. Orchestration . Violins i&n. The evening and morning Seven oclocks in Strausss SinforiiaDomestica are merely seven little p taps on the Glockenspiel. Inthe second Seven oclock —quoted below—there is only a miniatureaccompaniment of three Violins and a Viola, all muted. Here is thepassage: EXAMPLE langsam. ^ Strauss. Sinfonia Domestica. Glockenspiel. Solo Violincon Solo Violacon sord. It need scarcely be said that bell-like sounds in the orchestra oftendepend for their effect on the associative ideas called up by themusic. Instruments, perhaps sounding very little like a bell


. Orchestration . Violins i&n. The evening and morning Seven oclocks in Strausss SinforiiaDomestica are merely seven little p taps on the Glockenspiel. Inthe second Seven oclock —quoted below—there is only a miniatureaccompaniment of three Violins and a Viola, all muted. Here is thepassage: EXAMPLE langsam. ^ Strauss. Sinfonia Domestica. Glockenspiel. Solo Violincon Solo Violacon sord. It need scarcely be said that bell-like sounds in the orchestra oftendepend for their effect on the associative ideas called up by themusic. Instruments, perhaps sounding very little like a bell, repeat apassage which might well be executed by a peal of bells. Thememory of the audience does the rest. Such is the Carillon move-ment in Bizets 1st Suite, LArlesienne. It is founded on the continualbell-like reiteration of the three notes, Gift, E, F#. The orchestration—four Horns cuivre 1 with the pizzicato of Harp and Violins, andthe energetic repeated notes of the Violas—helps the idea. But themain effect is gained by the iteration, not by the can see the truth of this by trying to imagine what our answerwould be if we were to hear only the first crotchet of these four barsand were then asked, What does this represent ? Seepages 113, 129. BELL IMITATIONS 59 EXAMPLE 19. Horns in Unison(actual sounds) Harp. 2nd Violins. Violas. Allegretto Mcderat


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