Page:A Dictionary of Music and Musicians vol 3.djvu/442

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SCORE.

exactly the same as that now in use. The two upper Staves were occupied by the Violin Parts; the third Stave by the Viola; and the lowest, by the Bass, figured for the Organ, or Harpsichord. With regard to the other Staves, less uniformity was observed. Seb. Bach wrote Real Parts for so many Solo Instruments (now often obsolete), that the reduction of his Scores to a fixed type was impossible. Handel, on the contrary, restricted himself, as a general rule, to the Instruments which formed the nucleus of the combination afterwards known as the Classical Orchestra. It was not often that he employed all these together, even in his grandest Choruses; but, with the exception of the Clarinets, unknown in his day, he used them all, at different times. In the disposition of his Scores, he adopted two distinct methods: either placing the Brass Instruments at the top of the page; below these, the Oboes and Bassoons; then the Violins and Violas; and below these, again, the Vocal Parts and the Instrumental Bass, figured for the Organ: or he headed the page with the Violins and Violas, and placed the Brass Instruments, the Wood Wind, the Vocal Parts, and the Bass, in order below them. Most of his Oratorios were arranged upon the former plan; and most of his Italian Operas, upon the latter. But, there are exceptions. In some parts of 'Israel in Ægypt,' the highest place is assigned to the Violins; and, in some parts of 'Ariadne' and 'Arminius,' to the Wind Instruments. In a few cases, separate Staves are allotted to the Stringed Bass, and the Organ. Sometimes, the direction, 'Tutti Bassi,' indicates that the same Stave serves for the Stringed Bass and the Bassoons. The Violoncello and Double Bass rarely occupy separate Staves, unless the former plays an obbligato Part. The following schemes will serve as examples of the general arrangement.

J. S. Bach.
Mass in B Minor,
'Gloria'
Passion acc. to S. Matthew,
Introduction
Mass in D,
'Quoniam.'
Mass in F,
Kyrie
Christmas Oratorio,
Pastorale.
Tromba 1ma Coro 1mo

Coro 2ndo

Corno di caccia Flauti 1,2 Flauti 1,2
Tromba 2nda Fl. 1,2 Fl. 1,2 Fagotto 1mo. Oboi d'amore 1,2 Oboi d'amore 1,2
Tromba 3za Ob. 1,2 Ob. 1,2 Fagotto 2ndo. Fagotto Oboi da caccia 1,2
Tympani Viol. 1 Viol. 1 Basso Solo Violino 1mo Violino 1mo
Flauti 1,2 Viol. 2 Viol. 2 Continuo Violino 2ndo Violino 2ndo
Oboi 1,2 Viola Viola Viola Viola
Fagotti 1,2 S. S. Soprano I. Org. e continue
Violino 1mo. A. A. Soprano II.
Violino 2ndo. T. T. Alto
Viola B. B. Tenore
Soprano I. Org. e Basso Org. e Basso Basso
Soprano II. Continuo
Alto
Tenore
Basso
Continuo
G. F. Handel.
'Hallelujah.'
Messiah.
'How excellent,'
Saul.
'Wise men flattering,'
Judas Mach.
Occasional
Overture.
Overture.
Otho.
'Lascia amor'
Orlando.
Second Hautboy
Concerto.
First Organ
Concerto.
Tromba 1 Trombone 1 Corno 1mo Tromba 1ma Violino 1mo Violino 1mo Violino 1mo (concertino) Oboe 1mo
Tromba 2 Trombone 2 Corno 2ndo Tromba 2nda Violino 2ndo Violino 2ndo Violino 2ndo (concertino) Oboe 2ndo
Tympani Trombone 3 Flauto 1mo Principale Violino 3zo Viola Violino 1mo (ripieno) Violino 1mo
Violino 1 Tromba 1 Flauto 2ndo Tympani Viola Oboe 1mo Violino 2ndo (ripieno) Violino 2ndo
Violino 2 Tromba 2 Oboe 1mo Oboe 1 Oboe 1mo Oboe 2ndo Oboe 1mo Viola
Viola Tympani Oboe 2ndo Oboe 2 Oboe 2ndo Fagotti Oboe 2ndo Organ on 2 staves
Canto Oboe 1 Fagotti Violino 1mo Fagotti Basso Solo Viola Basso
Alto Oboe 2 Violino 1mo Violino 2ndo Bassi Tutti Fagotto 1mo
Tenore Fagotti Violino 2ndo Viola Fagotto 2ndo
Basso Violino 1 Viola Tutti Bassi Bassi
Bassi Violino 2 Soprano Solo
Viola Bassi
Canto
Alto
Tenore
Basso
Bassi


When Orchestral Scores became more complicated, the process of reading them was greatly facilitated by careful methods of grouping. In Italy the Violins were usually placed at the top of the page; then the Wood Wind, arranged according to the pitch of its component Instruments; then the Brass Instruments; and in the lowest place, the Bass. In Germany the complete Stringed Band was generally placed at the bottom of the page; next above this the Wood Wind; and over this the Brass Instruments, with the Tympani in the highest place: or the Brass Instruments immediately over the Stringed Band, and the Wood Wind at the top of the page. Sometimes the Horns were placed between the Clarinets and Bassoons; and many other little peculiarities were affected by individual Composers: but the general plan was pretty closely observed. Mozart generally followed the Italian method, in his Italian Operas, but adhered to the German plan in 'Die Zauberflöte,' and the greater number of his Symphonies. Beethoven preferred