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I substituted the gruesome tremolo of the violas, which appears in that part of the overture adapted by me, by twenty muffled drums, and as a whole attained to such an exceedingly impressive effect, especially to us who were full of thoughts of Weber, that, even in the theatre where we rehearsed, Schroder-Devrient, who was present, and who had been an intimate friend of Weber's, was deeply moved.
I can see their lovely colours, their pink and blue and purple, with the white Sweet Williams and the pale lilac violas you write about. Well, there's nothing of that in the Lutzowstrasse. No wonder I went away from it this morning to go out and look for June in the woods.
A friend beside me says: "Ah! but what of violas?" To which I reply: "Grow both in quantity, since both are as variable as they are beautiful." But when viola shrinks in foggy November from the frost demon, anemone rises Phoenix-like responsive to the first ray of sunshine.
In passages for the strings, the baton indicates the type of bowing the conductor wants from the violins, violas or cellos. The left hand, with the long thumb separate from the other fingers, is the orchestra's guide to the Maestro's interpretative desires. It wheedles the tone from the men. It coaxes, hushes, demands increased volume.
"Oh, just a clean oot wie a grain o' basic slag noo and than," said the gardener. "And I just gie them some lime ilka time I think the ground is needin' it." "Well, the result is very good," said the detective. "By the way, have you been working on that bed lately? I picked this up among the violas. Did you happen to drop it?"
It was therefore regarded as a sort of sacred place, and this circumstance was probably not without its influence in rendering it one of the most frequent resorts of the hunted Protestants in their midnight assemblies, as well as because it occupied a central position between the villages of St. Frézal, St. Andéol, Dèze, and Violas.
So Joachim played the great concerto, and received an ovation such as had probably never been accorded to him before. Then he conducted Bach's concerto in G major for strings, which was played by sixty-six violins, fifty-seven violas, twenty-four 'celli, and twenty double-basses, and this brought the concert to a close.
The band, with Salomon, first violin, leading, was constituted thus: sixteen violins, four violas, eight 'cellos, four basses, flutes, oboes, bassoons, trumpets, and drums forty-one all told. It was this orchestra Haydn wrote his twelve best symphonies for. He himself directed at the pianoforte, and contemporaries were not wanting to say that at times the effect was somewhat disagreeable.
Even David, the painter, said he would set the torch to the opera-house rather than witness the triumph of a king. In 1806 Méhul produced the opera "Uthal," a work of striking vigor founded on an Ossianic theme, in which he made the innovation of banishing the violins from the orchestra, substituting therefor the violas.
To tremolo of violas the cellos hold a tenor of descending melody over a rude rumbling phrase of the basses of wood and strings, while the oboe sings in the treble an expressive answer of ascending notes. A conflict is evident, of love and ambition, of savage and of gentle passion, of chaos and of beauty. At the height, the lowest brass intrude a brutal note of triumph of the descending theme.
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