Page:A Dictionary of Music and Musicians vol 2.djvu/574

562 of February, 1600. The Orchestra used on this occasion consisted of a Double Lyre (or Viol di Gamba), a Harpsichord, a Double Guitar (or Bass Lute), and two Flutes. This little Band—modest indeed compared with that used at the Chateau de Moutiers—was kept entirely out of sight, like the Orchestra at Bayreuth; but the Composer recommended that the various Characters employed in the Drama should carry Instruments in their hands, and at least play, or pretend to play, during the Symphonies, and also that a Violin should play in unison with the Soprano Voice throughout.

Ten months after the production of this primitive Oratorio, that is to say in December 1600, Peri produced at Florence the first Opera Seria, 'Euridice,' which was accompanied by an Orchestra, consisting of a Harpsichord, a Large Guitar, a Great Lyre (or Viol di Gamba), and a Large Lute (or Theorbo). These Instruments were also hidden behind the Proscenium, as were, in all probability, three Flutes used in a certain Scene, in which the Shepherd, Tirsi, pretends to play upon a triple pipe (Triflauto), which he holds in his hand.

The next advance was made by Monteverde, who used for the accompaniment of his 'Orfeo,' produced at Mantua in 1608, an Orchestra consisting of two Harpsichords, two Bass Viols (Contrabassi di Viola), ten Tenor Viols (Viole da brazzo), one Double Harp, two little French Violins, two Large Guitars, two Organs of wood, two Viole di Gamba, four Trombones, one Regal, two Cornets, one little Octave Flute (Flautino alla vigesima secunda), one Clarion, and three Trumpets with Mutes (1 Clarino, e 3 Trombe sordine). We have no means of ascertaining whether the performers upon these Instruments were kept out of sight or not, though it seems scarcely probable that Monteverde would have abandoned a plan which had already been successfully adopted both by Emilio del Cavaliere and Peri. The one thing that strikes us as peculiar is, that the Performers should have been allowed so very much latitude with regard to the notes they were to play. So much of the Opera is accompanied by a simple Figured Bass, that unless separate parts not included in the Score were written for the other Instruments—which seems very unlikely indeed—the members of the Orchestra must have been allowed to play pretty much as they pleased.

As the rapid progress of Dramatic Music rendered the exhibition of more artistically-constructed Accompaniments an absolute necessity, this heterogeneous mixture of Instruments gradually gave place to a more orderly arrangement, in which Viols of various kinds played an important part, the Thoroughbass being played by the Viol di Gamba and other large Stringed Instruments, while the Harmony was sustained by the Harpsichord. After a time the Violin began to assert its true position in the Score, and when this great step was gained the rest was easy. In 1549 Alessandro Stradella, in his Oratorio 'S. Giovanni Battista,' composed about 1676, uses a double Orchestra, consisting of two solo Violins and Violoncello, del concertino, and a large body of ripieni Violins, Tenors, and Basses, del concerto grosso. About the same time we find Alessandro Scarlatti writing for two Violins, Viola, and Bass, and using them exactly as they have ever since been used by Composers of every School in Europe: and Burney tells us that he saw in Rome a Song by this great Master, with Trumpet obbligato, written in a style which proved him to have studied the peculiarities of the Instrument with the closest possible attention.

Here then, before the close of the 17th century, we find the elements of a complete and well-ordered Orchestra, consisting of the full Stringed Band—sometimes succinctly, but very inexactly, called the 'Stringed Quartet'—with the addition of Wind Instruments, available either for producing variety of effect, or of communicating that special colouring upon which, in Dramatic Music, so many passages depend, not only for their success but for their title to rank as parts of a logical and consistent whole. So far as general principles are concerned no change has taken place from that time to this. Then, as now, the Stringed Band formed the foundation of all things, while the Wind Instruments were used to strengthen, to enlarge, or to beautify the structure raised by its efforts, and supported by its firm tone and massive proportions. We do not mean to say that no improvements have since been made, that no mistakes were committed in times past, or that the Composers of the 17th century understood one hundredth part as much about the Orchestra as Handel, or Mozart, or Beethoven, or could produce one thousandth part of the effect with it that they could; but we do say that the law to which we have called attention is immutable, and that, so long as it is recognised in theory and carried out in practice, there can be no inherent weakness in the constitution of the Orchestra, and no lack of opportunities for the display of varied and original Orchestration. Scarlatti evidently took this view of the case; and no great Composer of later date has ventured to dispute it. [See .]

Passing from Italy to Germany, we find the Orchestra arranged upon the same general plan, though with important modifications of detail. That the same fundamental principle should be accepted in both countries is not at all surprising, for experience has long since proved the impossibility of devising a better one. The differences of detail are the necessary consequence of differences already existing between the styles of composition adopted in the German and Italian Schools. In Germany, the Art of Counterpoint was never either neglected or despised. When strict Counterpoint gave place to the system of free Part-writing which is sometimes erroneously