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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But progress moves more slowly in theatres, and it will take another twenty five years to bring this about. Sometimes the ophicleide is used to replace it, but its tone does not have the same depth as its range is the same as that of the standard bassoon and not an octave lower; in any case its timbre is of a quite different character from that of the double-bassoon.

This can be seen in the solo in the minor in the recapitulation of the 1st movement of the symphony in A [ example: Particularly in cases where the chords are brief and separated by silences, it is like hearing strange monsters uttering in the dark groans of barely suppressed rage. You could not be signed in. The most direct, beautiful and noble march theme loses its nobility, directness and beauty if heard on the oboes.

Te Deum8th movement; the original version of the Royal Hunt and Storm from Les Troyens was written for saxhorns, which nowadays are replaced by horns, trumpets, and cornets; the same applies to the great finale the Trojan March of Act I of Les Troyens ].

Berlioz Treatise on orchestration

If the intention was to perform a composition involving a chorus, such an orchestra would require:. It would convey 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, prchestration fiery passions.

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. It is very characteristic, even when only those two instruments are used, but the impact can be increased by a sharp stroke on the timpani together with a brief chord on the remaining instruments.

A small and flimsy vaudeville orchestra can be noisywhere a great mass of musicians properly deployed will be extremely gentle and, even in its most vehement outbursts, will produce the most beautiful sounds. The strings of the top octave have a delicate and crystalline sound of voluptuous freshness; this makes them ideal for expressing graceful, fairylike ideas, and for whispering the gentlest secrets of smiling melodies.


Treatise On Instrumentation

The upper notes have a somewhat painful and suffering character, I might call it almost pitiful; these can sometimes be used in a slow melody, or in an accompanying passage, with the most striking results. Whenever mysterious and softly threatening sounds are required, even in a forte passage, sticks with sponge heads should be used.

As for grouping them together, whether in small or large ensembles, and orchestrxtion art of combining and blending them orchesrration that the sound of some is modified by others, or in order to draw from the ensemble a special sound that none of oj could produce in isolation or when combined with instruments of the same family — for that the only viable approach is to draw attention to the results obtained by the masters and indicate the methods they used.

Whereas massed brass instruments in great military symphonies evoke the idea of a warlike band in shining armour, marching on to glory or to death, the numerous unisons of clarinets playing with them seem to represent the loved women, proud-eyed and deeply passionate, who, stirred by the sound orchetsration arms sing as they fight, and crown the victors or perish with the vanquished.

Berlloz few random examples: This manner of instrumentation could lead to grand and sublime effects. The only exception that should be made is for those instruments that are excessively powerful or have a timbre that stands out because of its individuality.

Fortunately this system has now been almost entirely abandoned. The tone of the cellos then acquires a very rounded and pure quality without ceasing to predominate. At first some would only accept as music sequences of consonant harmonies, interspersed with a few dissonant suspensions. In the Symphonie Fantastique the cymbals are used only at the very end of the 4th and 5th movements the last chord.

Harold in Italy3rd movement, bars The result is not only that beelioz effect misfires, but that orchwstration is a jarring discrepancy between the stage and the orchestra, and between the melody and its instrumentation.

Clearly all was lost. The ignorance of the middle ages, groping for the laws of harmony, must probably be credited with the introduction into organs of these monstrosities which routine has orchesyration and bequeathed to us. Melody did all the same take hold, but the reaction over melody was not long in coming.


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

It has been M. It has therefore been used in a modern symphony to parody, degrade and vilify a melody; the dramatic purpose of the work required this strange transformation [this refers to the last movement of the Symphonie Fantastique ] […]. The latter consists of an imposing mass of string instruments, all the other wind instruments doubled or tripled, and ten musicians playing eight pairs of timpani tuned to different notes.

Only light-hearted gaiety, or even carefree joy, seem not to suit them. To please these people it was absolutely essential to saturate compositions with major or minor seconds, sevenths, ninths, fifths and fourths, used without reason or purpose, unless it is assumed that the point of this harmonic style is to offend the ear as often as possible.

Treatise on Instrumentation – Hector Berlioz, Richard Strauss – Google Books

Nothing has such voluptuous sadness as a mass of cellos playing in unison on the A string, and nothing is better suited to expressing tender and languorous melodies. The clarinet is not well adapted for music of an idyllic kind, it is an epic instrument, like the treaise, trumpets and trombones.

When at rest it would be majestic like a slumbering ocean. The treatisf of a hundred old men, be they all agedshould not persuade us bsrlioz find ugly what is beautiful, nor beautiful what is ugly. 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. As a result viola players were incapable of playing either the violin or the viola.

Their turn to be noticed, rejected, accepted, repressed, liberated and exaggerated only came later. Symphonie fantastiqueOp.

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