Page:A Dictionary of Music and Musicians vol 2.djvu/580

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568
ORCHESTRATION.

and Oboe, which brings it out in quite a new and unexpected light—

<< \new Staff { \key d \major \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f \tempo \markup { \italic Presto } << \new Voice \relative d'' { \stemUp d1^"Flauto 1mo." d' ^~ d2 cis ^~ | cis d ^~ d cis4. d8 | e2 g, | fis4 }
\new Voice \relative d'' { \stemDown d1_"Oboe 1mo." fis e2 ~ e4. fis8 | g2 fis | g4. fis8 e4. fis8 g2 e | d4 } >> }
\new Staff { \key d \major \relative d' { d8^"Violini" cis d cis d4 r | d8 cis d e fis e fis g | a gis a gis a4 r | a8 gis a ais b a g fis | e dis e fis g fis e d | cis d e d cis a b cis | d4 } }
\new Staff { \clef bass \key d \major \relative d { d8^"Viole"_"Bassi, e Fag." cis d cis d4 r | d8 cis d e fis e fis g | a gis a gis a4 r | a8 gis a ais b a g fis | e dis e fis g fis e d | cis d e d cis a b cis | d4 } } >>


Sometimes we find this order reversed; the subject being given to the Wind, and the accompaniment to the Stringed Instruments; as in the opening movement of Weber's Overture to 'Der Freischütz'—

<< \new Staff = "T" { \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f << \new Voice \relative g' { \stemUp R1 g2^"2 Corni in C" e4 c8 e | d4. \acciaccatura f8 e d4 r | e2 c4 e8 g | g4. f8 e4 r | c'2^"2 Corni in F" a4 f8 a }
\new Voice \relative e' { s1 e2\p \change Staff = "B" c8 g e c | g2. g4 | c2 e8 g c \change Staff = "T" e8 | \stemDown e4. d8 c4 s | a'2 f8 c \change Staff = "B" a8 f } >> }
\new Staff = "B" { \clef bass R1 s s s s s }
\new Staff = "V" { \relative e' { <e g>8\pp^"Violini." b \repeat unfold 7 { q b } | \repeat unfold 4 { <b d> g } \repeat unfold 4 { <c e> g } | <e' g> g, <e' g> g, <c e> g q g | <a' c> c, q c <f a> c q c } }
\new Staff = "S" { \clef bass << \new Voice \relative g { g1^"Viole" ~ g | g | g | g | f } 
\new Voice \relative c { \stemUp c1 ~ c | s | c | s4 b'4(^"Cello" c2) | c,1 }
\new Voice \relative c, { \stemDown c1_"Bassi" ~ c g' | c, | g'2 c4 r | c,1 } >> } >>


In either case, the successful effect of the passage depends entirely upon the completeness of the stringed skeleton. A weak point in this—whether the principal subject be assigned to it or not—renders it wholly unfit to support the harmony of the Wind Instruments, and deprives the general structure of that firmness which it is one of the chief objects of the great Master to secure.

II. Breadth of tone is dependent upon several conditions; not the least important of which is the necessity for writing for every instrument with a due regard to its individual peculiarities. This premised, there is little fear of thinness, when the stringed parts are well arranged, and strengthened, where necessary, by Wind Instruments, which may either be played in unison with them—as in the Overture to 'Jephtha,' where Handel has reinforced the Violins by Oboes, and the Basses by Bassoons—or so disposed as to enrich the harmony in any other way best suited to the style of particular passages—as in that to 'Acis and Galatea,' in which the Oboes are used for filling in the harmonies indicated by the Figured Bass, while a brilliant two-part counterpoint, so perfect in itself that it scarcely seems to need anything to add to its completeness, is played by the Violins and Basses, the latter, as indicated by the expression Tutti Bassi, being strengthened by the Bassoons—

<< \new Staff { \time 4/4 \key bes \major \tempo \markup "Presto" << \new Voice \relative d'' { \stemUp d4 c bes r8 c | f4 ees8. d16 c4 r8 f, | f' ees d c bes4 r8 bes | ees d c bes a4 r8 a8 }
\new Voice \relative b' { \stemDown bes4_"Oboi" f g r8 a | f4 g a r8 a | f g a f d4 r8 g | ees f g ees c'4 r8 c } >> }
\new Staff { \key bes \major \relative b { bes16 c d ees f g a f bes c d ees f g a f | bes bes, c bes bes' bes, c bes a g f8 r16 c' d ees | f a, f' a, f' a, f' a, bes a g8 r16 bes c d | ees g, ees' g, ees' g, ees' g, a g f8 r16 a bes c } }
\new Staff { \clef bass \key bes \major \relative b { bes8_"Tutti Bassi" bes a a g g f ees | d d ees ees f g a f | d ees f d g a bes g | c, d ees c f g a f } }
\figures { <_>4 <6> <_>4. <4 2>8 <6>2. <6>2 <6> <6> <6> <6>4 } >>

Among more modern writers, Beethoven stands pre-eminent for richness of tone, which he never fails to attain, either by careful distribution of his harmony among the instruments he employs, or in some other way suggested by his ever-ready