Handel's Orchestration (Continued) Author(s): Ebenezer Prout Source: The Musical Times and Singing Class Circular, Vol. 25, No. 492 (Feb. 1, 1884), pp. 69-70 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3357383 . Accessed: 25/01/2015 09:25

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This content downloaded from 128.235.251.160 on Sun, 25 Jan 2015 09:25:07 AM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-FEBRUARY I, 1884. 69 features for notice. As one of the instances HANDEL'S ORCHESTRATION special most familiar to general readers, I may refer to the By EBENEZER PROUT. scoring of the popular duet " The Lord is a man of war" in "Israel." (Continuedfrom 13.) page A very celebrated number of Meyerbeer's " L'Etoile IN my firstarticle I pointed out brieflythe general du Nord " is the trio for soprano voice and two flutes. system which Handel adopted in his orchestration. Probably nobody would have been more surprised I now propose to illustrate what I then said by an than Meyerbeer himself had he been told that his examination of the entire series of his scores, so far effect had been anticipated a century and a half as they are at present published in the edition of the before by Handel; yet, on page 15 of the score of German Handel Society. As the operas consist " ," we meet with precisely the same combina- almost entirely of solo pieces, while in the oratorios tion. The piece is a soprano song, the first part of and large cantatas the choruses are of considerable which (G major, C) is accompanied only by strings importance, and as this difference has had much and harpsichord--the part for the latter being, influence on the instrumentation, it will be more according to custom, only a figuredbass. The middle convenient to deal with the two classes of works portion of the song (in E minor, 6-8) begins with a separately. I shall therefore first go through the symphony for two flutes, with two solo violins, in series of operas from" Almira " (1704) to " " arpeggio. Nearly the whole of the voice part is (1737), reserving the oratorios and other works for accompanied only by the two flutes,the voice singing subsequent notice. the lowest part of the harmony, and the two flutes It is very curious that, in examining Handel's being above, with a charming effect. The first works from the point of view of their instrumenta- subject then recurs, the firstviolins being now rein- tion, some volumes will be found in which there are forced by the . only one or two points worthy of mention, while In the tenor song " Liebliche Wilder " (p. 23) we others abound in features of interest. The explanation find two flutes used again, but in quite a different may perhaps be that Handel only introduced special manner. Here the two flutes and harpsichord are effects for the orchestra where such seemed to be used alternately with the strings, much as the oboes suggested by the words; and as he was by no means and bassoons are employed in the chaconne just particular in his choice of libretti,apparently setting mentioned. In the symphonies the flutes sometimes to music almost any rubbish that was offeredhim, double the violins in unison-a favourite effect with it is not surprising that commonplace texts should Handel in his operas, though seldom to be found in evoke from his fertile brain the oratorios. only commonplace " musical effects. The song in the second act, Lass ein sanftes Handel's firstopera, " Almira," written at Ham- Hdindedriicken" (p. 47), is accompanied only by two burg in 1704, and produced there in January, 1705, oboes, basses, and harpsichord. The use of the is chiefly interesting in its scoring as foreshadowing oboes, or indeed of any other wind instruments,with- many of the composer's later effects. In the short out any violins throughout a whole movement is chorus " Viva Almira " (p. 5) we find three trumpets rather rare with Handel, though common enough and drums in the accompaniment. The thirdtrumpet with Bach. In the present piece the whole voice is marked " Principale," a term also used for it in part, excepting two short phrases, is accompanied by the Dettingen Te Deum. The explanation of the the harpsichord, and the use of the oboes is almost term is that in Handel's time there were two classes entirely confined to the symphonies. In the third of trumpeters-those who practised the upper register act of this opera is another song, " Kommt, vermehrt of the instrument,and played such solo passages as der Thorheit Ruhm," also accompanied by two oboes we find in " The trumpet shall sound" and " Let the and basses, but in an entirely differentway. Here bright Seraphim," and those who took principally the voice (a tenor) sings the bass of the harmony in the lower parts. The formerwere called " Clarin- unison with the basses of the orchestra, and the two blhser " and the latter " Principal-bldiser"-i.e., oboes have the upper notes, making a three-part players of the Clarino and players of the Principal. harmony throughout. The use of the oboes is here In this chorus the firstand second trumpets are indi- continuous, there being not one bar's rest for them; cated in the score as "Clarino i," "Clarino 2," and though the occasional figures in the bass would and they have florid semiquaver passages in thirds, seem to show that the harpsichord was also employed, such as we find in the opening symphony of "To the music would be perfectly complete without that Thee cherubin," in the Dettingen Te Deum ; instrument. the third, as already mentioned, is marked " Princi- The tenor air " Sprich vor mir ein siisses Wort" pale," and its part is confined to the five lower notes (p. 51) presents the unusual accompaniment of two G, C, E, G, C. It is worth noting also that in this flutes and a solo viola, the latter instrumentbeing work Handel has written the trumpets and drums as indicated in the score as " viola di braccio," to dis- transposing instruments,in the key of C, the chorus tinguish it fromthe "viola da Gamba," then still in being in D. This plan was always adopted by Bach. use, which we shall findin the scores of the " Resur- In his later works Handel writes the actual notes rezione " and " ." The air also has the sounded, leaving the transposition to the players usual part for bass and harpsichord, many of the themselves. phrases of the voice being accompanied by these In the Chaconne which follows this chorus we instruments only. The flutes have mostly sustained meet for the first time with one of Handel's most melodic passages, while the viola accompanies with frequently used effects-the contrast of oboes and arpeggios and scales in quavers. Handel sometimes bassoons with the strings. The parts for the wind uses the flutes with all the violas in three-part are not written on separate staves; but some harmony, as in the recitative "Thus long ago" passages are marked " Tutti," others " Hautb. senza in "Alexander's Feast"; but this is the only in- Viol."; and others again " Viol. senza Hautb."; while stance I have found of a solo viola being thus the bass line is sometimes for " Basson," and at employed. others " Bassi." This particular effect is so fre- One more song still remains to be noticed in this quently used by Handel that it would be tedious to interesting score. The tenor air "Was ist des point it out every time it occurs. I shall only men- Hofes Gunst? "is accompanied, in addition to the tion it when it is so treated as to present some harpsichord and basses, by a solo violin and

This content downloaded from 128.235.251.160 on Sun, 25 Jan 2015 09:25:07 AM All use subject to JSTOR Terms and Conditions 70 THE MUSICAL TIMES.-FEBRUARY I, 1884. violoncello, which sometimes accompany and some- symphony to a song on p. 124 will be found parts for times alternate with the voice in a most effective two solo violoncellos, continuing a passage in thirds manner. for the violins in the lower octave. Unlike " Almira," the next opera to be noticed " ," the first of the many Italian operas contains hardly any points requiring mention. This which Handel wrote for the London stage, and one is " ," the first Italian opera which Handel of the finest,was produced on February 24, 1711- wrote, which was produced at Florence in 1707. The score of the air " Augelletti, che cantate " con- The original manuscript is incomplete, parts of the tains an elaborate and florid piccolo obbligato firstand third acts being wanting. No trumpets or (the firstinstance of the employment of this instru- drums are found in the score, the consequence being, ment by Handel), in addition to two flutes. In as pointed out by M. Schoelcher in his " Life of Rinaldo's song "1Venti, turbini" (p. 46), we meet Handel," that in the air "Stragi, morti " (p. 30), with the rather unusual combination of a duet for " where the trumpet is indicated by the words " Gia solo violin and bassoon. The air " Vo' far guerra grida la tromba," the accompaniment is given to the has a harpsichord solo, which, however, is not printed . It must be borne in mind, however, that the in the score; Dr. Chrysander informsus in his pre- tone of the oboe in use at the time, being fuller and face that here Handel showed his brilliant talent for coarser, formed a much better substitute for the improvisation. It is but rarely that Handel employs trumpet than would be the case with a modern trumpets and drums in the accompaniment of a solo, instrument. One of the airs in " Rodrigo " is but two instances are found in " Rinaldo "-the songs accompanied by the firstand second violins, doubled "Sibillar gli angui d'Aletto" (p. 13) and "Or la by the flutes in unison, basses and harpsichord. In tromba in suon festante" (p. 104); the latter has this piece (p. 15 of the score) the indications parts forfour trumpets, as also has the March (p. ioi) " "senza cembalo " and " con cembalo on the bass and the Battle Symphony (p. 9og). Handel's desire line prove that the harpsichord was used as a matter of to increase the resources of the orchestra is already course in the songs, unless directions to the con- showing itself. trary were given. Of this fact an examination of the " II Pastor Fido " (1712) will not detain us long; scores of the operas can leave no reasonable for the only number calling for much remark is the doubt whatever. overture. This is entirely different in form from The soprano song " Fredde cenere d' amor" (p. 58) most of Handel's preludes to his operas, which gene- is scored, like the number just noticed, fortwo violins rally consist of an introduction and fugue, sometimes with two flutes in unison; but an eftectof great light- followed by a minuet, or some other dance-tune. " ness is obtained by giving the lowest part throughout The overture to " II Pastor Fido consists of six to the violas, neither violoncellos nor double-basses movements, and approaches the form of the oboe being used at all. The following number (p. 59), concertos. The firstmovement, the themes of which accompanied only by violins in unison and basses, Handel used subsequently for the overture to " Time has the violin part written in the alto clef, an un- and Truth," has no special features in the orchestra- usual method which Handel occasionally adopted, tion, excepting two passages of duet for oboe and but which is more frequentlyto be found in Bach's violin, but in the following largo (p. 3) we find an scores. It would seem not unlikely that the anticipation of the modern use of wind instruments violas also played the part, though this is not in the independent holding notes for oboes and bas- indicated. soons, against moving parts for the strings. The "" (1709) presents us with a few new allegro on p. 5 is very interesting in its scoring. We combinations. In the overture we find three violin findthree-part harmony, the two upper parts given parts, instead of the more usual two, and at the close to the oboes, and the lower part to the first and is an adagio with a floridoboe solo, in the style of an second violins in unison; there is also a bassoon impassioned recitative. The song " Non h6 cor" solo, accompanied only by the harpsichord and the (p. 53) is interesting from its having separate parts double-basses, another bassoon solo of eight bars for violoncellos and double-basses, in addition to entirely unaccompanied, and yet a third in which to which there are various solo effects for oboe, solo the harpsichord and double-bass is added a long violin, and solo violoncello. An examination of the holding note for the first oboe. There are other score of this air would probably astonish some who points worth noticing in this overture; but I must think Handel's orchestration wanting in variety. In pass on and leave my readers to examine the score the chorus "Di timpani e trombe" (p. 67) we find themselves. Handel's notation for these instruments in the Two movements of " " (1712), the duet " Si transition stage. The piece is in D. The trumpet ti lascio" (p. 35), and the song " Le luci del mio parts are here written in D, but the drums have still bene" (p. 51) have parts for two violas, the first in- C and G. stance to be found in Handel of the division of these The song "Vaghe fonti" (p. 83) is scored for two instruments. The duet is curious fromthe fact that flutes, which mostly play in octaves with the first while the violas are divided, the violins are in unison; and second violins, "Violini surdi" (sic), viola, consequently, in the three-part harmony for these and " Bassi pizzicati, senza Cembalo." The word instruments, which forms an important feature of "surdi," which will be found again in the " Resur- the opening symphony, the upper part must have rezione " as " sordi," no doubt means "con sordini "; been much stronger than those beneath it. No doubt we findthe same combination used by the composer this effectwas intended. nearly twenty years later in " ," where the One more number in " Teseo " should be noticed- usual term "con sordini " is employed. The present the song " Vieni, torna " (p. 56). Besides the strings song is interesting as being the firstin which either this number has important parts for two bassoons, the pizzicato or the mutes are met with. Handel which sometimes double the firstand second violins utilised the music later in " Time and Truth," where in the octave below, and in the second part of the it appears, with considerable modification, as the air song have solo passages supporting the voice. The " Mortals think that Time is sleeping." effectof the use of the instruments is so modern as There only remain two more points to notice in almost to remind one of Mozart's scoring. this The air " Pensieri" has opera. soprano (p. 94) be a remarkably dramatic and expressive oboe solo, (To contiznued.) descriptive of Agrippina's agitated feelings, and in a

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