Introduction to playing from score . -t-ä- s §?^^=^: P=:|: 3lz=zzizp ?^^- ^E^ etc. =-F SUBSTITUTES FOR ORCHESTRAL EFFECTS. 95 It would be in vain to try to reproduce exactly thenext six bars (19—24), on account of the difficulties theycontain. True, the horns are only di rin/orza, and caneasily be done without; the oboes, too, only combine insustained chords the notes played arpeggiatido by thefirst violins, and only their final rolling figures requirepreservation. On the other hand, however, the secondviolins are carried on throughout independently, and thebasses, which are strengthened by th
Introduction to playing from score . -t-ä- s §?^^=^: P=:|: 3lz=zzizp ?^^- ^E^ etc. =-F SUBSTITUTES FOR ORCHESTRAL EFFECTS. 95 It would be in vain to try to reproduce exactly thenext six bars (19—24), on account of the difficulties theycontain. True, the horns are only di rin/orza, and caneasily be done without; the oboes, too, only combine insustained chords the notes played arpeggiatido by thefirst violins, and only their final rolling figures requirepreservation. On the other hand, however, the secondviolins are carried on throughout independently, and thebasses, which are strengthened by the viola, require care-ful consideration. I see no other solution than to sacri-fice the dotted rhythm, preserving instead the ascendingpassage of the second violins which leads up to the f ofthe first violins, and modifying the descent of the secondviolins by keeping them in the upper octave, so that thefinal figure of the oboes will follow naturally. 82. < _^_Hi_,_i^ i 9M m A—-J ;SfEE5i^^. Bars 25—28 and the corresponding bars 33—36 areeasily managed by means of thorough-bass technique,since only the leading of the second violins is thematic; 96 SUBSTITUTES FOR ORCHESTRAL EFFECTS. the basses are to be given in octaves, and the tremolo ofthe first viohns and the filling tones are to be brought inas far as possible. 83. ?^ :-ES=!Ef-J!^t=^^ X^l^k^^l i •-, 1 T-r-f -^—!—r §fcrb: -#^ etc. i; The first third must of course be omitted from thesolo of the two oboes, which introduces a second Httletheme of a naive character, as the closing chord of the preceding theme requires the an octave higher (as in the o third bar of Fig. 83). But the ascending thirds are byno means the theme itself; they only form a kind of link, which begins on ^, so that in reality no loss takes place.
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Keywords: ., bookauthorriemannh, bookcentury1900, bookdecade1900, bookyear1904
