. Orchestration . fDer Freischiitz. Berliozs Viola phrases in the King of Thule song {Faust) are muchmore direct and satisfactory in every way. The obbligato in Meyerbeers Plus blancheque la blanche hermine is undoubtedly designed for the Viola oVAmove. It is quite truethat the part is merely marked in the printed score, Un Alto Solo, but the laying-outof the double-stopping and the Harmonic writing are quite conclusive on the point. THE VIOLA 403 Elgar assigns to the instrument in his overture, In the Theexpressive soaring passage which proclaims the might of the Love-potion in Trista
. Orchestration . fDer Freischiitz. Berliozs Viola phrases in the King of Thule song {Faust) are muchmore direct and satisfactory in every way. The obbligato in Meyerbeers Plus blancheque la blanche hermine is undoubtedly designed for the Viola oVAmove. It is quite truethat the part is merely marked in the printed score, Un Alto Solo, but the laying-outof the double-stopping and the Harmonic writing are quite conclusive on the point. THE VIOLA 403 Elgar assigns to the instrument in his overture, In the Theexpressive soaring passage which proclaims the might of the Love-potion in Tristan (Act I., Scene III.) gives a happy example in a singlephrase, both of the Viola used as a solo instrument, and of the accom-panying harmonies of Violas and Cellos. The long slur in the SoloViola part is, of course, only an advertisement to the player that thepassage is one phrase. It could not be played in a single bow. EXAMPLE 258. Molto rallent Wagner. Tristan. 1 Solo Viola. The other Violas. Brangane. Berlioz, in his Treatise on Modern Instrumentation, gives it as hisopinion that in cases where great energy is required, and the 2ndViolins are to play the same melody as the 1st Violins, they shouldplay in the unison and not in the octave below. In such cases he saysit is preferable, if the Viola part cannot be made prominent, toemploy it in augmenting the sound of the Violoncellos, taking care toput them together (as much as the low compass of the instrument willpermit) in the unison and not in the octave. In support of this, hequotes the well-known peroration in Beethovens 0 minor following tabloid-version of the first five bars will enable thestudent to see the force of Berliozs remarks: Wind. 1st & 2ndViolins in unison. Bassoons, Violas and Cellos in unison. and Drums (The former sounding >> an octave lower.) EXAMPLE 259. Beethoven. Symphony in con brio.
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