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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La Symphonie fantastique film. None of the great masters of the previous century thought it appropriate to introduce it in the orchestra. It is to be hoped that they will gradually disappear. 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.
Such is the case with the passage from the storm of the Pastoral Symphonywhich conveys so well the suggestion of a violent wind charged with rain and of the dull rumbling of a squall.
They give a velvety and dark timbre to the timpani, which gives excellent definition to the sound, and makes the pitch easier to hear. No need to add that in this system the bass drum is almost never used without the accompaniment of cymbals, as though these two instruments were by orchestrafion nature inseparable.
Grand traité d’instrumentation et d’orchestration modernes, Op.10 (Berlioz, Hector)
Up till now they have only used the thumb and the index finger for plucking, and the result is that they are unable to play passages or arpeggios involving more than semiquavers in common time and at a very moderate tempo. We mentioned that the clarinet has four registers; each of these has its distinctive timbre. Viola players were always recruited from among rejected violin players.
tretise The authority of a hundred old men, be they all agedshould not persuade us to find ugly what is beautiful, nor beautiful what is ugly. In this case, to give the clarinet a sound as vague and remote as possible, I had the instrument wrapped in a leather bag to serve as a mute.
Its timbre is incomparably nobler than that of ophicleides, bombardons and serpents, and has something of the vibration of the timbre of a trombone. It has a stormy and violent character when played fortissimo on the middle range of the A and E strings. This is the case with the stopped notes and the artificial sound of the three horns in E flat in the scherzo of the Eroicaand with the low F sharp of the second horn in D in the scherzo of the Symphony in A.
That is why small orchestras, whatever the merits of individual players, have so little impact, and are consequently of little value. Even then it would brlioz 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.
These musicians had developed tgeatise taste for dissonant chords, rather like certain animals have a taste for salt, prickly plants and thorny orchdstration.
Treatise on Instrumentation – Hector Berlioz, Richard Strauss – Google Books
That is the reason why open air music does not exist. But is rare for Berlioz to give solo passages to the cornet which give prominence to the instrument for its own tonal characteristics.
This can be seen in the solo in the minor in the recapitulation of the 1st orchestratino of the symphony in A [ example: Spontini was the first to use it in his triumphal march in La Vestale and a little later in a few pieces in Fernand Cortezwhere it was well motivated. Whenever mysterious and softly threatening sounds are required, even in a forte passage, sticks with sponge heads should be used.
Orchestratipn can be no doubt about the system of rehearsals needed for this gigantic orchestra: At first some would only accept as music sequences of consonant harmonies, interspersed with treatisee few dissonant suspensions. My library Help Advanced Book Search.
It can be used for melodies and accents of different kinds, though it cannot match the artless gaiety of the oboe or the noble tenderness of the clarinet. Assuming a composer had such resources at his disposal, in a vast hall organised for this purpose by an architect versed in acoustics and music, he would need to determine precisely before starting work the disposition and layout of this huge orchestra, and then keep them always in mind while composing.
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 effect then becomes incomparably more powerful and beautiful. The table below outlines the contents of this page.
Berlioz Treatise on orchestration
This cost-cutting method is intolerable: 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. Then it sings a gentle lament, and rises to express reproach, deep grief, and the cry of a heart torn by incurable wounds.
Those of the lower register are particularly suited, especially with held notes, for those coldly threatening effects, and for the dark tones of still rage which Weber ingeniously invented.
Tied grace notes are also feasible in pizzicato playing. Orchestratkon users should sign in with their email address. The composer must always be careful to indicate the duration he wishes to give to cymbal strokes that are followed by a rest. It only has stops for simple or double octaves and for shifting the keyboard right or left.
Treatise On Instrumentation
The upper notes played fortissimo are excellent for violent and berlilz effects, as for example in a storm or in a piece of a ferocious or infernal character.
He will have a preliminary rehearsal to instruct them on how to direct the sectional rehearsals that are entrusted to them. This is trivial, and devoid of pomp and splendour.
The sounds of the oboe are suitable for expressing simplicity, artless grace, gentle happiness, or the grief of a weak soul.