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Updated: May 28, 2025
The first trumpet motive now sounds with this clanging phrase and soon the original call abounds in other brass. The deep descending notes of the horns recur and the full song of the funeral melody much extended, growing into a duet of cellos and high woodwind, and further into hymnal song on a new motive. So the various melodies recur with new mood and manner.
The rhythm of the Fate motive is hinted by violas, 'cellos, and horns as Golaud, in answer to Mélisande's compassionate questioning, observes that he is "made of iron and blood." Nothing has happened, no one has harmed her, she answers, in response to Golaud's questionings: "It is no one. You do not understand me.
We have no amateur conductor riding ahead: violins, 'cellos, piano, wind-stops: Peridon, Catkin, Pempton, Yatt, Cormyn, Colney, Mrs. Cormyn, Dudley Sowerby: they are spirited on, patted, subdued, muted, raised, rushed anew, away, held in hand, in both hands. Not earnestness worn as a cloak, but issuing, we see; not simply a leader of musicians, a leader of men.
On this night there were two or three violins, two 'cellos, a tenor viol, double bass, hautboy, clarionets, serpent, and seven singers. It was, however, not the choir's labours, but what its members chanced to witness, that particularly marked the occasion.
Gilbert had dashed home from the final rehearsal, and his mother had helped him with the unfamiliarities of evening dress, while he gave her a list of all the places in the music where, as he said, the band was "rocky," and especially the 'cellos, and a further list of all the smart musical things that the players from London had said to him and he had said to them.
The clean profiles of the musicians, the gloss of their linen, the dull black of their coats, the beloved shapes of the instruments, the patches of yellow light on the smooth, varnished bellies of the 'cellos and the bass viols in the rear, the restless, wind-tossed forest of fiddle necks and bows I recalled how, in the first orchestra I ever heard, those long bow-strokes seemed to draw the heart out of me, as a conjurer's stick reels out yards of paper ribbon from a hat.
In the first movement of the Second Symphony, just before the appearance on the oboe of the scarcely disguised "Sleep" motif from "Die Walküre," a theme almost directly lifted out of Beethoven's violin concerto is announced on the 'cellos and horns.
They will find a large quarto volume, every page of which represents only one line of music. There are separate staves for the violins, violas, cellos, double basses, flutes, bassoons, clarinets, horns, tubas, trombones, kettle-drums, etc., each family forming a quartette in itself, and each having its own peculiar emotional quality.
The violins now play above the horns; then the cellos join and there is a three-part song of independent tunes, all in the dance. So far in separate voices it is now taken up by full chorus, though still the basses sing one way, trebles another, and the middle horns a third. And now the high trumpet strikes a phrase of its own.
A soft melody, played by violins and 'cellos, broke the silence, and presently the ten pages began to sing: Los cielos y la tierra alaben al Señor Con imnos de alabanza que inflamen al Señor. It was a curious, old-fashioned music, reminding one a little of the quiet harmonies of Gluck.
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