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Updated: May 15, 2025
Everybody, too, can enjoy the love music, the hammer and anvil music, the clumping of the giants, the tune of the young woodsman's horn, the trilling of the bird, the dragon music and nightmare music and thunder and lightning music, the profusion of simple melody, the sensuous charm of the orchestration: in short, the vast extent of common ground between The Ring and the ordinary music we use for play and pleasure.
That evening hush that early summer knows, between the day's full-throated orchestration and the night song of whippoorwills, held the world in a bated stillness, and the walnut tree stood as unstirring as some age-crowned priest with arms outstretched in evening prayer. Hand in hand the two sat in the open window.
His orchestration is of course closely modelled on that of his German prototype, and if it is impossible to say much for his originality, we can at any rate admire his taste in choosing a model. 'Le Pré aux Clercs' is more popular at the present moment than 'Zampa, though it is far inferior in musical interest. If 'Zampa' showed the influence of Weber, 'Le Pré aux Clercs' is redolent of Rossini.
But to Laura it was nothing short of a revelation. She sat spell-bound, her hands clasped tight, her every faculty of attention at its highest pitch. It was wonderful, such music as that; wonderful, such a voice; wonderful, such orchestration; wonderful, such exaltation inspired by mere beauty of sound. Never, never was this night to be forgotten, this her first night of Grand Opera.
Specious instances of irony playing the manliest part: flashes of meteoric, mesmeric eloquence, fitfully flecking the embossed page, as one tier or set of ideas, in rhetoric orchestration, symphonizes with or eclipses another. Connection, an element of robust mesmeric cohesion with this prized author being the adamantine hyphen, the articulating link, which compacts the roll.
And although his orchestration is not revolutionary, and is often commonplace enough, he nevertheless oftentimes employed an instrumental palette distinctly his own. He utilized instead of the violin the trumpet as premier instrument of the band; achieved all manner of brilliant effects with it.
The contrast of loud with soft passages was the most frequently used way of getting change and variety; though often solos were given to one instrument or another. Of orchestral colour, of orchestration in the modern sense, there was little. Haydn himself confessed in his old age that only then, when he had to leave the world, had he learnt how to use the wind instruments.
The orchestration of this work I have never heard nor seen. Its arrangement for four hands, however, is excellently done, with commendable attention to the interests of the secondo player. The cantata is called "The Inheritance Divine," and it is much the best thing Shelley has done. It begins with a long, slow crescendo on the word "Jerusalem," which is very forceful.
Rossi was conducting as brilliantly as he could at least his expansive gesticulations looked fervent. I had heard the piece so many times the solo passages anyway that I knew it by heart. But hearing it then, pouring from Jenny's viola backed by the shimmering of Berlioz' orchestration, it took on a sublime quality that I had completely forgotten.
As it would be impossible to describe Liszt's orchestration intelligibly to those who have not heard it, and unnecessary to those who have, I will simply leave it alone. I saw Liszt but six times, and then only between the years 1876 and 1881. I heard him play upon two occasions only, and then he played certain pieces of Chopin at my request and a new composition by himself.
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