The Golden Cockerel 215.
* [No. 219]-[221]. Legend of Kitesh 142, 144, 147—3 part Tutti, with different scoring.
* Legend of Kitesh 138, 139—Tutti in one part.
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.