Orchestral accompaniment of the chorus.
The chorus, possessing much greater unity and power than the solo voice, does not demand such careful handling in the accompaniment. On the contrary, too great a refinement of orchestral treatment will prove harmful to the resonance of the chorus. As a general rule orchestration of choral works follows the rules laid down for purely instrumental scoring. It is obvious that dynamic marks of expression must correspond in both bodies, but doubling one orchestral group with another and coupling instruments of the same kind in unison (2 Ob., 2 Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if performed according to the requirements of the musical context. Doubling choral parts by instruments is generally a good plan. In cantabile passages such duplication may be melodic in character, and the design more ornamental in the orchestra than in the chorus.
Examples:
Ivan the Terrible, Act II 3-6; Act III 66-69.
The May Night, Act I X-Y; Act III L-Ee, Ddd-Fff.
Snegourotchka 61-73, 147-153, 323-328.
Mlada, Act II 22-31, 45-63; Act IV 31-36.
The Christmas Night 59-61, 115-123.
Sadko 37-39, 50-53, 79-86, 173, 177, 187, 189, 218-221, 233, 270-273.
The Tsar's Bride 29-30, 40-42, 50-59, 141.
Tsar Saltan 67-71, 91-93, 133-145, 207-208.
Legend of Kitesh 167, 177-178.
The Golden Cockerel 237-238, 262-264.
The reader will find instances of choral accompaniment in many examples relating to other sections of the work.
In the case of solitary exclamations or phrases in recitative, melodic doubling is not always suitable. It is better to support the voice simply by harmonic duplication.
The repetition of notes—required by declamation—forming no fundamental part of the rhythmical structure of a phrase or chord should not be reproduced in the orchestra; the melodic or harmonic basis alone should be doubled. Sometimes the rhythmical structure of a choral phrase is simplified in comparison with its orchestral duplication.
Examples:
[No. 293.] The Tsar's Bride 96.
[No. 294.] Ivan the Terrible, Act I, before 75.
Choral passages, the musical context of which is complete in itself, forming a chorus a cappella often remain undoubled by the orchestra, accompanied solely by sustained notes or an independent polyphonic figure.
Examples:
[No. 295.] Sadko 219.
* Tsar Saltan 207.
* Legend of Kitesh 167 (cf. [Ex. 116]).
* The Golden Cockerel 236.
Heavier scoring is required for a mixed chorus; for a male voice chorus the orchestration should be lighter; still more so for women's voices alone. In scoring a certain passage the composer should not lose sight of the number of choristers he is employing, for scenic conditions may necessitate a reduction of that figure. The approximate number should be marked in the full score as a basis upon which to work.
Examples:
[No. 296.] Ivan the Terrible, Act II 37.
* Sadko 17, 20.
* Legend of Kitesh 61 (cf. [Ex. 198]).
Note. It must also be remembered that a ff passage on an enlarged orchestra, comprising wood-wind in fours, and numerous brass (sometimes in three's), is capable of overpowering a large mixed chorus.
A chorus in the wings requires as light an accompaniment as that employed for a solo singer on the stage.
Examples:
* Ivan the Terrible, Act I 25-26, 90; Act III 13-14.
* The May Night, Act I, before X; Act III Bbb-Ccc.
* [No. 297.] Sadko 102.