Scan 46
A dictionary of music and musicians (A.D. 1450-1880) Volume 1, 1879
48 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
1Sometimes 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.'
33. Voce
4Bassi
5raise and quell
74. Flauto
8Fagotto
9Voce
10raise and quell
125. Viol. 1, 2
13Voce
14sor-rows, and ac-quaint-ed with grief
15Viola, Bassi
16etc.
186. Clarinetti in B
19Fagotti
20Viol. 1, 2
21Voce
22sor-rows, and ac-quaint-ed with grief
23Viola
24Bassi
25etc.
27ADDITIONAL ACCOMPANIMENTS. one of two readings
29(no line here) one of two readings
30In 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.
32In 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.
34Voce
35Bassi
36dir ge-bäh-ren treu-er Je-su
38The 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:—
40Viol. 1
41Viol. 2
42Viola
43Voce
44Bassi
45dir ge-bäh-ren treu-er Je-su
47Somewhat 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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