[18] Here the author approaches a question so well known to the Russians that it does not require any further elucidation for their guidance. But a whole book would have to be written to form a compendium of practical rules on this subject, and to point out the errors which nearly all French composers openly commit—even those who are famous for their sense of diction and literary style. We can only conclude that the question has come to be considered of minor importance in France, perhaps on account of the lack of definite stress on the syllables of words, which is characteristic of the French language. It is not within the translator's province to discuss the question of French versification or to elaborate the excellent maxims laid down by Rimsky-Korsakov, the first, among many, to touch upon this delicate and important subject. (Translator's note.)
[19] Contrebasses voices as they are called when mentioned in French works are peculiar to Russia, in which country they are plentiful. (Translator's note.)
NIKOLAY RIMSKY-KORSAKOV
Principles
of Orchestration
with musical examples
drawn from his own works
Edited by
MAXIMILIAN STEINBERG
English translation by
EDWARD AGATE
[VOLUME II]
[Édition Russe de Musique, Paris, 1922]
The musical examples in this volume are taken from the composer's following works: