University of Virginia Library

Soli in the strings.

Although, in any orchestral piece, numerous instances are to be
found of melodies and phrases entrusted to a solo wind instrument
(generally the first of each group, wood-wind or brass), solos for
stringed instruments, on the other hand, are extremely rare. Whilst
the 1st violin and 1st 'cello are fairly frequently used in this manner,
the solo viola is seldom found, and a solo on the double bass is
practically unknown. Phrases demanding particular individuality

of expression are entrusted to solo instruments; likewise passages
that require extraordinary technique, beyond the scope of the
orchestral rank and file. The comparatively weak tone of the solo
instrument necessitates light, transparent accompaniment. Difficult
virtuoso solos should not be written, as they attract too much attention
to a particular instrument. Solo stringed instruments are also
used when vigourous expression and technical facility are not
required, but simply in order to obtain that singular difference in
colour which exists between a solo stringed instrument and strings
in unison. Two solo instruments can be coupled together, e. g.
2 Violins soli, etc. and in very rare cases a quartet of solo strings
may be employed.

Examples:
Violin solo:

• No.222-223. Snegourotchka 54, 275.
• The May Night, pp. 64-78.
• Mlada, Act I 52; Act III, before 19.
• * A Fairy Tale W.
• * Shéhérazade, 1st movement C, G; also the passages at the
  start of each movement.
• * Spanish Capriccio H, K, R, and the cadence on p. 38.
• * No.224. Legend of Kitesh 310 — Vn. solo, on harmonic basis
  of strings sul ponticello and wood-wind.
• Snegourotchka 274, 279 — 2 Vns soli (cf. Ex. 9).

Viola solo:

• No.225. Snegourotchka 212.
• Sadko 137.
• * No.226. The Golden Cockerel 163; cf. also 174, 177.

Violoncello solo:

• Snegourotchka 187 (cf. Ex. 102).
• The Christmas Night, before 29, 130.
• Mlada, Act III 36.
• * The Golden Cockerel 177, 180 (cf. Ex. 229).

Double bass solo:

• * No.227. Mlada, Act II 10-12 — a special instance where the
  first string is tuned down.

Solo quartet:

• The Christmas Night 222 — Vn., Viola, 'Cello, D. bass.
• * No.228. Tsar Saltan 248 — Vn. I, Vn. II, Viola, 'Cello.

* The case of a solo stringed instrument doubled by the woodwind
in unison must not be forgotten. The object is to attain
great purity and abundance of tone, without impairing the timbre
of the solo instrument (especially in the high and low registers),
or to produce a certain highly-coloured effect.

Examples:

• * Mlada, Act 11 52 — Vn. + Fl.; Act IV 31 — Viol. + Fl. + Harp.
• * The Christmas Night 212 — 2 Vns + Fl. + Small Cl. (cf. Ex. 153).
• * Pan Voyevoda 67 — 2 Vns + 2 Ob.; 2 Violas + 2 Cl.
• * Legend of Kitesh 306 — Bass cl. + C-fag. (cf. Ex. 10).
• " " " 309 — Vn. + Fl.
• * No. 229. The Golden Cockerel 179 — Vn. + Picc.; 'Cello + Bass cl.

* As shown in Chap. II, 2 Vns soli or Violin solo + Fl. (Picc.) are
often sufficient to double a melody in the upper register.

Examples:

• Sadko 207 — cf. Chap. II, p. 42 and Ex. 24.
• * No.230. Russian Easter Fête, p. 32-2 Solo violins (in harmonics).
• * No.231. Legend of Kitesh 297 — 2 Solo violins + Picc.