Scan 319
The American history and encyclopedia of music .., 1908
4 lines. Read by computer on 11 September 2026. Printed page 275. See the scan on archive.org.
1in the finale, which is a movement of large dimensions and of great importance. After the playful, merry mood of the scherzo, where perhaps the strings and flutes may but whisper the answer to the loud strains of other whole choirs, and the basses carry on a comic, mocking rhythm or even melody, we are brought back to the more serious and stately consideration of the theme for the close. The violins perhaps start up a simple but emphasized melody and often strictly repeat it quite as though to make sure we know it as it stands unadorned, and as this theme occurs and recurs in constant rounds we discover this finale is in rondo form instead of the sonata form of the beginning. After the themes have been played, perhaps only by strings, or by strings with other choirs, or by the wood-winds alone, there comes often a passage in which the whole orchestra joins with loud triumphant acclaim and then seems to drop exhausted into a cadence, whereupon the strings with possibly a little assistance from the wood-wind instruments gently toss about snatches of the melody, and then after this little respite the whole orchestra again enters. In this part you usually feel the deep design of the composer even though you have not felt it before, a feeling of completeness and usually of profound dignity. Often a serious fugal passage follows the rondo form, and continues for a brief time and lends a novel charm of mystery at the very close, which comes then after a lull in volume and rhythm, with a vehement passage for full orchestra and a furious hurrying of the theme in various rhythmic guises and in loudest and most emphatic voices.
3In order that an orchestra may well interpret a composition the composer first carefully considers the instruments, their flexibility, volume, register, range of expression, and balances his work as a whole. One part of an orchestra must not overpower another, as a good result depends upon the arrangement and proportioning of instruments and upon the work of the conductor. More strings than brass and wood-winds are necessary and at least sixteen first and sixteen second violins, twelve violas, ten cellos, and eight
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