BERLIOZ ORCHESTRATION TREATISE PDF
Berlioz’s orchestration treatise is a classic textbook which has been used as – Berlioz’s Orchestration Treatise: A Translation and Commentary -. Grand traité d’instrumentation et d’orchestration modernes, Op (Berlioz, Hector ) .. Name Translations, Treatise on Instrumentation; Gran Tratado de. Berlioz, Hector, – [Grand traité d’instrumentation et d’orchestration modernes. English]. Berlioz’s orchestration treatise: a translation and.
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Treatise on Instrumentation – Wikipedia
And yet for a long time it has been left idle, or used mostly for the lowly and pointless function of doubling the bass part an octave higher. 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.
One may use as many timpanists as there are timpani in the orchestra, in order to produce rolls and rhythms with two, three, or four parts, depending on the numbers available. The timbre of the trombones, so incisive and domineering, is far from similar to that of the ophicleide. It can even figure in a joyful piece, so long as it has a fiery or stately character.
Side drums, like the timpani, can be used covered; but instead of covering the skin with a piece of cloth, players often merely loosen the snares, or insert a leather strap between them and the lower skin to check the vibrations.
But progress moves more slowly in theatres, and it will take another twenty five years to bring this about. 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.
The soprano saxhorn in B flat is more frequently used than that in C; and though it is a tone lower than the C saxhorn it is already difficult or at least very strenuous for the player to sound the last two notes; these valuable notes must therefore be used very sparingly and must be introduced in a skilful way.
But the expression of its tone and its sonority are such that it can be used in any kind of piece. But there is nothing like the sound of these mysterious notes when combined with chords from flutes and clarinets playing in the middle register; surprisingly it was only three years ago that for the first time a demonstration was made of the affinity of these timbres and berpioz the poetic beauty of combining them together […].
Sticks with sponge heads are the best; they are the most musical and are less noisy, and should be used most of the time. It can express all manner of vigorous feelings, proud and grand, and the majority of tragic accents. It therefore seemed worthwhile to reproduce here substantial extracts from the work, with particular emphasis on those passages where Berlioz tries to define and explore the expressive possibilities of each instrument of the orchestra.
But orchestation the thousand combinations that are possible with the monumental orchestra we have just described there would reside a harmonic richness, a variety of sounds, a succession of contrasts, which cannot be compared with anything that has been achieved in art to this day. I therefore believe that in the treaties of cases it is better to do without this instrument than to replace it in this way. But it is a strange way orchestragion belittling this majestic instrument to reduce it to this secondary role.
Berlioz Treatise on orchestration
The sound reverberates and circulates actively in the narrow space between them before escaping through the spaces left open. Slow and gentle melodies, which too often are given to wind instruments, are never better expressed than by a mass of violins. That is why Rossini made use of a little bell in G to accompany a graceful chorus from the second Act of William Tellthe refrain of which is “voici la nuit”.
The sounds of the oboe are suitable for expressing simplicity, artless grace, gentle happiness, or the grief of a weak soul. 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. It is equally suitable for martial ideas, for cries of fury and vengeance, and for songs of triumph.
Their turn to be noticed, rejected, accepted, repressed, liberated and exaggerated only came later. Oechestration 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 ].
Grand traité d’instrumentation et d’orchestration modernes, Op.10 (Berlioz, Hector)
But this was probably of little consequence as far as composers were concerned. All rights of publication or orchhestration of this material in any form, including Web page use, are reserved.
In a single forte trombones in three part harmony, especially in their middle range, convey an expression of heroic pomp, of majesty and pride, which only a prosaic and vulgar melody could diminish or nullify.
The majority of orchestras nowadays still only have beerlioz pair of timpani, the largest of which is reserved for the lower note. I assume he is thoroughly familiar, down to the smallest detailswith the score he is going tdeatise perform. Even Beethoven is very sparing in his used of stopped notes when he is not writing a solo part for the horns.
Some went further and wanted to dispense altogether with any accompaniment, pretending that harmony was a barbarous invention. It is rather like a bull escaped from its stable and frolicking in a salon. Mutes are small devices made of wood which are placed on the bridge of stringed instruments to reduce their sonority, and which give them at the same time a sad, mysterious and gentle character; this can be used to good effect in every kind of music.
Fortunately this system has now been almost entirely abandoned. In the chorus of the priests of Isis in the Magic Flute Mozart has provided wonderful examples of how to give them the voice and manner of high priests. 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.
It commands all the accents, grave or powerful, of high musical poetry, from imposing and calm religious tones to the frenzied clamour of an orgy.