Orchestral music

“ His great importance in the history of music is, of course, his development of the orchestra. No one else has ever observed orchestral possibilities so keenly and used them so surely. His musical ideas, as played on the piano, may sound banal, but when they are heard in the orchestra they become pure magic. He never was a pianist; his virtuosity as a performer was lavished on the flute and guitar. ”

“ A full orchestra was employed, violins, cellos and mandolins, flutes, cornets, horns and trombones, a fine organ as well as a piano, while several hundred men and boys cassock-clad, chanted and sang in wonderful harmony with the exquisite orchestral music. ”

“ It afforded us also some art-enjoyments. It is true we did not hear any good orchestral-music; for the orchestra here, although latterly several distinguished artists have been engaged, is still very middling. ”

“ The four-hour music drama has given way to the one-act operas, and the dance drama or ballet as the Russian Diaghilev introduced it, is a 20th century development. The orchestral writing has changed greatly from the methods of Berlioz, Wagner and Strauss, for while they were masters of large mass effects, the composers of today are treating each instrument individually, in other words, they are using orchestration, poly-instrumentally! ”

“ It is hard to see how any candid student can deny the greatness of this symphony. If only for the stoutness of its structure, the grasp with which the fundamental principles of musical form are seized, however the details have to be modified to suit the occasion, and for the richness and variety of its treatment of orchestral coloring, it would hold a conspicuous place among modern orchestral works. But of course these things are only means; the end of music is expression. ”

“ The placing of the effects is, of course, indicated in the score, or, if not, must be the result of the judgment and taste of the conductor; but the manner of producing them is the work of the performers. It requires frequent rehearsal to get these effects made with precision, unanimity, and smoothness of tone, yet they should be so made. An orchestra should sing like a great singer, and it should be able to produce all the delicate shades of song as a human voice can.
But an orchestra has many voices, and the composer often takes advantage of this fact. ”

“ In a general way, I may say that composers in writing a passage for the entire orchestra can give the melody to all the soprano instruments, the alto to all that have an alto compass, the tenor to all the tenors, [Pg 63] and the bass to all the basses. For example—flutes, clarinets, oboes, and violins may utter a melody in unison, while the remaining instruments supply the accompaniment. But it is rare that a composer writes in only four parts for orchestra. He usually spreads his chords out to six or eight parts, thus gaining in richness and sonority of tone. ”

“ And just as he counts on the harmonics and sympathetic vibrations of the upper strings of the piano for the proper effect of a piano sonata, so for the effect of an orchestral work he relies on the full rich tone and the subdued murmur, which are only produced by the members of the orchestra playing a little wrong. ”

“ But we did not hear one of the stereotyped Italian cadenzas, nor did we fall into old ruts in following the harmonic progressions. The orchestral figures—the framework on which the melodies are supported—are new, ingenious, and beautiful. The duets, quartette, and quintette show great command of resources and the utmost skill in construction; we can hardly remember any concerted pieces in the modern opera where the "working up" is more satisfactory, or the effect more brilliant. How far the music exhibits an absolutely original vein of melody, it is perhaps premature to say. ”

“ All lovers of music know what effects are brought about by skilful use of alterations of tempo—the accelerando and ritardando—and by the combination of these with gradations of force. In the application of these devices an orchestra should be adept. ”

“ For if the masters of vocal polyphony took some twelve centuries to elaborate their science, it is fair to presume that, even though the general laws of music are now firmly established, the technics of the orchestra and of orchestral composition, which are a little over a hundred years old, are yet by no means fully understood. ”

“ No concerto solo or duet shall ever be performed at any of the society’s concerts; and if the directors shall think it expedient at any time to introduce vocal music with full orchestral accompaniments, it must be under the above limitations.’ Thus it appears that the performance of vocal music only entered conditionally into the original plan of the founders of the Philharmonic ”

“ With the romantic movement scoring for strings began its search after unusual tone-tints, and composers began to learn that they could obtain these in two or three ways—by increasing the number of voices in their harmony, by taking advantage of the large registers of violas and ’cellos and sometimes carrying them above the violins, and by employing solo instruments among the orchestral mass. ”

“ Variety is also obtained by giving melodic fragments, not essential parts of the melody, to some of the instruments not engaged in voicing the principal theme. As the author has had occasion to say elsewhere:
“A great many persons do not hear anything definitely except the principal melody, while beautiful bits of counterpoint and exquisite effects of harmony are lost to them because they have not learned how to follow the many voices of an orchestra. Every person should acquire [Pg 120] the habit of ear-analysis. ”

“ The manner of composing for the orchestra naturally developed side by side with an appreciation of the true functions and relations of the various instruments. It is impossible to separate the two processes. Consider that composers had for centuries written only for the human voice heard in masses, and you will readily perceive that it must have taken some time for them to discover that melodic ideas suitable for singing were not always adapted to the utterance of instruments. ”

“ Orchestras are not the same for all compositions. Composers select their instruments in these days according to the purpose of the work in hand. But the orchestra employed by Beethoven and his immediate successors in their symphonies is the typical orchestra for independent performance. ”

“ The increase of orchestral instruments offered ample opportunities to sophisticate rhythms in a manner analogous to the charming effects of early choral music, in which syncopation and cross-rhythms add a genuine interest to the fundamental rhythm and seem to play with the hearers by making them feel that one rhythm is superimposed on another. ”

“ It is not too much to say that some orchestras are seriously injured by the presence of half a dozen vulgar-toned fiddles among the violins, by a very yellow clarinet among the wood, or a blatant cornet where a mellow trumpet ought to be. ”

“ Rossini’s horn style, 100; in “Eroica” symphony, 101; four horns, how used, 101, 102 Horn, English, 23; introduction into orchestra, 208 Instrumentation, models, 68 Instruments, list of, in orchestra, 4; names in four languages, 46 Leader of orchestra, 154 Legno, col, 10 Legrenzi’s orchestra, 192 Liszt, inventor of symphonic poem, 230 Lully’s orchestra, 192 Mendelssohn, model for string writing, 76 Metronome, 172 Meyerbeer, 39, 40, 41 Middle voices, 135 Monteverde, Claudio, founder of modern orchestra, 186 Mozart, tone-coloring, and string plan, 75, 76 ”

“ Many a musician may dislike the symphony, but none can help [Pg 358] respecting it. The orchestra, though not large for our day, was revolutionary in its time. It included, in one movement or another (besides the usual strings) a small flute and two large ones; oboes; two clarinets, a small clarinet, and an English horn; four horns, two trumpets, two cornets à pistons, and three trombones; four bassoons, two ophicleides, four pairs of kettle-drums, cymbals, bells, and bass drum.
A challenge to the timid spirits of the time; and a thing of revolutionary significance to modern music. ”

“ In composition the band is not far removed from the orchestra, except that woodwind instruments, such as flutes and clarinets, take the place of strings, but the result is that the band in its own field of music more particularly stimulates activities of the body where the symphony orchestra makes a stronger appeal to mental activity. ”

“ Yet the very latest work, the clarinet quintet, shows the same freshness and originality of invention, wonderful thematic net-work, variety of distinctly expressed moods, and the finale displaying an unsurpassed skill in variations.
The two orchestra serenades are real gems of spirited, delightful, well constructed music, one being for complete orchestra, the other for violas, ’celli, basses, reed instruments and horns. Besides the lively first and last movements and adagios they contain each a scherzo and one of them two minuets. ”

“ The most eloquent, potent, and capable instrument of music in the world is the modern orchestra. It is the instrument whose employment by the classical composers and the geniuses of the Romantic School in the middle of our century marks the high tide of the musical art. It is an instrument, moreover, which is never played upon without giving a great object-lesson in musical analysis, without inviting the eye to help the ear to discern the cause of the sounds which ravish our senses and stir up pleasurable emotions. ”

“ The modern orchestra, if we reckon the military band which is often introduced on the stage, and the organ which is sometimes heard at the back of the stage, includes every available instrument that is known except the piano; which is an orchestra on a reduced scale, but ineffective and useless as an orchestral unit in the midst of so many instruments of superior sonority. ”

“ At many times the singers and the orchestra seem to be pursuing each their own path, and the orchestral tones are not always a guide to what the singers' tones are to be. But from this seeming confusion the master's hand has evolved a higher harmony than the periwigged classicists ever dreamed of. ”

“ Those in the list are for the most part composed for full orchestra, and those with which I am acquainted make no claim to be considered otherwise than as actual dance music, with pleasing melodies and fresh rhythm—innocent recreations, betraying the master's hand in touches here and there. ”

“ I stay in my attic room and play upon my tympani, my beloved children. I have three of them, and I play all sorts of scores, from the wonderful first measures of Beethoven's Fifth, to Saint-Saëns' Arabian music. Ah! those men understand my instrument. It is no instrument of percussion to them. It has a soul. It is the heart of the orchestra. Its rhythmic throb is the pulse of musical life. What are your strings, your scratching, rasping strings! What signifies the blare of your brass, or the bilious bleating of your wood-wind! I am the centre, the life giver. ”

“ But many can not resist the rollicking music back of the paying booth. Three sable musicians form the orchestra, and from a bass viol, fiddle and fife they extract melody that, with all its short-coming, would make a deacon wish to dance. ”

“ It is surely a little ludicrous that the utmost resources of a modern orchestra, comprising over a hundred complex instruments, should be taxed by what is reported to be some of the most difficult music ever scored, in order to “express” the impulses and emotions of man in his most primitive state. ”

“ The orchestra and its music, therefore, represents the extreme height of man’s work in music, for even when choral forces are joined to the orchestra, the instrumental idea dominates, as, for example, in the Ninth Symphony of Beethoven, in which the chorus is simply a vocal band added to the other groups. The orchestra is a great means for musical expression because it offers to the composer the maximum of resources. ”

“ We shall watch the perfecting of the orchestra, its enrichment in sonority and in color. We shall see the Lied spring from the forehead of Schubert. We shall mark the development of the pianoforte and the growth of a noble literature of pianoforte music, rivalling that of the orchestra in proportion and in meaning. A new opera will come into being, discarding old traditions, alien myths, allying itself to the life of the peoples of Europe. ”

“ During the seventeenth century, while the art of instrumental music was growing rapidly, composers centred their attention either on groups of several instruments, which we may call primitive orchestras, or on one or two solo instruments supported by the figured bass of the harpsichord. Therefore, about the middle of the eighteenth century, when sonatas and symphonies took on their modern form, instrumental compositions were usually for orchestra, or for a trio, or for a solo instrument with harpsichord accompaniment. ”

“ In these long descending wails of the orchestra you have all the anguish, all the disillusionment of the poor knight painted with an expressiveness, a fidelity, that sets one thinking of visual as well as auditory things. He illustrates the scene as consummately as a pictorial artist could do, and at the same time throws over it the melting melancholy that music alone among the arts can express. ”

“ These instruments offer a great variety of effects, singly and in many possible combinations, in the peculiar effects possible by variety in playing, which in bowed instruments is considerable, and particularly by contrast with each other. While the orchestra today is in a highly developed condition, composers are seeking to extend the limits of their art by the use of more elaborate and subtle forms; so that we cannot in any wise predict the course and limits of absolute music with the almost unlimited resources at its disposal in the modern orchestra. ”