The orchestra and its instruments . umphal Arch and a Triumphal Procession fol-lowed by a Triumphal Car in which the Emperor andhis whole family were to appear. Maximilian diedin 1518. Durer, to honor his memory, brought outthe Triumphal Procession in eight large plates, threeof which are represented in this book. They showexactly the kinds of instruments that were used inthe Orchestras in Rome, Florence, Venice and Vienna,of which we have been talking; but they give theSpirit of the Renaissance as interpreted by the Germanmind. Cardinal Mazarin, who brought so many Italiantastes into France w
The orchestra and its instruments . umphal Arch and a Triumphal Procession fol-lowed by a Triumphal Car in which the Emperor andhis whole family were to appear. Maximilian diedin 1518. Durer, to honor his memory, brought outthe Triumphal Procession in eight large plates, threeof which are represented in this book. They showexactly the kinds of instruments that were used inthe Orchestras in Rome, Florence, Venice and Vienna,of which we have been talking; but they give theSpirit of the Renaissance as interpreted by the Germanmind. Cardinal Mazarin, who brought so many Italiantastes into France when he became Prime Ministerto the Queen Mother, Anne of Austria, also intro-duced the Italian Opera. In 1643 he sent to Rome formusicians. It is very interesting to note the growing taste inFrance for Strings. Like Italy, France had lostall pleasure in the big, bass woodwind instruments;and as for brass instruments, they were not had gone. Germany and Spain kept wind in-struments in their Orchestras; but in France and. / I THE ORCHESTRA 153 Italy the bowed strings were growing in favor everyday. Sometimes i church the cornet was played tomingle with the vo^es, but nowhere else. The only instruments that French ears cared tolisten to were Strings (including the whole ViolinFamily), oboes and flutes. France always loved theflute, which was comparatively little cared for inItaly, where it was chiefly used in operas, as we haveobserved, for pastoral scenes. The violin was becoming more and more popularevery day. In every kind of music it took the had been so much used for dance-music thatit had developed into a supple and graceful instrumentand one that gave itself most willingly to many deli-cate shades of expression in the hands of a goodplayer. The violin was often combined with theclavecin and theorbo. The combination was delicate and charming, richand beautiful. The old author of the Comparison of Italian withFrench Music says: I beg to remark that with i
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectmusicalinstruments
