Nikolai Rimsky-Korsakov · section 54 of 100

B. Combination of strings and wind

1. We frequently meet with the combination of strings and wood-wind in the light of comparison of one timbre with another, either in long sustained notes, or tremolando in the strings. Apart from the complete or partial doubling of the string quartet (two methods frequently used), the general and most natural arrangement is:

Fl. Ob. (Cl.) | + Vns div.; | Clar. Fag. | + 'Cellos + Violas div., etc.

Examples:

* Sadko, Symphonic Tableau before 4, and 4, 9th bar.

* Shéhérazade, 1st movement M 6 Vns soli + 2 Ob. (2 Fl.), Cl.

* Antar 7—String quartet divisi + wood-wind (cf. Ex. 151).

* No. 171. Antar 57—Vns II, Violas div. + Fl., Horn (florid accompaniment in the Clar.).

* Legend of Kitesh 295—the same; rhythmic motion in the wind, sustained harmony in the strings (cf. Ex. 213).

2. Owing to the complete absence of any affinity in tone quality, the combination of strings with brass is seldom employed in juxtaposition, crossing, or enclosure of parts.

The first method may be used however when the harmony is formed by the strings tremolando, and the brass is employed in sustaining chords, also when the strings play short disconnected chords, sforzando. Another possible exception may be mentioned; the splendid effect of horns doubled by divided violas or 'cellos.

Examples:

Snegourotchka 242—Full brass + strings tremolando (cf. 1st Table of chords, Ex. 6).

* Legend of Kitesh, before 240—the same (Horn, Trumpet +).

* Sadko, Opera, before 34—Horn + Violas div., Trombones + 'Cellos div.[16]