. Orchestration . t. Forceful itcannot be called, but when unaccompanied, or only lightly accom-panied, it is capable of expressing the most poetical feelings. For anexample of its lovely tone-quality one need travel no further thanBeethovens 1 See Exs. 43, 99, 137, 221, 247, 253-6, 258, 259, 261, 262. THE CELLO 431 EXAMPLE 268. Alle 2to assai Beethoven. Choral Symphony. y *« r rnrrr > ir rr ir gr ir rr if rrrirrrirpr ^ The bottom (covered) strings of the Cello bear some analogy to thoseof the Viola, but their tone is more straightforward and less unex-pected. In solo passages they have a c
. Orchestration . t. Forceful itcannot be called, but when unaccompanied, or only lightly accom-panied, it is capable of expressing the most poetical feelings. For anexample of its lovely tone-quality one need travel no further thanBeethovens 1 See Exs. 43, 99, 137, 221, 247, 253-6, 258, 259, 261, 262. THE CELLO 431 EXAMPLE 268. Alle 2to assai Beethoven. Choral Symphony. y *« r rnrrr > ir rr ir gr ir rr if rrrirrrirpr ^ The bottom (covered) strings of the Cello bear some analogy to thoseof the Viola, but their tone is more straightforward and less unex-pected. In solo passages they have a certain mingled smoothness andausterity which fits them for the performance of very serious anddeeply-felt passages. An excellent example covering the range of thethree bottom strings is to be found in the familiar Cello passage withwhich the 3rd Act of Die Meistersinger opens. Another and evenbetter instance may be quoted here from the 2nd Act of Lohengrin. EXAMPLE 269. Andante Moderato. Wagner. Lohengrin. Cellos. In the above example the long slurs, so characteristic of Wagner,are, of course, absolutely impracticable as far as the orchestral playergoes. They are, in fact, not bow-marks at all, but merely vaguedirections that a legato performance is required. The phrasing is leftto the conductor. In nine cases out of ten the deplorable result is thatthe players adopt a bowing each at his own sweet will. Fortunately itis quite easy to break up a passage like this into its component bow-phrases. Even in the first long legato, which extends for six bars anda crotchet, it is quite obvious that a new bow must be used for therepeated C# at the beginning of bar 4. Similarly the second crotchetsof bars 5 and 9 would be naturally played with new are these the only places where this long legato can be broken upto suit the exigencies of the String-technique. The student mayprofitably examine any of Wagners colossal slurs from this point ofview, always remembering that the
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