Scan 44
A dictionary of music and musicians (1450-1889), 1900
49 lines. Read by computer on 11 September 2026. Printed page 32. See the scan on archive.org.
132 ADDITIONAL ACCOMPANIMENTS.
3Sometimes in similar passages the accompaniments are given to a few wind instruments with charming effect, as in the following examples by Mozart. For the sake of comparison we shall in each instance give the score in its original state before quoting it with the additional parts. Our first example is from the close of the song 'What passion,' in the 'Ode for St. Cecilia's Day.'
53. Voce
6Bassi
7raise and quell
94. Flauto
10Fagotto
11Voce
12raise and quell
145. Viol. 1, 2
15Voce
16sor-rows, and ac-quaint-ed with grief
17Viola, Bassi
18etc.
206. Clarinetti in B
21Fagotti
22Viol. 1, 2
23Voce
24sor-rows, and ac-quaint-ed with grief
25Viola
26Bassi
27etc.
29ADDITIONAL ACCOMPANIMENTS.
31In the first of the foregoing quotations (No. 4) it will be seen that Mozart has simply added in the flute and bassoon the harmony which Handel no doubt played on the harpsichord. In the next (No. 6), from 'He was despised,' the harmony is a little fuller.
33In all the above examples the treatment of the harmony is as simple as possible. When similar passages occur in Bach's works, however, they require a more polyphonic method of treatment, as is proved by Franz in his pamphlet above referred to. A short extract from the 'Passion according to Matthew' will show in what way his music can be advantageously treated.
35Voce
36Bassi
37dir ge-bäh-ren treu-er Je-su
39The figures here give the clue to the harmony, but if simple chords were used to fill it up, as in the preceding extracts, they would, in Franz's words, 'fall as heavy as lead among Bach's parts, and find no support among the constantly moving basses.' Franz therefore adopts the polyphonic method, and completes the score as follows:—
41Viol. 1
42Viol. 2
43Viola
44Voce
45Bassi
46dir ge-bäh-ren treu-er Je-su
48Somewhat resembling the examples given above is the case so often to be found both in Bach and Handel in which only the melody and the bass are given in the score. There is hardly one of Handel's oratorios which does not contain several songs accompanied only by violins in unison and basses; while Bach very frequently accompanies his airs with one solo instrument, either wind or stringed, and the basses. In such cases it is sometimes sufficient merely to add an inner part; at other times a somewhat fuller score is more effective. The following quotations will furnish examples of both methods.
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