Page:A Dictionary of Music and Musicians vol 4.djvu/485

Rh power, or loudness. We find therefore no flute, oboes, or bassoons. It consisted of—

This regulation number has however on nearly all occasions been overstepped, and there are frequently bands of from seventy to ninety performers. The natural aptitude of some of the nationalities, notably Bohemia, Hungary and Austria proper, for instrumental music, has made the strengthening of the number of performers a comparatively easy matter to the bandmaster.

Spontini recommended to the special commission for the reorganisation of the French military bands, at Paris, 1845, the following as the best instrumentation for bands of infantry regiments:—

But it was not adopted.

Like Wieprecht in Germany, Sax in France created a revolution in the instrumentation of the military bands; but, whereas the former was prompted by purely artistic motives, the latter acted from scientific knowledge and for mercantile purposes. [See, vol. iii. p. 232.] He adapted the German invention of the valve to all classes of brass instruments, and gave them the generic name of Saxhorns, Saxtromba, Saxtuba, etc., ignoring the fact that valve-trumpets, valve-horns and various other forms of valve-brass-instruments were known, although not in general use, long before he adopted them for his 'inventions.' The bombardons (by him called Saxtubas) were designed by Wieprecht, and introduced into the Prussian army before 'Saxtubas' were heard of. However, by a unity of design and a great number of ingenious improvements in the details of manufacture, he deservedly gained a great name as an instrument-maker. This, combined with influence at the court of Napoleon the Third, and the enthusiastic support of Berlioz, enabled him to bring about a complete reorganisation of the French military bands, he obtaining almost the monopoly of supplying the instruments. He designed a peculiar clarinet of metal, very wide in diameter and conical in shape, formidable-looking on account of a great number of keys, and called the Saxophone. The tone of this instrument is quite distinct from that of any other, and imparts to all French infantry bands, who have from four to six of them (soprano, B♭, alto E♭, tenor B♭, and baritone E♭), a peculiar reedy tone. It is a difficult instrument, requiring careful manipulation. The following lists of French infantry bands show that the instrumentation, as fixed by the government of the time, has already been considerably departed from—

The bands of two more armies may be mentioned; the first on account of a rather peculiar instrumentation, and the second as a curious illustration of the influence of European ideas upon a very distant people.