The orchestra and its instruments . THREE CHITARONI Seventeenth Century THE ORCHESTRA 141. musicians selected what they pleased. As time woreon, if the composer indicated a place for one or twoviolins to play, he would give them a little theme;and the players worked it up and elaborated it tosuit their fancy and according to their skill. Veryoften, indeed, they added a brilliant musical divertisse-ment. The scores of the earliest Italian operashave very little accompaniment save two or threeviolins above a bass played on the theorbo, orclavecin. At the beginning of the Seventeenth Century acha
The orchestra and its instruments . THREE CHITARONI Seventeenth Century THE ORCHESTRA 141. musicians selected what they pleased. As time woreon, if the composer indicated a place for one or twoviolins to play, he would give them a little theme;and the players worked it up and elaborated it tosuit their fancy and according to their skill. Veryoften, indeed, they added a brilliant musical divertisse-ment. The scores of the earliest Italian operashave very little accompaniment save two or threeviolins above a bass played on the theorbo, orclavecin. At the beginning of the Seventeenth Century achange took place in music. A great many of theold kinds of wind instruments and the grave oldviols began to disappear. They were too old-fashionedfor the New Art of the time. The famous opera ofOrjeo by Monteverde (1607) is, perhaps, the last ofthe great operas of that period that contained allthat was considered in those days the rich voices0/ the Orchestra. Orjeo is a landmark in musical his-tory for many reasons. We shall presentl
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectmusicalinstruments
