. Programme . rved the tenor violin (the viola), the hautboy, which wassometimes called the Vox Humana (though that name was more prop-erly given to the tenor instrument), the trombone (a bit of the old sack-but), the serpent, bass horn, and keyed bugle (sole survivals of themediaeval cornets). In a few parishes in the Midlands even the mega-phone, under the name of the Vamphorn, was pressed into the ser-vice, its long tube and spreading bell reinforcing the natural strengthof the voice in a far more effective way than the commoner practice ofsinging through the hands. To what cause did these
. Programme . rved the tenor violin (the viola), the hautboy, which wassometimes called the Vox Humana (though that name was more prop-erly given to the tenor instrument), the trombone (a bit of the old sack-but), the serpent, bass horn, and keyed bugle (sole survivals of themediaeval cornets). In a few parishes in the Midlands even the mega-phone, under the name of the Vamphorn, was pressed into the ser-vice, its long tube and spreading bell reinforcing the natural strengthof the voice in a far more effective way than the commoner practice ofsinging through the hands. To what cause did these old players attrib-ute the disappearance of their bands? Certainly not to their owndelinquenqies. No; it was to the introduction of the clarinets; it was, * Sautermeister in 1813 invented the basse orgue, something like a serpent; about 1822 the Serpent Forvielle with 10 holes and 4 keys appeared—Hermange wrote a method for it; CoeSets OphymonocMida is dated 1828; Bachmanns Ophybaryton, 1840. M m .^ th—TIT. ^ ^n—m—nr ji> III, ^ H.^ Ill til .,, I»^ IM .1. n. ^ Fascinating inTheir Delicious
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Keywords: ., bookcentury1800, bookdecade1880, bookidprogramme192, bookyear1881
