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Updated: June 3, 2025
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.
One of his motets calls for an orchestra of eight trombones, eight violas, eight large flutes, a spinet and a large lute. Without doubt his most significant work in the domain of the lyric drama was "Il Calamento delle Donne al Bucato," published at Florence in 1584.
On his return from his next voyage, Captain Fidanza found the Violas settled in the light-keeper's cottage. His knowledge of Giorgio's idiosyncrasies had not played him false. The Garibaldino had refused to entertain the idea of any companion whatever, except his girls.
The Marchesana of Cotrone to the Marquis of Mantua, Ferrara, February 8th. Violas arcu pulsantes. Cæsar Borgia to Ercole, Rome, September 3, 1498. See Isabella's letters of February 3d and 5th. Zuccheti reproduces the letter.
The only Elizabethan drama which really represents the Italy of the Renaissance is the comedy of Shakespeare, of Beaumont and Fletcher, and of Ben Jonson and Massinger: to the Renaissance belong those clear and sunny figures, the Portias, Antonios, Gratianos, Violas, Petruchios, Bellarios, and Almiras; their faces do we see on the canvases of Titian and the frescoes of Raphael; they are the real children of the Italian Renaissance.
In both directions the strictest limits were imposed, yet I contrived to introduce considerable reinforcements into an orchestra which was really only calculated for a string quartette, two first and two second violins, two violas, and one 'cello. These successful exertions of mine were the first cause of the dislike Holtei evinced towards me later on.
Once he felt himself the prey of a splendid inspiration, and sat up all night writing at fever pitch, surrounded with celestial harmonies, audible to him alone; the little room resounded with the thunder of a mighty orchestra, in which every instrument sang to him individually the piccolo, the flute, the oboes, the clarionets, filling the air with a silver spray of notes; the drums throbbing, the trumpets shrilling, the four horns pealing with long stately notes, the trombones and bassoons vibrating, the violins and violas sobbing in linked sweetness, the 'cello and the contra-bass moaning their under-chant.
To the impressiveness of this prayer the orchestra contributes as potent a factor as the stately melody or the solemn harmonies. All the bright-voiced instruments are excluded, and the music assigned to three groups of sombre color, composed, respectively, of divided violas and violoncellos; of three trombones, and of two basset horns and two bassoons.
It was pointed out to me that in a large orchestra, which contained eight violas, there was only one player who could deal with the rather difficult passages in one of my later scores!
Now, from out the depths, still of F minor, rose a hesitating theme, which seemed to grope its way: in imagination, one heard it given out by the bass strings; then the violas reiterated it, and dyed it purple; voice and violins sang it together; the high little flutes carried it up and beyond, out of reach, to a half close. Weh spricht: vergeh!
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