up" period, and used to have all things ready before the concert. But on one occasion some practical joker did not neglect the opportunity offered to him, and the result was an opening chord not as harmonious as the music of the spheres.
Each instrument had been tuned at the close of the rehearsal. The orchestra returned for the performance, had taken their seats, and pompous Mr. Händel had stepped to the conductor's desk and lifted his baton; at the proper instant the opening fortissimo chord was played. But such a chord! It was discord itself! Every instrument had been thrown out of tune by some person intent more on provoking mirth than music. Handel raved. He jumped from his stand, and, after upsetting the drums and a double-bass, rushed across the stage, losing his wig on the way, and snorting with rage and vowing vengeance on the one "vat take such vicked liberty!"
33.—VOICE AGAINST TRUMPET.
It seems strange to read of the human voice exceeding wind instruments in length and loudness of tone; but there are some remarkable instances on record of great endurance on the part of singers. Lablache, the great basso, was noted for his power of tone, his voice being so strong as to dominate over the whole orchestra and chorus combined.
Farinelli, a famous tenor, in a contest with a trumpet player at Rome, not only excelled him in brilliant passages, in force and ornamentations, but when the trumpeter was out of breath and exhausted, Farinelli went on with increased brilliancy and power, apparently with the same breath, until he was silenced by the plaudits of the crowd.
On one occasion when Mrs. Billington, a favorite English singer, was holding forth in London, she was accompanied by a trumpet obligato in part of her solo.
