. Orchestration . 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
. Orchestration . 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. Full score, page 56. 404 ORCHESTRATION They amount to this, that when the passage is meant to sound clearand strong, the addition of the Violas Sva below the Violins, merelydarkens the tone-colour without adding anything material to the forceand vigour of the passage. This is very true and, as Strauss observes,it is no less applicable to the similar case of the Trumpets and , however, alter cases. To soft melancholy melodies of aprecisely opposite character, this curious shadowy darkening may behighly A few notes sung by a Soprano or Contraltooften gain enormously in pathetic appeal by the judicious addition ofthe Violas on octave lower. In this connection it may be mentioned that nothing needs suchgingerly handling as the orchestral use of Violas and Cellos in is sometimes a temptation to fall back on this when nothingbetter can be found for the Violas to do. As a rule rests are special subjects of a vigorous type,2 or for dee
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