Nikolai Rimsky-Korsakov · section 61 of 100

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.

* A Fairy Tale W.

* Shéhérazade, 1st movement C, G; also the passages at the start of each movement.

* Spanish Capriccio H, K, R, and the cadence on p. 38.

* No. 224. Legend of Kitesh 310—Vn. solo, on harmonic basis of strings sul ponticello and wood-wind.

Snegourotchka 274, 279—2 Vns soli (cf. Ex. 9).

Viola solo:

No. 225. Snegourotchka 212.

Sadko 137.

* No. 226. The Golden Cockerel 163; cf. also 174, 177.

Violoncello solo:

Snegourotchka 187 (cf. Ex. 102).

The Christmas Night, before 29, 130.

Mlada, Act III 36.

* The Golden Cockerel 177, 180 (cf. Ex. 229).

Double bass solo:

* No. 227. Mlada, Act II 10-12—a special instance where the first string is tuned down.

Solo quartet:

The Christmas Night 222—Vn., Viola, 'Cello, D. bass.

* No. 228. Tsar Saltan 248—Vn. I, Vn. II, Viola, 'Cello.

* The case of a solo stringed instrument doubled by the wood-wind in unison must not be forgotten. The object is to attain great purity and abundance of tone, without impairing the timbre of the solo instrument (especially in the high and low registers), or to produce a certain highly-coloured effect.

Examples:

* Mlada, Act II 52—Vn. + Fl.; Act IV 31—Viol. + Fl. + Harp.

* The Christmas Night 212—2 Vns + Fl. + Small Cl. (cf. Ex. 153).

* Pan Voyevoda 67—2 Vns + 2 Ob.; 2 Violas + 2 Cl.

* Legend of Kitesh 306—Bass cl. + C-fag. (cf. Ex. 10).

""" 309—Vn. + Fl.

* No. 229. The Golden Cockerel 179—Vn. + Picc.; 'Cello + Bass cl.

* As shown in Chap. II, 2 Vns soli or Violin solo + Fl. (Picc.) are often sufficient to double a melody in the upper register.

Examples:

Sadko 207—cf. Chap. II, p. 42 and Ex. 24.

* No. 230. Russian Easter Fête, p. 32—2 Solo violins (in harmonics).

* No. 231. Legend of Kitesh 297—2 Solo violins + Picc.