Treatise on Instrumentation (Dover Books on Music) [Hector Berlioz, Richard Strauss] on *FREE* shipping on qualifying offers. The most influential. Book Source: Digital Library of India Item : Hector ioned. Berlioz’s orchestration treatise is a classic textbook which has been used as – Berlioz’s Orchestration Treatise: A Translation and Commentary -.

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Francs Juges overture, bar and following; Waverley overture, bar 55 and following; Symphonie Fantastique3rd movement, bar and following; 4th movement, bar 1 and following; King Lear overture, bar 67 and following]. Its silence would strike awe through its solemnity, and the most recalcitrant temperaments would shudder at the sight of its surging crescendolike the roar of an immense and sublime conflagration!

The two lower strings, the C and G strings, have a smooth and deep sound which is admirably suited in such cases, but their low register means that they can only be given a bass line that is more or less melodic, while the true singing parts must be reserved for the higher strings. The instrument requires harmony, or at least the unison of the other members of its family for its various qualities to manifest themselves completely. The cornet part which Berlioz added to the second movement of the Symphonie Fantastiquethough distinctive and not a mere doubling of the other parts, is not intended as a solo].

This can sometimes produce excellent effects, even with stopped notes. These results will probably be modified in a thousand other ways, good or bad, by composers who adopt them.

But the finest concert orchestra, for a hall scarcely larger than that of the Conservatoirethe most complete, the treatisw in nuances and variety of tone colour, the most majestic, powerful and at the same time the most mellow, would be an orchestra orcgestration as follows:. At first some would only accept as music sequences of consonant harmonies, interspersed with a few dissonant suspensions.

Te Deum4th and 8th movement]. The poverty of the writing of older composers is obviously preferable to this ignorant and hateful wastage.

Grand traité d’instrumentation et d’orchestration modernes, Op.10 (Berlioz, Hector)

The viola is as agile as the violin; its lower strings have a peculiarly penetrating quality; its higher notes are distinctive and have a sad and passionate intensity; in general its tone has a quality of deep sadness which distinguishes it from all other stringed instruments.

I assume he is thoroughly familiar, down to the smallest detailswith the score he is going to perform. Sign In or Create an Account. When they were unable to think straightaway of a few notes to fill in the chords they quickly fell back on the inevitable indication col bassoand did so in such a careless way that the result was sometimes an octave doubling of the bass line which was incompatible either with the harmony, or with the melody, or with both at once.


Common sense suggests that unless the composer is obliged to make do with whatever size of orchestra is available, he must put together his body of performers according to the style and character of the work he is writing and the type of principal effects the subject may require.

No other wind instrument is able like the clarinet to voice a note quietly, make it to swell, decrease, and fade away. Comparison may also be made with the Report written by Berlioz on the musical instruments exhibited in at the Great Exhibition in London, and available on this site both in the original French and in an English translation. It took seventy years to reach that point!

It is rather like a bull escaped from its stable and frolicking in a salon. The art of instrumentation consists in using these various sound elements and applying them, either to colour the melody, harmony and rhythm, or to produce effects that are sui generis whether motivated by an expressive intention or notindependently of the part played by the three other musical forces.

Straussand Rimsky-Korsakov. Its tone is less penetrating, more veiled and deeper than that of the oboe, and is therefore not suitable for expressing the gaiety of rustic tunes.

The need for runs of this kind is extremely rare, and we confess we have not yet come across it. But there is a further point.

As with the bass drum, cymbals, timpani, trombones, and all instruments that have a thunderous, explosive or orchestratino sound, the triangle is nowadays deplorably misused. The composer can be sure that they will not run out of breath.

The feelings of absence, oblivion, and painful loneliness which arise in the minds of some listeners when they hear this forsaken melody would not have a quarter of their force if sung by any instrument other than the cor anglais. This is a mistake. Mozart seems to have been the first to use them for accompaniments of a sombre character such as that of the trio of masks in Don Giovanni. Pastoral Symphony, 4th movement, bars [ A distinction must be drawn between theatre orchestras and concert orchestras.

Then it was not possible at the time to write for violas distinctive parts which required from the players a normal degree of proficiency. The effect is novel and arresting.



Don’t have an account? Since we are now used to hear it playing in dance orchestras melodies that are more or less devoid of originality and distinction, and since its timbre has neither the nobility of the horn nor the pride of the trumpet, it is rather difficult to introduce the cornet to the elevated melodic style. There is also the Full organthe Forteand Expression. I must admit that in our time this prejudice against the viola part has not been completely eliminated, and that even in the best orchestras there are still players who have not mastered the art of viola playing any better than that of the violin.

Virtuoso players often use them in cadenzas and in their fantasias, variations and concertos.

But the drawbacks of tolerating this state of affairs are becoming increasingly obvious, and gradually the viola, like other instruments, will cease to be entrusted to any but competent hands. It was left to Weber to discover the terrifying quality of these low notes when used to sustain sinister harmonies. The result is that they dominate instead of blending with the whole, and the instrumental writing becomes shrill and harsh instead of being sonorous and harmonious.

The book also provides orchestral excerpts from classical scores to give examples of techniques discussed. When the cellos are playing a melody, it can sometimes be very effective to double them in unison with violas.

When used in isolation or in groups of two, three, or four, it is strikingly the timbre of horns, trombones, and brass instruments in general that marries best with them. The upper notes played fortissimo are excellent for violent and shattering effects, as for example in a storm or in a piece of a ferocious or infernal character.

The result is not only that the effect misfires, but that there is a jarring discrepancy between the stage and the orchestra, and between the melody and its instrumentation. Gluck is the only master who seems to me to have understood how to make excellent use of these pale tones. Modern composers generally write their flute parts too uniformly high; they always seem worried that they will not stand out above the rest of the orchestra.

Les Francs-jugesOp.

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