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"Voci di giubilo, D' in'orno eccheggino, Di pace l' Iride Per noi spunto." "How ingeniously the composer has constructed this passage!" she went on, after waiting for a reply. "He begins with a solo on the horn, of divine sweetness, supported by arpeggios on the harps; for the first voices to be heard in this grand concerted piece are those of Moses and Aaron returning thanks to the true God.
And when the clarionet gives the signal for the stretto, 'Voci di giubilo, so brilliant and gay, was not your soul filled with the sacred pyrrhic joy of which David speaks in the Psalms, ascribing it to the hills?" "Yes, it would make a delightful dance tune," said the doctor. "French! French! always French!" exclaimed the Duchess, checked in her exultant mood by this sharp thrust.
Nay, that chorus will have its own chance when it first appears, with a good roaring strain in C major, not, after all, so very different from, or at all less absurd than the choruses of courtiers in La Favorita or "Per te immenso giubilo" in Lucia.
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