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

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 $\scriptstyle {\overbrace {\quad \quad \quad \quad \quad \quad \quad } }$				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.	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,}$	S.	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,}$		Soprano I.	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,}$	Org. e continue
Violino 1mo.		A.		A.			Soprano II.
Violino 2ndo.		T.		T.			Alto
Viola		B.		B.			Tenore
Soprano I.	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,}$	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	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,}$	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	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \ \end{matrix}}\right\}\,}$
		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