[FOOTNOTES]
[1] See [Appendix of Musical Illustrations], Examples [1] to [5].
[4] Monteverde's admitted position at the dawn of orchestration constitutes so vast a point of departure in scientific method, that the unprejudiced writer of to-day must, toward Monteverde rather than toward anyone else, weigh and sift opinions as to his intention, however much these opinions combat each other. The statements of the present writer that Monteverde was the first to suggest instrumental characterization in his music—the same being evidenced in the scores that have come down to us—are supported by the majority of investigators. There are, however, others who have followed the same trail and whose conclusions are as worthy of future credence. These declare that it is only a fantastic conceit, which grew out of the circumstance that in the list of characters and instruments in the prefatory matter of the score of Monteverde's "Orfeo," there is a chance association like Pluto's name standing opposite the trombones, etc., which, falsely reasoned, has placed Monteverde in an epoch-making niche where he should not be.
[5] See [Appendix of Musical Illustrations], Examples [6] to [9].
[8] It should be borne in mind that the "heresy" of the present writer is chargeable only when consideration of Bach's music comes before or takes the place of what Bach did in the development of orchestration, which is the first consideration of this book. Of course, it is beyond question that in his instrumentation as distinct from orchestration, Bach added to the possibilities of the instruments existing at that time,—notably as shown by the obbligato wind parts, the gamba and 'cello solos, etc., in the Masses, the Passions and the Church Cantatas. These prove a much larger appreciation of orchestral color than was known in music for three-quarters of a century after him. Nevertheless it must not be forgotten that for many years Bach's music obtained for itself only restricted recognition, which therefore justifies the above made statement that Bach was not a direct evolutionist of the symphonic orchestra.
[9] To this list might properly be added the name of the Italian, dall'Abaco, since his scores, being now also available for study, reveal many interesting traits pointing toward originality and progress. He is to be classed among the earlier composers of this period, for he was prominently associated with the musical life of Munich during the first part of the eighteenth century.