Principles of Orchestration Part 31

" " " [[16-19]]--Griasnov's _Aria_.

No. 277. _Snegourotchka_ [[45]].

* _Snegourotchka_ [[187-188]], [[212-213]] the two Cavatinas of Tsar Berendey (cf. extracts, Ex. 102, 225).

No. 278. _Sadko_ [[143]].

" [[204-206]]--The Venetian's Song.

* _Legend of Kitesh_ [[39-41]], [[222-223]] (cf. Ex. 31).

* _The Golden c.o.c.kerel_ [[153-157]], [[163]].

Florid singing which limits volume of tone requires a light accompaniment, simple in outline and colour, involving no duplication of instruments.

_Examples:_

No. 279. _Snegourotchka_ [[42-48]]--_Snegourotchka's Aria_ (Prologue), Fragment.

* _Sadko_ [[195-197]]--Hindoo Song (cf. Ex. 122).

* _The Christmas Night_ [[45-50]]--Oxana's _Aria_.

* _The Golden c.o.c.kerel_ [[131-136]]--_Aria_ of Queen Shemakha.

Doubling voices in the orchestra.

Melodic doubling of voices by orchestral instruments (in unison or octaves) is of frequent occurrence, but incessant duplication for an extended period of time should be avoided; it is only permissible in isolated phrases. The most natural duplication in unison of womens'

voices is performed by violins, violas, clarinets and oboes; that of mens' voices by violas, 'cellos, ba.s.soons and horns. Doubling in octaves is usually done in the upper register. Trombones and trumpets overpower the voice and cannot be used for this purpose. Uninterrupted or too frequent duplication should be avoided, not only because the operation deprives the singer of full freedom of expression, but also because it replaces by a mixed timbre the rare characteristic qualities of the human voice. Doubling, when limited to a few special phrases supports the voice and endows it with beauty and colour. It is only suitable _in tempo_; to apply it, in unison or octaves to a pa.s.sage _ad. lib._ is both ineffective and dangerous.

_Examples:_

_Snegourotchka_ [[50-52]]--Snegourotchka's Arietta (cf. Ex. 41).

_Sadko_ [[309-311]]--Volkhova's Cradle-song (cf. Ex. 81).

Besides the question of doubling the voice for the object of colour there are instances when the singer executes only part of a phrase, allotted in its entirely to an orchestral instrument.

_Example:_

_Vera Scheloga_ [[30]], [[36]] (cf. Ex. 49).

Lyrical climaxes, _a piena voce_, or dramatic pa.s.sages for the voice situated outside its normal range should be supported melodically and harmonically by the orchestra, in the register in which the voice is placed. The culminating point in such pa.s.sages often coincides with the entry or sudden attack of the trombones or other bra.s.s instruments, or by a rush of strings. Strengthening the accompaniment in this manner will soften the tone of the voice.

_Examples:_

No. 280. _The Tsar's Bride_ [[206]].

_Servilia_ [[126-127]].

" [[232]].

No. 281. _Sadko_ [[314]].

_Vera Scheloga_ [[41]].

If the culminating point is soft in colour and outline it is better left unsupported in the orchestra, but sometimes the wood-wind, sustaining such pa.s.sages with light transparent melody or harmony may produce an entrancing effect.

_Examples:_

_Snegourotchka_ [[188]].

" [[318]] (cf. Ex. 119).

No. 282. _The Tsar's Bride_ [[214]].

It is a common practice to support voices in concerted numbers by harmony and duplication; this operation makes for accuracy and brilliance when applied to duets, trios, quartets etc.

_Examples:_

_Snegourotchka_ [[292-293]]--Duet (cf. Ex. 118).

_Sadko_ [[99-101]]--Duet (cf. Ex. 289 and 290).

No. 283. _The Tsar's Bride_ [[169]]--s.e.xtet.

" " " [[117]] quartet.

_Legend of Kitesh_ [[341]]--quartet and s.e.xtet (cf. Ex. 305).

The beautiful effect produced by a solo instrument accompanying a _cantabile aria_ cannot be denied. In such cases the instruments used are generally the violin, viola, and 'cello, or the flute, oboe, Eng.

horn, clar., ba.s.s clar., ba.s.soon, horn and harp. The accompaniment is often contrapuntal or composed of polyphonic designs. The solo instrument either plays alone or as the leading melodic voice in the _ensemble_. In combination with the voice, or a.s.sociated with some action on the stage, a solo instrument is a powerful expedient for musical characterisation. Instances of this description are numerous.

_Examples:_

_Snegourotchka_ [[50]]--Soprano and oboe (cf. Ex. 41).

" [[97]]--Contralto and Eng. horn.

" [[243]], [[246]]--Baritone and ba.s.s clar.

(cf. Ex. 47-48).

No. 284. _The Tsar's Bride_ [[108]]--Soprano, 'cello and oboe.

* _The Golden c.o.c.kerel_ [[163]]--Soprano and viola (cf. Ex. 226).

It is comparatively rare for percussion instruments to take part in accompanying the voice. The triangle is occasionally used, the cymbals less frequently. An accompaniment may be formed by a figure or a _tremolo_ on the kettle-drums.