The orchestra and its instruments . . | y~^7~ [(?iwiiiiiiiiiiiii1 jiiih Kmmammcmmmee. CHAMBER MUSIC IN 1635 By Abraham Bosse THE ORCHESTRA 157 above Constantins part, you will hear the mostperfect harmony. Perhaps, if we could hear the gentlemen repre-sented on page 160 draw his bow, we should thinkhis tone very thin and we might not be at all enthu-siastic over the style of his playing; but we mustremember our ears hear very differently from thosethat listened to Bocan and Constantin and havebeen educated along other lines. But certainly thecontemporaries of the Twenty-Four Violins con-sidere
The orchestra and its instruments . . | y~^7~ [(?iwiiiiiiiiiiiii1 jiiih Kmmammcmmmee. CHAMBER MUSIC IN 1635 By Abraham Bosse THE ORCHESTRA 157 above Constantins part, you will hear the mostperfect harmony. Perhaps, if we could hear the gentlemen repre-sented on page 160 draw his bow, we should thinkhis tone very thin and we might not be at all enthu-siastic over the style of his playing; but we mustremember our ears hear very differently from thosethat listened to Bocan and Constantin and havebeen educated along other lines. But certainly thecontemporaries of the Twenty-Four Violins con-sidered that they were supreme artists. And litera-ture is full of allusions to them. We also know that Guillaume Dumanoir was firsta member and than conductor of the Twenty-FourViolins. Sometimes the King sent his Twenty-Four Violinsto play for his great princes and favorite learn from a contemporary poem that at a superbdinner given by Cardinal Mazarin in 1660, the feastwas fine, joy universal and the * Twenty-Four Violinsplayed while we ate melons, pates, tarts, biscuit
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectmusicalinstruments
