String Orchestra |
Music Terms

String Orchestra |

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terms and concepts, musical instruments

A string orchestra consists of only bowed instruments. Includes 5 parts: 1st and 2nd violins, violas, cellos, double basses. In the past, it was not distinguished by composers as a composition that differed from the symphony. orchestra, because in music 17 – 1st floor. 18th century the latter was often limited to strings and a harpsichord playing basso continuo (G. Purcell, the opera Dido and Aeneas); in the classic music – also without basso continuo (W. A. ​​Mozart, “Little Night Serenade”). S. o. in modern understanding developed in the 2nd floor. 19th century, i.e., in the period of maturity, symph. orchestra, when its string group was recognized as an independent performing apparatus. S. o. both the intimacy and intimacy of the statement inherent in the chamber ensemble, and the tension, richness of the sound of the symphony are available. orchestra. S. o. was used in the numbers of music for dramas (“The Death of Oze” from the music of E. Grieg to the drama. poem by G. Ibsen “Peer Gynt”), in dep. parts of orc. suite. Later, a number of composers created independent. cyclic compositions, often a stylization of muses. genres of the past; then the name composition began to be placed in the title (A. Dvorak, Serenade for strings. orchestra E-dur op. 22, 1875; P. I. Tchaikovsky, Serenade for strings. orchestra, 1880; E. Grieg, “From the time of Holberg. Suite in the old style for strings, orchestra” op. 40, 1885). In the 20th century the range of genres available for embodiment with the help of S. o. has expanded, and the role of the rich orc has increased in its interpretation. sound. For S. about. they write symphoniettas (N. Ya. Myaskovsky, Sinfonietta op. 32, 1929), symphonies (B. Britten, Simple Symphony, 1934; Yu. “In memory of B. Bartok, 1965). The increased differentiation of the composition of the orchestra in the department. The part culminated in “Lament for the Victims of Hiroshima” for 1958 strings. instruments of K. Penderecki (52). To enhance the dramatic or colorful effect, a trumpet is often added to the strings (A. Honegger, 1960nd symphony, 2, trumpet ad libitum), timpani (M. S. Weinberg, symphony No 1941, 2; E. M. Mirzoyan, symphony, 1960), a percussion group (J. Bizet – R. K. Shchedrin, Carmen Suite; A. I. Pirumov, symphony, 1964).

References: Rimsky-Korsakov HA, Fundamentals of Orchestration, ed. M. Steinberg, part 1-2, Berlin – M. – St. Petersburg, 1913, Full. coll. soch., vol. III, M., 1959; Fortunatov Yu. A., Preface, in printed music edition: Myaskovsky N., Symphonietta for string orchestra. Score, M., 1964.

I. A. Barsova

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