Page:A Dictionary of Music and Musicians vol 4.djvu/486

470 English bands of line regiments consist of—

Military bands are now constructed upon the same system throughout the civilised world. Varying from twenty to sixty-five members, the instrumentation differs only in minor details from that of the bands named above.

An event of interest in the annals of military music took place in the year of the French Exhibition, 1867, as in connection with it a grand contest for military bands was organised, and every sovereign of Europe invited to allow one of his military bands to compete. The following bands responded, England making no appearance.

The jury consisted of twenty members, under the presidency of General Mellinet, and included George Kastner, A. Thomas, Hans von Bülow, Felicien David, Leo Delibes, Grisar, Professor Hanslick; etc., etc.

The contest took place in the Exhibition before 30,000 spectators. The result was—

First prize: (a) Prussian band; (b) Paris Guards; (c) Austria.

Second prize: (a) Bavaria; (b) Russia; (c) French Guides.

Third prize: (a) Holland; (b) Baden.

Fourth prize: (a) Belgium; (b) Spain.

About the same time Mr. Gilmore brought the band of the 22nd Regiment of New York to Europe, giving concerts at Liverpool, Dublin, the Crystal Palace, Paris, etc. Although the band had a great reputation, its performances surpassed the expectation of even the most fastidious critics. Placed under exceptionally favourable circumstances at New York, Mr. Gilmore was able to organise a band of unusually good performers, capable of rendering the moat difficult passages in concerted pieces with a precision and refinement deserving the highest praise, and containing a number of solo-players of great skill and taste. Their intonation was correct, the attack vigorous and precise, while the gradations of tone from the greatest fortissimo to an almost vanishing point of pianissimo proved not only a most careful training of the band, but also the artistic merit of the conductor.

Their programmes (although, like those of other military bands, consisting mostly of arrangements of orchestral works) were carefully chosen and interesting. A noteworthy number was an adaptation of Liszt's 'Rhapsodie Hongroise,' the technical difficulties of which are rather increased by its transference from the piano to a wind-band, but the rendering of which created among the audience a genuine enthusiasm. The daily papers of May 1878, as well as the musical periodicals, were unanimous in their praise of 'Gilmore's Band.'

Their instrumentation was as follows:—2 piccolos, 2 flutes, 2 oboes, 1 A♭ piccolo clarinet, 3 E♭ clarinets, 8 first, 4 second, and 4 third B♭ clarinets, 1 alto and 1 bass clarinet, 1 soprano, 1 alto, 1 tenor and 1 bass saxophone, 2 bassoons, 1 contrafagotto, 1 E♭ cornetto, 2 first and 2 second B♭ cornets, 2 trumpets, 2 flügelhorns, 4 French horns, 2 E♭ alto horns, 2 B♭ tenor horns, 2 euphoniums, 3 trombones, 5 bombardons, 3 drums and cymbals—66 in all.

A few words are necessary with reference to horn-bands. Like trumpets, horns enjoyed the distinction of being reserved for the upper classes. They were used for signalling during the progress of the chase, and for playing merry fanfares and other pieces when the huntsmen took their meal in the forest or returned home. They developed a distinct characteristic strain, which with its lively rhythm, mostly in 6-8 time, suited its purpose admirably. [See, vol. i. p. 751.] The number of fine compositions in which phrases for the horns 'à la chasse' occur give proof of the enduring impression they made, and they lost nothing of their effect by being transferred from the forest to the stage or concert-room. The most noted of these compositions is the overture to the opera 'Le jeune Henri,' by Méhul, which soon after its appearance made itself known over Europe under the name of 'Hunting Overture,' or 'Jagd Symphonie.' It is almost entirely constructed on old French hunting fanfares, and even yet is a favourite.