a system invented by the famous dancing-master Charles Louis Beauchamps (1636–1705). The book is curious as showing the degree of elaboration to which the old French dances were brought at the Court of Louis XIV, but it is now almost useless, owing to the extreme intricacy of the diagrams. Feuillet's work was followed by a supplement, containing an interesting collection of old dance-tunes. [ W. B. S. ]

ORCHESTRA (Gr., i.e. a dancing place; Ital. Orchestra; Germ. Orchester; Fr. Orchestre).

I. That portion of a Theatre, or Concert-room, which is set apart for the accommodation of the Instrumental Band—in the latter case, of the Chorus also.

The word is of Greek origin, and in classical times denoted an open space, in which Dances were performed, to the sound of various Instruments. This space was situated between the seats for the audience, and the (from, concave), another curvilinear space enclosed for the use of the Chorus, immediately in front of the Proscenium. In Roman theatres the Orchestra was diverted from its original purpose, and filled with seats for the Senators; for which reason it was placed at a lower level than its Greek prototype, though it occupied exactly the same situation on the groundplan of the building.

In modern theatres the normal position of the Orchestra is in front of the Stage, but, on a level with the floor of the Stalls and Pit—the parterre of the French Opera-houses. The advantages of this arrangement are very great. It permits the sound of the Instrumental Band to be heard in every part of the house, and effectually prevents it from overpowering the Singer, who throws his Voice over it from the higher level of the Stage. Yet exception has been taken to it. The construction of the new theatre at Bayreuth for the performance of Wagner's 'Tetralogy,' afforded the Composer an excellent opportunity for carrying out, to its fullest extent, his long-cherished idea of keeping the Instrumental Band entirely out of sight of the audience; accordingly, the Orchestra was so enclosed as to render it absolutely invisible to a spectator seated in any part of the house, while its tones