Treatise on Instrumentation (Dover Books on Music) [Hector Berlioz, Richard Strauss] on *FREE* shipping on qualifying offers. The most influential. Berlioz was one of the first composers to deal greatly with orchestration. In this treatise he talks about what the different sounds that instruments make (tone. Includes full-score musical examples from works by Berlioz, Mozart, Beethoven, Music History and Theory – Books on Music; /; Treatise on Instrumentation.
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Suppose a mass of voices placed in the choir of a church, far away from the organ, and interrupting its chant to let the organ repeat it, in whole or in part; suppose even that the chorus, in a ceremony of a sad character, was accompanied by a lament alternating between the orchestra and the organ from the two extremities of the church, with the organ following the orchestra like a mysterious echo of its lament.
If the intention was to perform a composition involving a chorus, such an orchestra would require:.
This buzzing chaos, full of strange noises and hideous grunts, is completed or compounded by the other players, who are either more dedicated or more confident of their ability, and who labour in a fruitless attempt to perform the passage entirely as written. He was forty and had already written the Fantastic Symphony, his most famous composition, and Harold in Italyhis Symphony with solo viola. No eBook available Amazon.
Even then it would be very difficult to bring together in Paris voices of any quality; at the moment the study of singing there is neither very widespread nor very advanced.
At no time in the history of music has so much been said as at present about Instrumentation. When the cellos are playing a melody, it can sometimes be very effective to double them in unison with violas.
An overview of how the orchestra functions as a whole and its development throughout history. In his score the composer must therefore indicate the layout that he thinks is appropriate. The tone of the cellos then acquires a very rounded and pure quality without ceasing to predominate.
The brilliant effect produced by military bands in some streets of large cities supports this statement while appearing to contradict it. Berliz cannot guess why. When it did make its appearance, there was an outcry: This is trivial, and devoid of pomp and splendour.
The book discusses the various technical aspects of instruments, such as chromatic rangetone qualityand limitations.
Concerning the design of our theatres and opera houses and the requirements of dramatic performances, this layout in the shape of an amphitheatre is not possible for orchestras that are meant for the performance of operas. A phrase that would appear tolerable, when performed by violins or the woodwind, becomes flat and intolerably vulgar when emphasised by the incisive, brash and impudent sound of the cornet.
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. A distinction is now drawn between use and abuse, reactionary vanity and pig-headed obstinacy, and there is general agreement nowadays on the subject of harmony, melody and modulations: It would instrumentatikn the laments, whispers and mysterious sounds of virgin forests, the shouts, prayers, songs of triumph or lamentation of a people with an expansive soul, an ardent heart, and fiery passions.
The first coach will rehearse on their own the first sopranos, then the second, then the first and second together. In addition to the dazzling colours which this multitude of different sounds could generate at any moment, there would be harmonic effects previously unheard that could be produced:. The poverty of the writing of older composers is obviously preferable to this ignorant and hateful wastage. In this case, to give the clarinet a sound as vague and remote as possible, I had the instrument wrapped verlioz a leather bag to serve as a mute.
The more numerous the harmonic notes, the more striking the effect.
In the latter case the string instruments would be too weak to dominate the mass of clarinets and brass instruments, and would serve to provide a harmonious bridge with the strident sounds of the orchestra of wind instruments. I have never been able to hear from a distance military music without being deeply moved by the feminine timbre of clarinets and being filled with images of that kind, as after the reading of ancient epic poems. But when multiplied by many instruments playing in unison, it results in magnificent nuances and irresistible surges of emotion that penetrate to the depth of the heart.
Nothing has such voluptuous sadness as a mass of cellos playing in unison on the A string, and nothing is better suited to expressing traetise and languorous melodies. It can also convey a degree of agitation, but one must be careful not to intensify this to cries of passion, to vehement outbursts of anger, threats or heroism: There is nothing more vulgar, I would even say more monstrous and less designed to blend with the rest of the orchestra than those more or treahise fast passages written as solos for the middle range of the ophicleide in some modern operas.
As a general rule players should only use the instruments specified by the composer. In his symphonies in B flat and C minor Beethoven made wonderful use of the timpani pianissimo; these superb passages lose a great deal if played inxtrumentation sticks without sponge heads, even though the composer did not specify anything to that effect in his scores.
Beethoven has made greater use of the joyful tones of the oboe.