. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. particular parts sung without any accom-paniment whatever, invariably prove exceedinglyeffective. This may be accounted for as anatural result of the variance of instrumentaleffects. If one or more solo voices are writtenfor, care must be taken not to cover or crushthem with too strong or weighty an instrumenta-tion. 288 KLINGS MODERN INSTRUMENTATION AND ORCHESTRATION. In operatic works many situatio
. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. particular parts sung without any accom-paniment whatever, invariably prove exceedinglyeffective. This may be accounted for as anatural result of the variance of instrumentaleffects. If one or more solo voices are writtenfor, care must be taken not to cover or crushthem with too strong or weighty an instrumenta-tion. 288 KLINGS MODERN INSTRUMENTATION AND ORCHESTRATION. In operatic works many situations will de-mand the transferring of the principal part to theorchestra, while the singers execute a certainstyle of declamation in notes and words. Amost beautiful example of this kind is the Re-gister Aria of Leporello in Mozarts Don kind of declamatory singing is when the voice constantly murmurs the same identicalnote upon one syllable, while the accompani-ment surrounds and beautifies the monotonouschant. A fine example of this style of writing isshown in the following extract from AmbroiseThomass opera • Mignon. EXTRACT FROM Act I. toiijours irks doiix. Ambroise ^$E^^^^^^^^^:^-f^^^^^^^^^iS^^^^^^^^^^ ::-:-r»-noin. Les boisont re-ver - di, LesHeurs - n^ -i The Melodrama, first introduced by J. J. Rous-seau and Benda (the former in Pygmalion, thelatter in Medea and Ariadne in Naxos) con-sists of a declamation combined with dramatic ac-tion and accompanied throughout by an music, so to say, illustrates the principalsituations of the drama and accompanies thedeclamation of the actor, endeavoring to expressand bring into prominence his innermost feel-ings and passions. This style of music is alsoindicated by the term tone-painting. In theatri-cal productions, accompanying music never failsin heightening the effectiveness of dramatic situa-tions, especially if the music is well-written andappropriately fitted to the action. In this
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