and adornment of this car, which might well have been built for royalty. But at the day Patti was thus accommodated, no king or emperor on earth enjoyed such luxurious traveling accommodations; for in no country in the world had there been built such a sumptuous coach.
32.—TUNING UP.
An audience which listens to an amateur orchestra, and, unfortunately, the same is true of some which are professional, frequently has to go through the aural agony of hearing the instruments "tune up." This process, when conducted in a haphazard way, is most excruciating, and the effect is to give sensitive nerves an unpleasant shock at the very beginning of a concert, which it takes some very good playing to counteract.
This is also true of some solo players. I have in mind quite a good Teutonic violinist, of Boston, who arouses his hearers' musical wrath in this way for several minutes before he succeeds in satisfying his exacting ear. Perhaps the process is prolonged to show the delicate adjustment of that organ. Who knows?
But there is, ordinarily, no necessity for such a scratching and blowing prelude. The tuning might and should be done before the audience assembles, and if there is any "touching up" to be done afterward, it should be in the most pianissimo manner possible.
The Boston Symphony Orchestra sets a good example in this matter, as in many others musical. In the days of the old Music Hall there was set in continual vibration by electricity a large tuning fork, which, when desired, sounded an uninterrupted "A." Each man as he entered tuned his instrument to this fork, and the result was that when the orchestra gathered on the stage every man was ready to go to work without an agonizing process of pitch adjustment to inflict on his hearers.
Händel realized the necessity of a preliminary "tuning
