Viola, Violoncello and Double Bass.
The viola is a deeper violin, with a very beautiful and expressive tone. Méhul, the French composer, scored his one-act opera, “Uthal,” without violins, employing the viola as the highest string instrument in his score. This, however, was not a success, the brilliant 185 tone of the violin being missed more and more as the performance of the work progressed, until Grétry is said to have risen in his seat and exclaimed: “A thousand francs for an E string!”
Meyerbeer, who was among the first to appreciate the beauty of the viola as a solo instrument, used a single viola for the accompaniment to Raoul’s romance, “Plus blanche que la blanche hermine,” in the first act of “Les Huguenots.” Strictly speaking, he wrote it for the viola d’amour, which is somewhat larger than the ordinary viola; but it almost always is played on the latter. Berlioz made exquisite use of it in his “Harold Symphony,” practically making a dramatis persona of it, for in the score a solo viola represents the melancholy wanderer; and in his “Don Quixote,” Richard Strauss assigns to the instrument an equally important rôle.
The violoncello is one of the most tenderly expressive of all the instruments in the orchestra. Beethoven employs it for the theme of the slow movement in his Fifth Symphony, and although the viola joins with the violoncello in playing this melody, the passage owes its beauty chiefly to the latter. One of the most exquisite melodies in all symphonic music is the theme which Schubert has given to the violoncellos in the first movement of his “Unfinished Symphony.” They also are used with wonderfully expressive effect in the “Tristan Vorspiel.” Rossini gives a melodious passage, in the introduction to the overture to “William Tell,” to five violoncellos. But the most striking employment of the violoncellos as an independent group is in the Love Motive in the first act of “Die Walküre.”
Double basses first were used to simply double the violoncello part in the harmony. But through Beethoven’s employment of them in the Fifth and Ninth Symphonies, in the former for a remarkably effective passage in the Scherzo and in the latter for a highly dramatic recitative, their importance as independent instruments in the orchestra was established. Verdi has made very effective use of them in the scene in “Otello” as the Moor approaches Desdemona’s bed. In the introduction to “Rheingold,” Wagner has half his double basses tuned down to E flat, which is half a note deeper than the usual range of the instrument, and in the second act of “Tristan und Isolde” two basses are obliged to tune their E string down to C sharp.
Dividing the String Band.
I have pointed out several examples in which the groups of instruments in the string band are divided within themselves, as in the prelude to “Lohengrin” and in the first act of “Die Walküre.” The entire string band can be divided and subdivided with telling effect, when done by a master. When in the second act of “Tristan” Brangäne warns the lovers from her position on the watch-tower, the accompaniment stirs the soul to its depth, because it gives the listener such a weird thrill of impending danger that he almost longs to inform the lovers of their peril. In this passage Wagner divides the string band into no less than fifteen parts. In the thunder-storm in “Rheingold” the strings are divided into twenty-one parts. Richard Strauss points out how in the introduction to “Die 187 Walküre” much of the stormy effect is produced by strings only—sixteen second violins, twelve violas, twelve violoncellos and four double basses—a storm for strings where another composer would have unleashed a whole orchestra, including cymbals and bass drum, and crashed and thrashed about without producing a tithe of Wagner’s effect! He also cites the tremolo at the beginning of the second act of “Tristan” as a wonderful example of tone painting which produces the effect of whispering foliage and conveys to the audience a sense of mystery and danger.
Theodore Thomas always was insistent that the various divisions of a string band should bow exactly alike. It is said that he once stopped an orchestra because he had detected something wrong with the tonal effect, and, after watching the players, had discovered that one violoncellist among sixteen was bowing differently from the others. Richard Strauss, on the other hand, never insists on the same bowing throughout each division of strings. He thinks it robs the melody of intensity and beauty if each individual is not allowed to play according to his own peculiar temperament.