[11] Rimsky-Korsakov's opera Sadko and Moussorgsky's Boris Godounov are particularly interesting in this respect. (Translator's note.)
[12] Recently, bells have been made of suspended metal plates possessing the rare quality of a fairly pure tone, and which are sufficiently portable to be used on the concert platform. (Editor's note.)
[C] The present volume is divided into two parts, text (pp. 1-152) and musical examples (pp. 1-333). The [first page of the second part] lists the standard full-score editions of Rimsky-Korsakov's works that are referred to throughout the book. These references to specific passages are always indicated by boxed numbers or boxed letters corresponding to the ones marking the sub-divisions of the particular score. On the other hand, references in the text to the 312 musical examples in the [second part] of the book are always indicated as "No. 1," "No. 2," etc. Thus, "The Tsar's Bride 84" indicates that the reader should look at section 84 of the score of The Tsar's Bride as published by Belaieff in Leipzig, the music of which is not reprinted here; whereas "[No. 1.] Shéhérazade 2nd movement B" indicates that the reader should look at the first musical example in the second part of the present book, which comes from the section marked B in the second movement of the score of Shéhérazade as published by Belaieff.
[13] The composer has emended the score in the following manner: from the fifth to the ninth bar after 305, and also from the fifth to the ninth bar after 306, the three clarinets play in unison, the trumpet being marked forte instead of fortissimo; in the example, the first of these passages is corrected according to the composer's alteration. (Editor's note.)
[14] The process of doubling strings and wood-wind in octaves:
| Fl. Vns | >[ | 8, | Ob. 'Cellos | >[ | 8, |
etc. often used by the classics to obtain balance of tone, is not to be recommended, as the tone quality of the two groups is so widely different. As a result of the ever-increasing tendency to profusion of colour, this method has recently come into fashion again, notably among the younger French composers. (Editor's note.)
[15] In the full score a misprint occurs in the clarinet part; it is corrected in the example. (Editor's note.)
[16] A splendid example of the combination of strings and brass may be found in the introduction to the 2nd scene of the 4th act of "Khovanstchina" by Moussorgsky, orchestrated by Rimsky-Korsakov. (Editor's note.)
[17] Mention should be made of the happy use of a small orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone, tambourine, 4 Vns, 2 violas, 1 D-bass) in The May Night, Act II, Sc. I. M-P. (Editor's note.)