Treatise on Instrumentation (Dover Books on Music) [Hector Berlioz, Richard Strauss] on *FREE* shipping on qualifying offers. The most influential. Includes full-score musical examples from works by Berlioz, Mozart, Beethoven, Wagner, and others. Music Books | Music History and Theory – Books on Music; /; Treatise on Instrumentation By: Hector Berlioz, Richard Strauss. Book Source: Digital Library of India Item : Hector ioned.
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As a result it has become the solo instrument that is indispensable for quadrilles, galops, variations and other second-rate compositions. It has taken nearly a century to reach that point. The book also provides orchestral excerpts from classical scores to give examples of techniques discussed.
On another occasion, to obtain a deep roll in a symphony which would be much lower in pitch than the lowest notes of the timpani, I did this by using two players on a single bass drum that was stood upright like a drum. 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 upper notes played fortissimo hctor excellent for violent and shattering effects, as for example in a storm or in a piece of a ferocious or infernal character.
Obviously it insttrumentation be necessary to adopt a style of extraordinary breadth every time the entire mass of players and singers is used, while delicate effects, treahise and fast movements, should be reserved for small orchestras which the composer could easily assemble and make to dialogue with each other in this crowd of musicians.
Portrait of Hector Berlioz by Achille Peretti Although he never was an expert player berlioa any instrument, he had become such an expert of all instruments that he could write such a treatise. This was reaction taken to exaggeration.
Hector Berlioz’s Treatise on instrumentation and orchestration
They therefore associated them almost always with the trumpets. These you now find, but the number of string instruments has not been increased, so the tonal balance is destroyed, the violins can scarcely be heard, and the overall result is dreadful. It is just as agile as the violin.
Table of contents Top of the page. In general this is true. Clearly all was lost. There is also the Full organthe Forteand Expression.
These and other examples I might mention seem to me trwatise admirable. Many composers studied the work closely, such as MussorgskyMahlerR.
Slow gerlioz gentle melodies, which too often are given to wind instruments, are never better expressed than by a mass of violins. Francs Juges overture, bar and following; Waverley overture, bar 55 and following; Symphonie Fantastique3rd movement, bar and following; 4th movement, bar 1 and following; King Lear overture, bar 67 and following].
Treatise on Instrumentation
Comparison may also be made with the Report written by Berlioz on the musical instruments exhibited in at the Great Exhibition in London, and available on this site both in the original French and in an English translation.
Sticks with a wooden head covered with leather are less harsh; their sound is less brilliant though still very dry. For further details see Berlioz: Pieces that have a sprightly character, that are vehement or petulant, display in my view when performed on the melodium the bad taste of the player, or the ignorance of the composer, or the ignorance and bad taste of both at once.
This has always been the case, and there is therefore no cause for surprise. The purpose of the present work is therefore first to indicate the range of some essential parts of the mechanism of the instruments, then to proceed to the study, hitherto much neglected, of the nature of the timbrethe peculiar character and expressive potential of each of them, and finally to that of the best methods known of combining them in an appropriate manner.
The majority of orchestras nowadays still only have one pair of timpani, the largest of which is reserved for the lower note. There would only be between these two rival powers an alliance all the more sincere as neither would shed any of its dignity.
Instead, the knstrumentation beat of every bar is struck, the orchestra is crushed, the voices obliterated; nothing is left, neither melody, nor harmony, nor line; even the tonality barely emerges. Particularly in cases where the chords are brief hectro separated by silences, it is like hearing strange monsters uttering in the dark groans of barely suppressed rage.
Sound reflectors are indispensable; they are found arranged in different ways in any enclosed building. References could of course be multiplied. Pianissimo notes from the bass drum, when combined with cymbals in an andante and struck at long intervals, have a majestic and solemn quality.
Treatise on Instrumentation – Wikipedia
But there is nothing more brilliant, better defined and more devoid of shrillness despite their brilliance than all the notes of the upper octave.
They do not merely threaten, they proclaim, they sing instead of roaring. Francs Juges overture, bar and following; Symphonie Fantastique4th movement, bar 25 and following, 49 and following; Roman Carnival overture, bar and following; Le Corsaire overture, bar and following]. When used harmonically, it blends very well with the mass of brass instruments. One can also say that one particular instrument is more suitable than another to produce certain effects or to express certain feelings.
The only difference is that whereas for the horn in C basso the real sound must be imagined to be an octave below the written note in the G clef, for some very low saxhorns the sound must be imagined to hecor two octaves below.
In such a context the sound of the piano has a delightful charm, full of calm and freshness, and is the very image of grace. Their turn to be noticed, rejected, accepted, repressed, liberated and exaggerated only came later. This effect was unknown to Mozart, Weberand Beethoven.