T HE M U S I C A L ME R C U R Y

March-May ¡9 3 9 Vol- VI, No. 3 -4

Published four tim es annually, on o r a b o u t Septem ber 15, D e ce m b e r I, Feb ruary 15 and M a y I.
C o p y r ig h t, 1939, by Edw in F. Kalm us. 53 W e s t 56th St., N e w Y o rk C it y

Two D ollars a Y e a r Fifty C e n ts a C o p y

A n A u ra l Approach T o O rchestration
By Ellis B. Kohs
Before attem pting to study any subject the wise student tries to formulate a
working definition by which he may circumscribe the field o f interest and through
which he may focu s his attention on central and significant problems. It is fitting,
then, for us to decide what orchestration is at the very outset o f our discussion. W e
have defined it as the art o f com bining instruments as an element o f design in music.
Orchestration differs from instrumentation in that it is an essentially synthetic
art. Instrumentation is the art o f writing idiomatically for individual musical instru­
ments. In studying instrumentation we are concerned with the capabilities, the range
the best registers, the construction, etc., o f instruments. Orchestration, on the other
hand, deals with the application o f this knowledge o f individual instruments in com ­
bining them in a musically satisfying way.
But orchestration is more than the construction o f layers o f sound. Music, like all
the fine arts, is both intelligible and satisfying to us because it has design and form.
One o f the elements or units o f design in music is orchestration. N o t all music is
written for orchestra, o f course, but by far the larger part o f our musical heritage is
written for a combination o f tw o or more instruments. Orchestration is one o f the
more important elements o f design, along with melody, rhythm, harmony, dynamics
and tempo. It m ay, like any other element o f design, be the center o f consideration at
any one time, or it may be used to reinforce other elements. In a successful work
o f art the elements do reinforce one another in a rather remarkable way, as we shall
see later on.
So m uch, then, for what orchestration is. H o w is the student to approach his
subject? The method usually employed is to have the student purchase one o f the
standard text-books and make available fo r his ow n use a goodly number o f orchestral
scores for reference purposes. A fte r he has become familiar with the various in­
struments he may be called upon to arrange some simple piano music, trio or quartet
literature fo r other instrumental combinations. T he great probability is that he will
make some miscalculation in his anticipation o f a desired tonal effect. In fact, he
"will constantly be faced with the problem o f translating, in his m ind’s ear, the black
and white marks on paper in to actual living sound relationships.
Progressive music educators are stressing ear training as a necessary course of
stu y prior to that o f harmony, counterpoint and music appreciation. There is little
0 asting value in a harmony course, for example, in which the pupils cannot
1 entl Y intervals, chords and inversions, or fo llo w the separate strands o f a simple
po yp omc movement. N o one can write harmonic progressions fluently and with
ease w o cannot hear the total mass effect in his m ind’s ear. Similarly no one can
write wit consistent success fo r instrumental combinations who cannot hear the
result produced by the mutual interaction o f the different tone colors. Y e t instruc­
tors^ and authors o f textbooks alike expect musicianly results from the mere contem ­
plation o f examples in a score, or o f fragments apart from their context. But it is
only by the most careful and constant association o f the printed example with the
aural illustration that the ear can come, finally, to dictate the actual progress o f or­
chestration.
fmgm 60 THE M USICAL MERCURY

O n ce die necessity fo r ear training has been accepted the student is faced with
the problem o f getting it. It is an excellent plan to study a score in advance o f a
symphony concert ami then to listen carefully to the handling o f the orchestra at
certain predetermined paints o f interest. But the single impression is notoriously
ephemeral, and one m ight have to wait years to hear some important piece o f music
performed. Furthermore such study is bound to be haphazard and unsystematic.
A m uch better plan is to study scores in association with phonograph records. Then
the music is at one’s command. There is no limit to the number o f times the music
can be heard. The study can be systematic and planned, with the knowledge that
within the possibilities afforded by existing facilities a certain amount o f ground
can be covered. Given a reasonably com plete library o f recordings and scores
the student needs but a guide to the orchestral practices o f the great masters.
Even this plan, it must be admitted, presents certain difficulties. The material
which is suitable fo r aural illustration is more limited than that which serves fo r visual
illustration. There are countless passages o f interest which are so short that they can­
not be easily identified by the ear or are lost in a multitude o f other effects, all o f
which may be quite apparent visually. W e have made an effort to limit the material
quoted, then, to examples which may be readily identified due to their conspicuous
position, by their length or by their unique and distant character. W e proceed, now,
to a consideration o f the primary elements o f orchestration, their combinations and
finally o f orchestration as a design dement.
siKXi i m a M B m
n sT gn ru T ■ S tw T tw m BKCoRDtio SCORB

PICCOLO ■ o th e r G oose BATEL T i e 7 3 7 0 -1 DORA?® p 1 1 .

S u ite j to r t, Follow ing sh o rt
¿«p ress c f in tro d u ctio n a t
th e P agodas the beginning
o f w ovt.

FLUT5 P r e lu d e , The D23US2TÏ Vie 6696 KAueos p l .

(low A ft e r n o o n o f Col 6801CS) a t th e b e g in n in g
r e g is te r ) a Paisa un&e coupe n i ed ·

B o le r o BATEL T ic X -3 5 2 BURAHD p p 1 -2
Col X-22 F o llo w in g s h o r t
in tr o d u c tio n a t
th e b e g in n in g .
DVORAK V i c V-275 3ISÜR0CV pp 2 0 -
5 : 1 s t i> ovt, C o l s e t 17 2 1 . The c l o s i n g
theme l n G m a jo r
(m id d le B r ig - P a ir DELITS Col X—30 LEÜCKAHT p 5
r e g is t e r ) w ith harp a c -
c o n p a r.i-"e n t.
RAVEL T i c 7 1 4 3 -4 DuKAKD p 4 5 , f f .
C h lo e S u it e The l o n g , e x ­
So. 2 te n d e d s e c t i o n
i n th e m id d le o f
th e w ork .
(h ig h 3T= p h on y SZOSTA- Vic K-192 ED. RUSSE DE
r e g is te r ) S o. I s le t KOTICZ KDS14ÜS p 8 . The
mo r e s e n t . se co n d th en e
( BOTH : ) E xten d ed p a s s a g e s f o r th e f l u t e a lo n e i n th e h i eh
r e g i s t e r a r e e x t r e m e ly r a r e . 'There i s u s u a l l y a n o th e r
in s tr u m e n t d o u b lin g a t th e tail son o r th e o c t a v e ,________

» A nocc concerning the references an the following pages: V ictor album sets are
prefixed by the lerrer 1 1 " . Colombia album sets are prefixed by the Letter "X"
or the word "set” . A ll ocher numbers refer to single discs.
 T H E M U S IC A L M E R C U R Y Page 61

SOLO INSTRUMENTS ( C o n t. )
INSTRUMENT YORK COMPOSER RECORDING SCORE

BASS The R it e o f STRA- V i c M-74 KALWUS p 8 1 . ,

PLOTS S p r in g : m o v t: VIN - C ol s e t 129 a t N o. h9 3 n
The M y s te r io u s SKY
C i r c l e o f th e
A d o le s c e n t s
OBOE ‘Symphony No. SI BEL- V ic M -160 B AND H pp .1 4 -
4 : 2nd m o v t. I US 1 5 . The f i r s t
th em e, accom ­
p a n ie d b y strin gs
La V a ls e RAVEL V ic 7 4 1 3 -4 DURAND p 2 7 -8 ;
C o l 67384-D th e se c o n d theme
67385 -D
Symphony TSCHAI - V i c M -48 JURGENSON, p
N o. 4 ; 2nd KOWSKY C ol s e t 133 1 0 5 -6 ; b e g in -
m ovem ent. V i c M -327 n in g o f th e
m o v t; accom ­
p a n ie d b y strin g s
p iz z .
OBOE Symphony SCOSTA- VIC H—192 ED. Rustic; DK
N o. 1 ; 3rd KOVfICZ MUSIQUE p 4 6 - 7 .
m ovem ent. F i r s t 16 b a r s
o f th e m o v t.
P a s s io n a c - BACH V ic H-411 B AND H (B a c h 's
c o r d in g t o J .S . K -4 1 2 w erk e, v o l . 4)
S t . M atthew; 11-413 p 5 8 . Acoom -
--- ---=--- - m ov t: "ic h p a n le d b y c e l l l .
5C>lOf · OF w ill b ei Mote how th e
Einv. ·■■ meinem Jesu n a t u r a l l y expreB-
IUN·' ’ wachen * a iv e and p l a i n -
‘ f ' ... I (in tr o d u c - t iv e q u a lit y la
--- .--- tlo n ). en h a n ced b y e x -
t e n s i v e ch rom a t­
ic is m .
Le Ton b e au RAVEL V ic 11151 DURAND p 49 f f .
d e C o u p e r in ; th e o b o e c a r r i e s
m ov t: T r io th e m e lo d y a t
l n R lg a u d o n . th e b e g i n n i n g .
ENGLISH Symphony DVORAK V ic M -2 7 5 . SIVROCK p 5 5 .
NORN from th e C o l s e t 77 th e w e l l known
New Y o r ld p a s s a g e a t th e
2nd m o v t. b e g in n in g o f
th e m o v t . , a f t e r
a sh ort in tr o ­
d u c tio n .
C au ca sia n IPPOL- V i c 11883 KALMUS p 4 0 ; a t
S k etch es; ITOV- th e b e g in n in g
m o v t: I n IVANOV o f th e m o v t . ,
th e v i l - a l t e r n a t i n g w ith
age. v i o l a , b o t h un­
a c c o m p a n ie d .
Symphony: FRANCK V ic 1Í-300 KAIHUS p 6 9 ; a t
2nd m o v t. C ol s e t 121 th e b e g in n in g ,
fo llo w in g a
s h o rt in tr o d u c ­
t io n in p iz z
s t r i n g s and
h arp .
 Page 62 T H E M U S IC A L M E R C U R Y

SOLO INSTRTJMENTS ( e o n t . )
instrum en t ’VORK COMPOSER RECORDING SCORE
¡iNfli.1 SB-------- Swan o f SIBELIUS V ic 7380 KALi.iUS p T f f ,
HORN T u o n e la c a r r i e s th e
p r i n c i p a l m e lo ­
d i c l i n e th ro u & i-
o u t.
F a n t a s t ic BERLIOZ V ic M - l l l EULENBERG p 1 0 0 -
Symphony; C ol s e t 267 1 0 1 , a t b e g in ­
m o v t; S cen e n in g , where i t
aux Champs. a l t e r n a t e s w ith
and i s u se d w it h
th e o b o e . H ere
i s an e x c e l l e n t
o p p o r t u n it y t o
com pare o b o e and
e n g lis h h o rn .
T r is ta n WAGNER V ic M-41 KALMUS p 6 ; T h is
and I s o l d e , C ol s e t 101 42 m easure e x ­
A ct I I I am ple o f E .H .
u naccom p anied
o c c u r s j u s t a ft e r
th e c u r t a in
r i s e s on s c e n e I .
CLARINET B o le r o RAVEL V ic V -3 5 2 DURAND p 7 _8
i n Eb C o l X -22 A pp ea rs n e a r th e
(p io c .) b e g in n in g a b o u t
h a l f way th ro u g h
th e f i r s t r e c o r d
Daphni a RAVEL V ic 7143 DURAND p 76 f f .
and 7144 th e in s tr u m e n t
C hios C ol X-32 i n th e h ig h
regi ste r.
CLARINET Ib e r ia DEBUSSY V ic M-77 DURAND p 2 ; a t
C o l s e t 67 th e b e g in n in g
a ft e r a sh ort
i n tr o d u c t i o n ,

CLARINET C on certo RACHMAN­ ViO M—58 B AND H p 4 9 -5 0

f o r P ia n o INOFF The p r i n c i p a l
N o. 2 ; 2nd th em e, a t th e
m ovem ent. b e g in n in g o f th e
m o v t ., f o l l o w ­
in g sta te m e n ts
b y p ia n o and
f l u t e ; m easure
13 f f .
S ymphony SZOSTA- V ic M-192 ED. RUSSE DE
N o. 1 ; KOWICZ MUSI^US p 4 - 5 ;
1 s t m o v t. b e g in n in g o f
m o v t. f o l l o w i n g
sh o rt in tr o d u c ­
tio n .
Symphony SCHUBERT V ic ” -1 7 0 EULENBERG p 45
i n B m in o r C ol s e t 216 th e se co n d
( " U n fin ­ them e; e x c e l l e n t
is h e d ") exam ple o f sus­
2nd m o v t. t a in e d t o n e s .
THE MUSICAL MERCURY Page 6)

INSTRUMENT UORK COMPOSER RECORDING SCORE

Symphony RACHMAN- V ic M -239 B AND H p 125
N o, 2 ; 3 rd INOFF f f . '’’he p r i n -
m ovem ent. c i n a l th em e,
a p a in s t s t r . n ~s
and w in d s , a ft.i.i
s tr in g in tr o ­
d u c tio n .
Symphony SIBEL- V ic V -290 B AND H p 1 - 2 .
No. 1 ; 1 s t IUS C ol s e t 151 The slo w i r . t r o -
m ovem ent. d u c t i o n , w ith
tim p a n i a cco m -
pan in te n t.
BASS Don Q u ix o t e ; STRAUSS V ic »'-1 4 4 UNIV. E D ., p 40
CLARINET V a r ia t io n R. The r o l e o f
N o. 3 Sanch.o Panza i s
ta k en b y t h i s
in s tr u m e n t and
th e tuba .
'■U tcracker TSCHAI- V ic T.f-265 EULENBERG p 5 1 .
S u it e ; m o v t: KOVVSKY C o l 50104-D
Dance o f th e 50105-D
S ugar Plum 50106-D
F a ir y .
SAXO- B o le r o RAVEL V ic M-352 DURAND p 1 6 -1 7
PHONES C ol X -22 th e m e lo d ic
(S o p - p h ra se i n t h i s ,
ra n in o a s th e s u c c e e d -
Eb) ln g exam ples
fr o m th e B o le r o
i s g iv e n t o th e
s o l o in stru m e n t
w ith o r c h e s t r a l
a ccom p a n im en t.
(S o p - B o le r o RAVEL V lo »»-352 DURA’ E p 1 7 -1 8 .
ran o C ol X -22
Bb)

(A lto L 'A r l e s - BIZET V i c M-67 EULENBERG p 1 4 ,

Eb) ie n n e C ol X -69 ff, The secon d
S u ite # 1 · th e m e .
P relu d e

(T en or B o le r o RAVEL V ic M-352 DURAND p 1 4 -1 5

Bb) C ol X -22

TYiere i s , t o my k n o w le d g e , no r e c o r d i n g o f a b a r i t o n e o r b a ss
saxop h on e s o l o . I n th e saxophone q u a r t e t r e c o r d i n g s r e f e r r e d
t o u n d er woodwind c o m b in a t io n s ( b e l o w ) , th e r e a re a fe w p a s ­
s a g e s where th e b a 3 s saxophone ( t o u c h in g low C , tw o 8 vs b e lo w
m id d le c ) may be h e a r d ,_____ __________________________________
BASSOON The S o r e o r - DUKAS V ie 7021 DURAND p 6 . The
e r ’ s A pu ren - C ol X -75 p r i n c i p a l them e,
tic e . w h ich f o l l o w s an
i n t r o d u c t i o n ; ac­
com p a n ied b y
s tr in g s .
Symphony SIBEL- V ic M -333 HANSEN p 2 3 - 4 ,
No. 5 ; 1 s t IUS An exam ple o f
m ovem ent. th e e e r i e e f ­
f e c t s p o s s ib le
I n th e u pper
r e g ls t e r .
Page 64 TH E M U S IC A L M E R C U R Y

SOLO INSTRUMENTS ( e o n t . i
INSTRUMENT WORK COMPOSER RECORDING SCORE
BASSOOlt The R it e STRA- V ic M-74 KAURIS P 3 . TJn-
o f S p r in g . VINSKY C o l s e t 129 accom p a n ied a o l o
a t th e v e r y b e ­
g in n in g .
A lb o r a d a RAVEL V ic 8552 ESCHIG p 14 f f .
d e l G r a c l- C ol 68077-D s o lo a lt e r n a t­
090. in g w ith t v .t t i .

P i r e B ir d STRA- V ie >--291 CHESTER p 6 6 f f .

S u i t e ; m o v t: VINSKY C ol s e t 1Y5 The theme a t
B erceuse th e b e g in n in g
and end o f m o v t.
Symphony TSCHAI- V i c M -253 EtJLENBERG p
N o. 5 ; 3rd KOWSKY C o l a e t 104 1 1 9 -2 0 . The
m ovem ent. f i r s t sta te m e n t
o f th e se co n d
th em e, accom ­
p a n ie d b y s t r i n g ·
p i g g . ______________
CONTRA- The ° o r - DUKAS V i c 7021 DURAND p 5 0 .
BASSOON c e r e r »s C o l X -75
A p p r e n t ic e

M oth er RAVEL V i c 7370 DURAND p 3 6 .

G oose 7371 The I n s tr u n e n t
S u i t e ; m o v t; C ol s e t 74 r e p r e s e n t s th e
B e a u ty and b ea st.
th e B e a s t .

B R A S S E S _______________ _
TRUMPET AT 30 S p ra ch STRAUSS V ic M-257 EULENBSRG p 5 ;
Z a ra th u stra R. a t th e v e r y b e ­
g in n in g , o v e r a
s u s ta in e d p e d ^ l
on C .

3CKIABIH V ic K-12i> EULENBEKU p 2 2 -

TR ’ V PET The Poem
o f E csta sy . 2 7 . The p r i n c i ­
p a l theme i s
alw ays g iv e r t o
th e s o l o trum ­
p e t , f i r s t ap­
p e a r in g on p 22
b u t r e o c c u r in g
la t e r on.
p ic t u r e s a t MOUSSORG- V i c M-102 The R a vel s c o r e
an E x h i b i ­ SKY, a r r . 1 s n o t p u b li shed
t i o n m o v t; RAVEL The o r i g i n a l ,
Sam uel G o ld - f o r p ia n o , may
e n b e r g and be c o n s u lt e d i n
S c lin u y le . SCHOTT p 2 2 - 3 .

Symphony H o. SIBEL­ V ic M-2Y2 B AND H p 4 8 .

2 ; 2nd m o v t. IUS C ol s e t 149 The tanmpet i n
th e low r e g i s t e r
p p . sound v e r y
much l i k e th e
f l u t e , w ith
w h ich i t a l t e r ­
n a tes.
 THE M U S IC A L M E R C U R Y Page ùì

SOLO INSTRUMENTS ( c o n t . i
INSTRUMENT TORK COMPOSER RECORDING SCORE
TRlVPKT B randen - BACH V i c M-59 PETERS, p 4 9 .
b u r g C on - j.S . V ic 11930 T h is c o n c e r t o
c e r t o , N o. 11931 and p a r t i c u l a r ­
2 la s t C ol s e t 249 l y th e l a s t
m ovem ent. movement o f f e r
th e trum pet an
o p p o r t u n it y t o
e x h i b i t th e e x ­
trem e u pper
regi s te r ,
HORN T i l l E u le n - STRAUSS V ic 11724 EULENBERG p 3 -5 ;
a p ie g e i. r . 11725 t h i s p a ssa g e
C o l 674 78D e x h i b i t s the
67479D w h ole range o f
th e h o r n .
HORN Symphony TSCHAI- v i e M- 2 0 3 KALMUS p b y ;
No. 5 ; 2nd KOWSKY C o l s e t 104 s u s t a in e d m elody
m ovem ent. a g a in s t s tr in g
back grou n d , a t
th e b e g in n in g
o f th e movement.
F ir e B ir d STRA- V i c K -291 CHESTER p 7 0 .
S u it e ; VINSKY C o l s e t 115 The h o rn u sh e rs
F in a le I n th e f i n a l e ,
a g a i n s t a q u ie t
bu t v ib r a r t
orch estra .
P la n o c o n - BRAHMS V ic M-BO SIMROCK p 3 . A
con certo d i a l o g betw een
N o. 2 ; 1 s t h o rn and p ia n o
m ovement. o p e n s th e m o v t.
Symphony BRAHMS V ic M-301 EULENBERG p 101
N o. 1 . 4 th C o l s e t 103 (m e a s . 3 0 -3 8 ,
m ovem ent. a t th e P iu
A n d a n te .
Don Juan STRAUSS V io M-351 EULENBERG p 7 0 .
R. V ic 9 1 1 4 -5 I q u o te th is
C o l 67386-D fam ous p a ssa g e
67387-D h e r e a lth o u g h
I t I s f o r fo u r
h o r n s u n is o n , as
th e e f f e c t i s
t h a t o f an am-
pl i f l e d s o lo .
TROMBONE R u ssia n RIMSKY- v ie 7018 KAIHUS p 4 2 . A
E a ster KORSAKOFF 7019 r e c it a tiv e
O v ertu re a g a i n s t su s­
t a i n e d C e llo s
and B a s s e s .
TROMBONE
Symphony SIBEL- V i c M-3Ô4 HANSEN j f g f The
No. 7 IUS s e c o n d them e.
P u lc in e l- HTRA- C o l X -36 ED. RUSSE DE
l a ; M inuet VINSKY MUSIHUE, p 5 7 -8
movement. S o lo accom panied
b y C e l l o s and
B a s s e s o n ly .
Peg· 66 THE MUSICAL MERCURY

Page 66 SOLO INSTRUMENTS i c o n t . ì

INSTRUVENT WORK COMPOSER RECORDING SCORE
TUBA Symphony SZOSTA- V i c M-192 ED. RUSSE DE
No. I ; KOWICZ MUSIQUE p 5 1 .
3rd m o v t·

P e tr o u e h - STRA­ V io II-4 9 KALMUS p 1 1 5 .

ka ; Dance VINSKY C o l s e t 109
o f th e
Pea san t
• and th e
B ear.

P ic t u r e s MOUSSORG- V i c H -102 The R a vel s c o r e

a t an SKY, a r r . i s n o t p u b li shed
E x h i b i­ RAVEL th e o r ig in a l f o r
t i o n m o v t; p i a n o , may b e
B yd lo c o n s u lt e d l n
SCHOTT, p 1 5 ;
o c c u r s at b e g in ­
n in g o f th e m ovt
PERCUSSIOH
TIMPANI Symphony RSSTHO- V io M-236 KAIMUS p 8 2 ; Un­
N o. 9 . ; VEN C ol s e t 227 a cco m p a n ie d s o l o
2nd m o v t. i n th e f i f t h
m e a su re , i s
h e a r d a g a in later
i n th e m ovem ent.
Symphony SIBEL­ V i c M-290 B AND H , p 81
No. 1 ; IUS C o l s e t 151 th e f i r s t s t a t e ­
3rd m o v t. m ent o f th e
r h y th m ic m o tiv e
on w h ich th e
movement i s
based.

TI’ " PANI Symphony SZOSTA- V i c M-192 ED. RUS5E DE

N o. 1 ; KOV/ICZ MUSIQUE p 8 5 ; in
4 th m o v t. th e m id d le o f
th e movement, an
u n accom p an ied
s o l o , f f f , then
pp c o p e r t i ( s i c )
a ccom p a n ied b y
s tr in g s .
A ls o S p ra ch STRAUSS V ic M -257 EULENBERG p 5 ,
Z a r a th u s tr a R. f f . At t h e 'b e -
g in n in g o f th e
w o rk , f o l l o v d n r
th e trum pet
passage r e fe r r e d
to above.
S i e g f r i e d 's WAGNER V ic 9049 EULENBERG p 1 , 2 ,
F u n era l C ol 68044-D The som ber mood
"a rch i s s e t a t th e
b e g in n in g b y
u n accom p an ied
t im p a n i.
TH E M U S IC A L MERCURY P a g · 67

SOLO INSTRUMENTS ( c o n t . )
INSTRUMENT WORK COMPOSER RECORDING SCORE
HARP* N u tcra c k e r TSCUAI- V ic M -265 EULr.NBERG p 105
S u i t e ; m ov t; KOWSKY C o l 50104-D t o 1 0 6 . Cadenza
Dance o f th e 50105 -D i n th e i n t r o ­
F lo w e r s . 50106-D d u c t io n t o th e
m ovem ent.
C a p r i c e !o RI VSKY- V ic 11827 KALMUS p 4 3 ; a
E spagn ol KORSAKOV 11828 ca d e n za n ea r
th e b e g in n in g
o f th e s e c t i o n
"S ce n e and g i p ­
sy s o n g " .
PIANO The P ian o i s s o f a m i l i a r t o a l l th a t i t i s , I f e e l
u n n e c e s s a r y t o q u o te s p e c i f i c e x a - r l e a o f i t s u se in
o r d e r t o d e m o n stra te i t s to n e q u a l i t i e s , ^ t ha3 n o t
b een c o n s id e r e d as one o f th e members o f th e o r c h e s t r a '
f a m i l y , th ou gh modern co m p o se rs a re b e g in n in g t o i n ­
c lu d e i t S3 such in some o f t h e i r s c o r e s , such a s , a . r .
S tr a v in s k y * 3 "P e tr o u c h k a " and S z o s ts k o w ic z * Symphony
NQl.
*The h arp i s , o f c o u r s e , a p lu ck e d s t r i n g e d in s tr u m e n t. L ik e the
p ia n o i t i s o n l y a v i s i t o r and i s a s s o c i a t e d in th e p r 'n t e d s c o r e
wi th th e p e r c u s s i o n .

SOLO INSTRUMENTS ( c o n t . l
INSTRUMENT WORK COMPOSER RECORDING SCORE
SIDKDKUM B o le r o RAVEL V ic M—352 IMjkand p i . The
C o l K—22 s id e drum h a s
th e c h a r a c t e r ­
i s t i c r y th m ic
f i g u r e a t th e
very o u ts e t.
tfftlBALS Romeo TSCHAI- V i c M-46 KALMUS p 2 0 - 2 1 .
and J u l i e t KOWSKY V i c M -347
C o l X -3 3

BASS DRUM The c l e a r e s t exam ple may b e fo u n d a t th e end o f L 1·

H i s t o i r e du S o l d a t , b y S t r a v in s k y , w h ich i s m e n tio n e d
u n d er P e r c u s s io n c o m b in a t io n s , b e lo w , ( q . v . )
TAM-TAM Symphohy TSCHAI- V ie M-85 KALMUS p 2 3 0 ;
N o. 6; KOWSKY V ic M -337 U sh ers i n th e
4 th m o v t. C o l s e t 277 Trombone c h o r a le
and th e f i n a l
s e c t i o n o f th e
m ovem ent.
TRIANGLE Symphony N o. BRAHMS V i c M -185 KALMUS p 9 3 -4
4 ; 3rd m o v t. C o l M -242 A p p ea rs w ith
C o l s e t 335 th e s e c o n d theme
in mm. 6 2 - 4 ,
6 6 - 8 , 7 6 -T .
CELESTE N u tcra ck er- TSCHAI- V ic M -265 EULJNBERG p 5 0 .
S u i t e ; m o v t: KOWSKY C o l 50104-D f f . ; ta k e s th e
Dance o f th e 50105-D le a d in g r o l e .
S u gar Plum 50J06-D
F a ir y .
*««· M ____________ ___________________________ THE MUSICAL MERCURY

SOLO INSTRUWEHT3 (e o n t .)
INSTRUMENT ____ IfiBE________ COMPOSER ItefioRbiNa SCORS
STRINGS
VIOLIN B ln Halden­ STRAUSS V ie K-44 EULrnberc; t> 4 5 ,
le b e n · R. ff.

Sohehora- RIMS1CY- Vlo V -2 6 9 EAU’US p 4.

xuda; movtt KORSAKOV Col s e t 136
Tha Saa and
S ln b a d 'a
S h ip ·

Danse Macabre SAI NT- Vie 14162 KAL’ TJS p 2 , f f .

SASN3 A good example
o f the s o lo
v i o l i n se o rd a -
tu p a ; the In ­
stilm e n t l a tuned
to G.D.A and Eb.
VIOLA Caucaslan IP P O U - V ie 1183 KALf'US p 4 0 .
S k e tch e s; TOV A lte r n a tin g with
m o v t ., In IVANOV s o lo E .H .
th è v illa n e
VI OUN­ Don Q u lx - STRAUSS Vie M-144 UNIVERSAL p 5 9 -
CELLO o t e ; V aria- R. 61.
tlo n V .

Bnlfpna ELGAR Col s e t 1 65 NOVEILO p 8 2 .

V a ria tio n a
(N o. 12 )

Symphony SIBEL­ V ie N -16 0 B AND H p 4 0 .

No. 4 ; IUS Near the begin­
4th m ovt. ning o f the
m o v t.t a g a in st
su stain ed chord
In horns and
c la r in e ts .
DOUBLE P u lc in e l­ STRA­ Col X—36 ED. RUS"E DE
BASS l a ; m ovt: VINSKY NUSIHUE p 5 2 ,f f .
D uetto The p r in c ip a l
m elodic p a r t ,
to g eth e r w ith
the trombone.

After having been introduced to the "primary colors” of the orchestra we pan
on to the first degree of complexity, namely intrachoral combinations. By an intra­
choral ^ M n n n we refer to the employment of instruments from the same orches­
tral choir, either string, woodwind, brass or percussion. (A higher degree of complexity
is attained by mixing choirs: this we term inTER.choral combination.)
Let us turn to woodwind combinations first. The first type o f combination that
comes to mind is the combination o f tw o or more o f the same instrument. Most o f
the woodwinds are called for in pairs in the classical scores, but with Berlioz and W ag­
ner and their successors it is not uncommon to find woodwinds called for in groups
o f three. They recognized the fact that at least three o f the same instruments were
necessary if a chord v. as to sound in which every tone was o f the same color. Only
occasionally do we find more than three o f the same instruments called for.
 Pag® 69
THE MUSICAL MERCURY

Instruments are best used in pairs or groups when we wish a chord (or a chord
sequence) to sound homogeneous; when we wish no one voice to be more prominent
than any other by virtue of distinction of tone quality; and when we wish to hear a
primary chord, one, that is, which is not coupled to a higher or lower register.
HÖHOGBNEOUS
WOODWIND COMBINATIONS
COMBINATION WORK COMPOSER RECORDING SCORE
FLUTE
f a m ily
2TCTTSS L 'A r l e - BIZET V i c M-67 EULENBERG p 4 8 .
S ien n e C o l X -6 9 The d u e t a t th e
S u i t e , N o. b e g in n in g o f th e
1 ; m o v t; A n d a n tin o m id d le
C a r illo n s e c tio n .

2 FLUTES Symphony SIBEL- V i c 13-333 HANSEN p 6 8 -9 ;

No. 5 ; IUS The p r i n c i p a l
2nd m ov t. theme a t th e
b e g in n in g .
3 FLUT :S N u tc r a c k - TSCRAI- V ic M-265 EULENBERG p 9 1 ,
o r S u ite ; KOWSKY C o l 50104- f f . A tr io o f
m ovt : 5-6D f l u t e 3 haa th e
Dance o f p r i n c i p a l them e.
th e F lu t e s

PICCOLO, Daphni 3 RAVEL V i c 7 1 4 3 -4 DURAND p 4 5 -6 1

2 F LUT ·:3 , and C hloe An u n r i v a l l e d
BASS FLUT-: S u ite exam p le o f
N o. 2 id io m a tic
w r it in g f o r fo u r
members o f th e
f l u t e fa m ily .
SINGLE RE CD
fa m ily ................... ............................................................................................... ..........................
2 CLARINETS R h a p sod ie RAVEL V Io 8 2 0 2 -3 DURAND p 8 .
E spaf^ iol

Symphony S IBEL- V ic M -394 KALHUS p 32;

N o. 3 ; ITJS p i c k up th e
2nd m o v t. p r i n c i p a l theme
fr o m tw o f l u t e 3
an d c a r r y I t on .
(PICCOLO The R it e STHAVIN- V ic F- 7 4 KALMU3 p 3 8 .:
*E(CLAR. o f S p rin g SKY C o l s e t 129 t h e h e g ln n L n g
(E b) o f t h e " S p r in g
(BASS R o u n d s" s e c t i o n .
CLAR .
(3 b )

4 SAXO­ S ch e r z o BOZZA C o l L88-M (P u b lis h e r , i f

PHONES a n y , l a n ot
Se ren ade FRANCAI K C ol 398-M k n ow n )
Comique
DOUBLE REED
fa m ily
2 OBOES Symohony SI DEL­ V ic W-160 B AND H d 5 5 - 6 .
N o. 4 ; IUS A g a in s t s t r i n g s
4 th m ov t, p iz z .
Peg· 70 THE MUSICAL MERCURY

HOMOGENEOUS
WOODWIMD COMBIHATIOHS ( o o n c l . )
COMBINATION WORK COMPOSER RECORDING___________ SCORE

4 OBOES The R i t e STRAVIN­ V i c M-74 KALMUS p 7 4 - 5 ;

o f S p r in g SKY C ol 3 3 t 129 The q u a r t e t a c ­
com p a n ies th e
m e lo d y I n th e
b a a s f l u t e and
s o lo v io l in .
BASSOONS Don Q u ix­ STRAUSS V i c tf-1 4 4 UNIVERSAL p 7 8 ;
o t e ; V a r i­ R. A p e r f e c t exam­
a t io n IX . p l e o f u h a ccom -
p a n le d b a s s o o n s
*A number b e s i d e th e b r a c k e t I n d i c a t e s th e c o n ­ In two p a r t
s t a n t d is t a n c e t h a t I s m a in ta in e d betw een th e c o u n t e r p o in t a t
p a rts. 8 r e f e r s t o an o c t a v e , 16 t o a d o u b le th e b e g in n in g o f
o cta v e , e t c . th e v a r ia t io n ·

HOMOGENEOUS
WOODWIND COMBINATIONS ( c o n c l . )
COMBINATION WORK COMPOSER RECORDING SCORE
2 BASSOONS A cadem ic BRAHMS V ic 683 3 KAUfUS p 2 1 ; th e
F e s tiv a l V ic 12190 theme "w as konxnt
O v e r tu r e C ol X -4 2 d o r t von d e r
H o h ·" , in 2 / 4 .
(BASSOON Symphony SIBEL- V ic N -2 7 2 B AND H p 3 9 - 4 0 .
I N o. 2 ; I US C o l s e t 149 A ooom panled b y
8 (BASSOON 2nd m o v t. tim p a n i and
II c e l l l p ls r .

4 BASSOONS The R i t e STRAVIN- V i c N -74 KAUfUS p 1 0 1 -2 ;

and 1 C on - o f S p r in g ; SKY C ol s e t 129 13 m easu res, a c ­
tr a -B A S - m o v t: The com pan ied b y
SOON. E v o c a t io n c e l l l and b a s s l
o f th e An p e d a lp o in t .
ce sto rs.

2 OBOES B ra n d e n - BACH V ie 1 1 7 8 1 -2 EULENBERG p 3 8 .

1 BASSOON b u r g Con­ J .3 . C ol s e t 249
c e r t o N o.
I t m ov tt
T r io n o . I

N ow let us consider mixed families within the larger woodwind choir. A common
method o f combined families is to have one voice doubled at the unison or the octave
by an instrument from another family. The result is a color that is like the tw o "in ­
gredients” , but it will have a character all its own, just as orange is close to red and
yellow but is quite distinct as a color. A n extension o f this principle is the tripling
or even quadrupling o f a single line.
When they are combined to form harmony it will be found that certain instru­
ments do not go well with others in various positions: for example, the oboe in the
low and middle registers has a penetrating quality that makes combinations with the
flute, which is weak in that register, quite ineffective. Discrimination and taste rather
than hard and fast rules must guide the student in this matter, which, especially in
the case o f the woodwind choir, offers so many possibilities.
THE M U S IC A L M E R C U R Y Page 71

HETEROGENEOUS
WOODWIND COMBINATIONS
COMBINATION WORK COMPOSER RECORDING ________ SCORE
A b b r e v ia tio n s : P I , P i u t e : Ob, U boe: C l , C l a r i n e t : F g , B a s s o o n :
Hr, H orn ; T r , T rum pet: T rim , T rom bon e; T b , T u b a :
V I . I , F i r s t V i o l i n s : V I . I I , S econ d V i o l i n s : V i a ,
V i o l a s ; V i c . , V i o l o n c e l l o s : Cb, D o u b le b a s s e s ;
P i c o , P i c c o l o : E . H ., E n g lis h H orn: BC1, B a s s c l a -
r l n e t : K f g . D o u b le -b a s s o o n .

TWO
fa m ilie s
1 (1 P I . Symphony N o . DVORAK V ic M -275 SIMROCK p 1 6 ;
(1 Ob. 5 ; 1 s t m o v t. C ol s e t 77 The se c o n d thane
I n g m in o r .
1 F I. Symphony N o . HATDN V ie M-139 EULENBERG p SA­
8 Ob. 1 6 , ln G BS. Near th e
( O x f o r d ) ; 2nd c l o s e o f th e
movement. m ovem ent, u n a c­
co m p a n ie d .
1 F I. p a s s io n A c - BACH V i c M—411 B AND H (B a c h 's
8 E .H . c o r d in g t o J .S . M-412 w ork s, v o l . 4 ) :
S t . M atthew : 2J-413
I n t . to Sop.
A r ia , "A us
L ie b e w i l l
mein H e ila n d
ste rb e n .

2 F I. The M oldau SMETANA V ic 1 1 4 3 4 -5 URBANSK p 4 - 6 .

2 C l. R a p id f i g u r a t i o n
p i c t o r i a l in
c h a ra cte r, in
th e i n t r o d u c t i o n
b e f o r e th e p r ln -
o l p a l th em e.
2 F I. SÏMPHONY SIBELIUS V ic M-272 B AND H p 1 0 8 -
2 Fg. N o. 2 ; C o l s e t 149 H O . An u n u su a l
4 th m o v t. exam p le o f
th ese In stru ­
m en ts i n c l o s e
h arm on y.

3 F I , 2 O b. R u ssia n RIMSKY- V ic 7 0 1 8 -9 TALVT7S p 1 . The

2 C l,2 Fg. E a s te r KORSAKOV f i r s t th r e e
( a l l in O v e r tu r e m e a s u r e s . N ote
u n is o n ) th e o r g a n -lik e
ton e q u a lit y .
1 P lo c . Symphony TSCHAI- V io H -48 KALMUS p 1 1 1 -
2 F I. N o. 4 : KOWSKY V i c M -327 1 1 3 . The A
2 °b . 3rd m o v t. C o l s e t 133 m a jo r s e c t i o n
2 C l. f o r w oodw inds
2 Fg. a l o n e ; v a r io u s
c o n c ilia tio n s o f
th e s e ln a tr u -
P«9 · 72 THE MUSICAL MERCURY

Turning to the Brass Instruments, now, we find that many o f the generalizations
wade concerning woodwinds apply here too. It is rather important to note that the
brass choir is a more homogeneous group than the woodwind choir. The tone in every
case is produced by an air column vibrating syympathetically with the performer’s lips.
In the woodwinds there are three different methods of producing tone, by setting
an air column directly in motion, or through a single or a double reed, each o f which
produces a distinctive tone color. In the brasses, since the vibrating medium is a
common factor, the principal distinction is made on the basis o f the shape o f the
bore o f the tube. Horns and tubas have conical bores, trumpets (and cornets) and
trombones have cylindrical bores. This difference in shape causes the former group to
have a full, mellow tone, while the latter has a brilliant, sharp quality. The former
lends itself to legato passages o f a lyrical nature, the latter to marcato passages o f a
dramatic natu/e. Despite these differences, however, the brasses form, next to the
strings, the most homogeneous choir in the orchestra.

COWHTNATI ON WORK COMPOSER RECORDING SCORE

2 H r. C on certo f o r BESTH'O- V lo 11-155 B AND H, (B e e -
P la n o , N0 . 5 : VEN C ol s e t 243 th o v e n s w e r k e )
1 s t m ovem ent. p . 3 0 8 (4 6 ) s
a f t e r p ia n o
caden aa.
3 H r. Symphony N o. BEETHO- V lo 11-115 PHI LHARHONEA ,
3 i 3 r d m o v t. YEN " M-263 p 112, f f . In
C o l . s e t 285 th e t r i o .

4 H r. H a n sel and HUMPER- V lo 7436 SCHOTT, p 1 ;

G r e t e l.o v e r ­ DINCK V ic 9075 th e f i r s t two
tu re . V ic 11929 b a r s , unaccom ­
p a n ie d : th e n
w ith P g.
2 T r. Symphony N o. SIBEL­ V ic M-333 HANSEN p 1 2 9 ,f f .
5 : 4 th m o v t. IUS

3 T r. E in H e ld e n - STRAUSS V ic M-44 EULENB3RG p 8 1 -

le b e n R. 8 4 . The c a l l t o
b a tt le .
3 T rbn. S ie g fr ie d s WAGNER V ic 9007 KALMUS p 1 : The
and T b . R hine Jou rney V ic 1 4 0 0 7 -8 P a te theme a t
fr o m " G o t t e r - C ol 68101-D th e v e r y b e g i n ­
d a m eru n g ". n in g . T h is shculd
b e p la y e d , a c ­
c o r d in g t o th e
o r ig in a l In te n ­
t i o n , by fo u r
tro m b o n e s: mca t
o r c h e s t r a s em­
p l o y a tu b a f o r
th e b a ss m r t .
Symphony No. TSCHAI - VIC M-95 KALMUS p 2 3 0 .
6': 4 th m o v t. KOHSKY V ic M-337 The c h o r a l e ,
C ol s e t 277 Ju st b e f o r e th e
coda.
4 H r. C a p r ic o lo RIVSKY- V ic 1 1 8 2 7 -8 KALMUS p 3 7 - 3 8 .
2 T r. E a pa gn ol KORSAKOV S cen a e c a n t o
g it a n o , cad en za
a t th e b e g in n in g
o f th is s e c t io n .
THE M U S IC A L M E R C U R Y Page 73

BRASS COMBINATI0H3 f o o n c l . )
COMBINATI ON WORK COMPOSER RECOHDIHO _SCORE
T r. f ) Fdre STRA- Col s e t 115 ssi
(T r. 1 1 )8 Bird VINSKY (n o t in V ic The 7 /4 a l l e g r o
8 (T rb n . I ) 3et) non t r o p p o n e a r
(T rb n .T I c lo s e o f f i n a l e .

1 T r. Symphony FRANCK V ic M-300 KALMUS p 1 1 3 -4 .

2 C orn ets C o l 36t 121 The s e c o n d th en e
2 T rim . f i r s t s ta t e m e n t.

. An e x c e l l e n t exam ple o f th e d i f f e r e n c e betw een h o rn and t r o n -

b o n i , may b e fo u n d a t th e v e r y c l o s e o f th e T sch a ik cw sk y 6th sym­
ph ony, 1 s t m o v t . , where th e h o rn s and th en th e trom bones h o l d th e
same c h o r d , s u s t a in e d .
V i c V -3 5 KALMUS p 8 1 .
V ic Y -3 3 7
C ol s e t 277
The field o f percussion combinction is still largely to be explored. It is only
in recent years that these instruments, (on the whole the favorite and most widely used
among primitive and oriental cultures, some of which have attained a high degiee of
complexity and sophistication) have been regarded with any serious attention by our
western composers. Our modern, "rhythmic age” should be one in which interest in
percussion instruments will be revived.

PERCUSSION COMBINATIONS
COMBINATION ___ WORK________ COMPOSER RECORDING ____ SCORE
P ian o and C o n c e r to BEETS0 - V ic M-155 P AND H {B e e th o ­
Timpani N o. 5 f o r VEN C o l s e t 243 v e n s w e r k e ), p .
P ia n o ; 3 rd 3 4 9 -5 0 (8 7 -8 8 ),
m ovem ent.

Timpani C a p r ic c io RIMSKY- V i c 1 1 8 2 7 -8 KALMUS D 4 0 - 1 .

Tam bourine E sp a g n ol KORSAKOV I n t r o d u c tio n to
Cymbals scen a e c a n to
g l t a n o , Ju st
a f t e r b r a s s and
v i o l i n ca d en za s.
2 S id e drums T,' î i s t o l r o STRA­ C ol s e t 184 FHILHARUONIA, p
w ith o u t du S o ld a t VINSKY 6 8 . The l a s t 14
sn a re3, m ea su res o f th e
1 sn are drum , w o r k . Unaccom­
1 b a ss drum. p a n ie d .

13 n c r fo r m - I o n iz a tio n VARESE C o l 4095-M HEW MUSIC

0T3 on p e r ­
c u s s io n i n ­
stru m en ts ;
ln c lu d in ’ ;
v a r ie t ie s o f;
cym.ba 1 s
drums
gon gs
s ir e n s
C h in ese
b lo c k s
s le ig h b e l l s
t u b u la r
ch im es
ca sta n ets
c e le s te
ta m b ou rin e
p ia n o
Pag· 74 THE MUSICAL MERCURY

The string choir is the most homogeneous o f the four orchestral choirs. It has
become, through usage as such during the last two hundred or so years, the fundamen­
tal choir. The composers we identify with the classical period used the woodwinds,
brass and percussion as elements to be added to the strings, which, as a body, were
to be heard almost continuously. The woodwinds were employed singly in solo passages,
in small combinations, and together with the strings in tutti passages in order to se­
cure contrasts in timbre, dynamics, etc. The brass and percussion were reserved almost
exclusively for the last mentioned purpose.
The string choir is employed as a perfectly homogeneous group. This does not
mean that each instrument lacks individual character but rather that they blend to­
gether in such a way that different stringed instruments sounding together produce
the effect of a group o f the same instrument. This is sometimes true in the brass, but
rarely so in the woodwinds.
A n important and unique distinction associated with the strings is the multiplicity
o f instruments. In the orchestral score each wind part is performed by one man. In
the strings it may be performed by from eight to eighteen men. There is an unmis­
takably different quality between one and eighteen men playing the same part, and the
difference is more than that o f intensity. It follows rather from the fact that it is
impossible for eighteen men to be playing the same thing at one time, with the iden­
tical pitch, with the same vibrato, phrasing and nuance. Each section o f the choir
may be split up into two or more parts (divisi) and there may be one or more solos
from each section.
STRIHO COMBINATIOHS
COMBINATION YORK COMPOSER RECORDINO SCORE
4 s o lo V I. L oh en g rin ; I ao UEr V ic 14ÓÓS KALwtlS p . 1 - 3 ;
The o t h e r V I . P re lu d e t o (m e s s . 5 - 1 9 . ) ;
d iv is i a 4 A ct I u n a ccom p a n ied
h ig h v i o l i n s .
8 s o lo V I. E u ryan th e WEBER V ic 9398 KAIATOS p . 2 1 ;
(o c c a s io n ­ O v e rtu re V ic 12 0 3 7 (ra sa s. 1 2 9 - 1 4 3 ) .
al V i a .) The l a r g o m id d le
s e c t i o n : th e
number o f r e s i
p a rts v a r ie s
from f o u r t o
seven.
V l.I d lv .a M idsunner MENDELS- V ic 1 1 9 1 9 - .KALMUS p . 1 , f f .
V I .1 1 2 N i g h t 's SOHN 20 Im m ed ia tely
( o c c a s io n ­ D reans fo llo w in g th e
a l l y d iv .a 2 ) O v e rtu re woodwind I n t r o ­
d u c t io n .
2 s o lo V I. O v ertu re TSCHAI- V ic 9 0 2 5 -6 EITLENBERG p 1 - 2 ;
4 s o lo V ie . "1 8 1 2 · KOWSKY T hese s t r i n g s un
a cco m p a n ie d .
5 s o lo V ic . O v e rtu re ROSSINI V ic 2 0 6 0 6 -7 GTJIDI, p . 1 , f f .
Cto. d i v i ­ W illia m Col s e t X-SO The slo w i n t r o ­
si a 2 T e ll C ol 2 0 7 8 -9 -M d u c t i o n .

V I. I Symphony BEETHO- V ic M-115 PHI LHAR’ *ONI A p

V I. II N o. 3 ; V3N V ic M-203 1 3 0 ; (m e a s . 4 5 -
V ic . 4 th m o v t. Col s e t 285 5 9 ) . The f i r s t
two v a r i a t i o n s .
V l. I L 'A r l e s - BIZET V ic M -67 EULENBERG p 3 7 -
V I. II le n n e C ol X -6 9 3 8 . The e n t i r e
V ia . s u i t e , N o. m o v t. f o r t h e s e
V ic . 1 t Adag- in s tr u m e n ts
le t to a lo n e .

(V ic . R u s t ic 00 ID - V ic M -103 SCHOTT p 1 - 2
8 ( w ed d in g MARK The fir s t 39
(C b . symphony : m eas. a l o n e .
1 s t ra ovt.
 TH E M U S IC A L M E R C U R Y Page 75

STRING COMBINATIOHS ( c o n c i . )
COMBINATION WORK COMPOSER -BEgpRfilNG........ SCORE
Symphony BEETHO- V ic tt-2 3 6 KALMTTS p 165
8 <Cb N o. 9 ; VEN C o l s e t 227 (m e a s. 9 2 -1 1 5 )
4 th m o v t. The p r i n c i p a l
th em e, unaccom ­
p a n ie d .
V ia . Symphony BEETHO- V i c M-17 EULENBERG p 7 9 -
V lo .(l/2 ) No. 7 ; VEN V ic M -317 8 0 . (m e a s. 3 -2 6 )
o ( V ic .(1 /2 ) 2nd m o v t. C ol s e t 260 N ote th e d iv i d e d
(C b . V ie .

1 ( V ia . Symphony BEETHO- V ic M -245 EULENBERG p 3 1 .

1 (V ic . No· 5 ; VEN C o l s e t 254 th e f i r s t e ig h t
C b .(p lz z ) 2nd mo vt · b a r s o f th e
p r i n c i p a l th em e.
1[ V l . I ) C on certo BEETHO­ V ic H-156 FHILHARVONIA,
[V I.1 1 ) f o r P la ­ VEN p 75, f f . A re­
V ia . n o , N o. 4 ; m a rk a b le u se o f
Ii v i o . i e 2nd m o v t. th e s t r i n g s a s
Cb. ) a s in g le r e in ­
fo r c e d v o ic e .
V I,, d l v . a 3 B ra n d en - BACH V ic 4 2 2 5 -6 EULENBERG p 1 ,
V la .d lv .a 3 b u r g Con­ J .S . C o l s e t 249 ff.
V lo .d lv .a 3 c e r t o No.
C b. 3 ; ls t m o v t.
(c e m b a lo )

VI . I ) p l e a ) Symphony TSCHAI- V i c M-48 KALMUS p 1 0 5 ,

V I .I I ( p le a ) N o. 4 ; · K0Ï7SKY V i c M-327 f f . The e n t i r e
V ia . (p le a ) 3 rd m o v t. C o l sot« 133 f i r s t p a rt o f
V ic . (p lz z ) th e m o v t . , a lcn e
C b. (p ia r )

V l.I S ch eh era­ RIMSKY- V ic 8 6 9 8 - KAL” US p 1 0 7 - e .

VI . H zade; KORSAKOV 8703
V ia . 3 rd m o v t. C ol set
V lo .d lv .a 3 136
C b.

V l.I Enl&na ELGAR C ol s e t 165 NOVELLO p . 52

V l.I I d iv .a 2 V a r ia ­
tio n s ;
1 (n a · , V ar.
(V ic . (1 /2 )
8 (V1 c . ( 1 / 2 ) N o. 9
(C b .

When two or more choirs are used together it may be with the intention o f se­
curing a unified, homogeneous sound, or it may be with the intention o f emphasizing
one tone color (or group o f tone colors) while employing another color (or group o f
colors) as a subordinate or complementary element. Homogeneity is desired, on the
whole, in harmonic passages, where chord blocks follow in succession. In melodic and
polyphonic sections it is wise to reognize the necessity of distinguishing between
those parts which the ear in listening will attend to· and those parts which merely
grace the principal parts. The orchestra must be used in order to create a hierarchy
o f sound, in other words, in which certain elements are subordinated to others.
Pag· 76 THE MUSICAL MERCURI

O f the four orchestral choirs the two that blend together most perfectly are the
woodwinds and the brasses.. This is due in a large part to the fact that both groups
produce their tone by setting air columns in vibration. N o other combination o f choirs
has the vibrating medium in common. The only difference between the two choirs,
outside o f the material from which they are constructed (and the modern flute is
m etallic), is that in one case the generator o f the vibration is the performer’s lips
and in the other case it is reed or the air-stream from the player’s lips (in the flute
fa m ily ).
A delicate balance between the two choirs depends upon the recognition o f the
greater penetration o f the brasses. A ny one o f the brasses can overbalance a woodwind
in the same register, with the possible exception of the oboe. The horn is the most
versatile o f the brasses as it mixes very well with both woodwinds and strings. Many
passages written otherwise for woodwinds alone include the horn. The bassoon and
horn have a great affinity in tone in the octave just below middle C. So do the flute
and trumpet in the octave just above middle C when played very softly.

WOODWIND AND BRA; QEPiBIMATI OHS

CO' B INATI ONS WORK_________ COMPOSER RECORDIWO_________ SCORE
P re d o m in a n tly
w ood -w in d

Ob. I Symphony BE5TH0- V ic tf-1 7 EULENBERG p 7 9 ,

Ob .1 1 N o. 7 ; VEN V ic M -317 1 0 6 . The op en ­
C l.I 2nd m ov t. C ol s e t 260 i n g and c l o s i n g
C l.I I ch ord s.
H r .I
F g .I
F g .I I
H r. I I

1 Ob. L oh e n g rin : WAGNER V ic . 14006 KALMUS p 2 5 —G.

2 C l. P re lu d e t o C ol . 6 8 594-D The f i r s t s t a t e ­
3 Fg. A ct I I I . ment o f th e
2 H r. se c o n d th em e.
2 F I. D ie * 'e i s t - WAGNER V ic 6 8 5 8 -9 KALMUS p 2 8 -3 0 .
2 Ob. e r s in g e r : V ic 6651 M eas. 1 2 2 -1 3 4 .
2 C l. P ro lu d e t o col 6 8 0 2 2 -D The b e g in n in g
2 Fg·, A ct. I Col 6 8 854-D o f th e Eb m id d le
2 H r. s e c tio n .

1 o b . ( s o l o) C on certo BRAHMS V ic M-402 SIMROCK p 1 1 0 .

2 F I. fo r V io lin : C ol s e t 1 1 7 f f . The i n t r o ­
2 C l. 2nd m o v t. d u c t i o n , 32 b a r s
2 Fg. b e fo r e V I .
2 Hr . en tra n ce.

F I . I , I I (W T Romeo & TSCHÄI- V Io M-46 BOTE AND S o c k ,

C l.I (D#) J u lie t K07ÎSKY V ic M -347 p 1 0 7 -9 . An u n -
O b .I (B ) Col X -3 3 u s u a l exam ple o f
C l.I I (F#) c l o s e harm ony,
E .H . (D#) p r o d u c in g an
H r .I (B ) o r g a n -lik e e f ­
F g .I (F #) f e c t . The n o t e s
H r .I I (D# o f th e f i r s t
F g .I I (B ) ch o r d a r c g iv e n
at l e f t in
v ~’ a c k e t3 .
THE MUSICAL MERCURY Pay· 77

WOODWIND AND BRASS COMBINATIONS ( c e n t . )

CWBINATIONS WORE COMPOSER RECORDING SCORE
2 Ob. P u l c in ­ STRA­ C ol X—36 ED. RUSSE DE
2 F g. e lla : VINSKY MUSIQUE;
1 H r. — G a v o tte — p . 48, f f .

1 Ob. — G a v otte
2 Fg. ▼ a r ia tlo n I
2 H r.
1 T r.
1 T rbn .

1 P I. — G a v o t t e , „■
1 Fg. V a r ia t i o n
1 H r. II

P r e d o m in a n tly b r a s a

2 F I. Symphony SZOSTA- V i c M-192 ED. RUSSE DE

1 C l. No. 1 ; 3 rd KOVTCZ MUSIQUE, p 5 8 - 9 .
1 T r .(s o lo ) movement R e p e t itio n o f
th e se c o n d theme
n e a r end o f m ovt.
T r. I P u lc in e lla ; STRAVIN­ C o l X -36 ED. FUSSE DE
H r. I T o c c a ta SKY «USIQUE, p 43
H r. I I The f i r s t 16 bare
T rbn . o f th e t o c c a t a .
F g s .I A I I

Ob. I , I I , B randen­ BACH, J .S i. V i c 11781 EHLENBERG p 4 0 .

III(u n is o n ) b u r g Con­ 11782
n r n .I c e r t o N o. C o l s e t 249
H r n .I I 1 ; T r io I I

rr. I Don Q u i x o t e : STRAUSS V i c M—144 UNIVERSAL p 5 6 -7

F g. I V a r ia tio n R.
T r. II H o. 4
Fg. II
T r. in

E qu al R e p r e s e n t a t io n

1 F g .(a o lo ) Symphony H o. SZOSTA- V i c M-192 ED. RUSSE DE

1 T r .(s o lo ) 1 : l a t m o v t. KOVICZ MUSIQUE, p . 1 .

2 Ob. Ruy B i a s , MENDELS­ V i c 11791 B AND H p · 1-·

2 C l. O v e rtu re SOHN
2 Fg.
4 Hr.
2 T r.
3 T rbn.

I '· ::ot>L ofH

r. a r t s
S5SÎTY
P .g . 71 THE MUSICAL MERCURY

Page 86 '.700D'YIND_ AND BRASS COMBINATI OKS ( c o n c i . )

COMBI NATIONS ~ WM3T_______ COMPOSER * "BBCOftDÏllO_________ SCORE

f i . i M agic MOZART V ie 1486 EULENBERG p 1 5 .

F l. II F lu ta C o l 6 7 6 6 0 -0 A t th e a d a g io
O b. I O v e rtu re I n m id d le o f th e
c l. I o v ertu re.
C l .1 1
A ir .1
H r. I
T r b n .I
H r. I I A
T r. I I
Trtan.II
T r t n .I I I *
F g # 1 8c I I

H a n sel and HUMPER­ V ic 7436 SCHOTT p 1 ,

G r e t e l , Over­ DINCK V ic 119 2 9 m ea su res 3 - 8 .
tu re. V ic 9075

The tw o most favored choirs o f the orchestra are the strings and tbe woodwinds.
The instruments o f these two groups do by far the most work, having within them
the greatest ability to bring forth variety o f utterance. In the orchestral works o f
Haydn and Mozart these two choirs are almost the sole contrasting choirs, apart from
tuttis in which brass and occasional timpani appear. In the second movement o f the
Haydn London Symphony in D major (152 measures), e. g., the strings appear in
all but ten measures, the woodwinds in 100 measures, the brass in 32, timpani in 16.
A common practice is the superposition o f a woodwind solo, duet, etc., upon
a string background. It is a rare case when strings have the melody with the winds
as accompaniment, though it may be very effective. The winds are also commonly
employed to double string parts at the unison or octave. The third general method
is to employ the full forces o f both choirs to produce as homogeneous an effect as
possible, as in chord successions.

Page 87 STRING AND WOODWIND COMBINATIONS

COMBINATION WORK COMPOSER RECORDING SCORE
P r e d o m in a n tly S t r in g s

1 F I. S u it e N o. BACH. J .S . V ic M-332 KALMUS : The F l

V l. I 2 f o r O r c h e s tr a C ol s e t 168 a p p e a rs I n each
V I. Π m ovement, s erne-
V ia . tim e s d o u b lin g
V ic . th e V l . , som e-
Cb. tim e s ln d e p e n d -
e n tly .
1 F I .(s o lo ) C on certo TSCRAI- V ic M-180 EULENBERG , p
V l.I (p is s l N o. 1 fo r KOWSKY Col s e t 1 4 1 1 1 0 -1 1 . T he h e -
V I .I X ( p i s s J P la n o : g in n in g o f th e
V ia . (p is s ) 2nd m o v t. m ovem ent.
V ie . (p is z )
GLINKA EULENBERG p 4 ,
>

R u s s ia n 7123
O

2 F I.
V l.I and L u d m illa ff.
VI .H O v e r tu r e
V ia .
THE MUSICAL MERCURY Page 79

co m bin ati oh WORK COMPOSER record THO SCORE

8 (1 n . T a r la tlo n s BRAHMS V ic M -355 B AND H, p . 22

(V ia . on a theme The f i r s t f i v e
b y Haydn. bar3.
V a r . V II
1 O b. Symphony H o. SIBEL- V ic M -160 B AND H p 1 4 -
Y1.T 4* 2nd m o v t. IUS V i c M—446 1 5 . The p r i n c i ­
n .n p a l th e m e .
T la .
T ic .
Cb.

1 O b. M other G oose RAVEL V i c 7 3 7 0 -1 DURAND p 4 . Be­

T l.T S u it e ;-m o v t . g in n in g o f th e
n a i P e t it F au cet m ovem ent.

p )1 Ob. Symphony H o. SCHUMANN V i c M-201 EULENBERG p 6 2 .

B ( V l c .( l /f e ) 4 ; 2nd m o v t. C o l s e t 106 B e g in n in g o f the
m ovem en t.
I (K «H* Romeo and TSCHAI- V i c M-46 BOTE AND BOCK,
( T la . J u lie t KOWKKY V i c M -347 p 3 7 - 3 8 . The
C ol X -3 3 s e c o n d theme i n
D b, a cco m p a n ie d
by H r ., V i c . ,
and C b . f i z z .
2 C l. Symphony H o. BEETHO- V ic lf-2 4 5 PHILHARMOHIA,
T l .I 5 ; 1 s t m o v t. TEN C o l s e t 254 p . i s T te o p e n ­
i l j l in g f o u r b a r s .
T la . O vertu re, MENDELS- V i c 11886 B AND H p 3 2 -3 5
T ie . P ln g a l's SOHN C ol 6 7 6 9 2 -® The s e c o n d theme
Cb. Cave a s I t ap p ears
In th e r e c a p l t u ­
la t l o n .
2 C l. Symphony Ho. DVORAK V ie M-275 SIMROCK p 6 3 -6 4
TL. I 5 : 2nd m o v t. C o l s e t 77 The se o o n d theme
T l.n o f th e m id d le
T la . s e c t i o n o f th e
T ie . m ovem ent.
8 (T 1 .I Symphony i n HAYDN V i c 4 1 8 9 -9 1 BULEHBERG p · 3 6 ·
(T 8 .I G , Mo. 88
(B 1HD H H o .
I S ) ; 4th
movement.

P g .I S ch eh e ra za d e s RIMSKY- V ic 8698- KALMUS p 4 7 . The

4 C b. s o l o s 2nd movement KORSAKOV 8703 b e g in n in g o f th e
C ol 3 e t 136 m ovem ent. F g .
m e lo d y o v e r s u s ­
t a i n e d open filth s
In C b .
(2 F g . O vertu re, MOZART V ic M -313 KALMUS p 1 - 2 ;
(T l.I ) The M a r r ia g e V ic 11242 The b e g in n in g .
l(T l.I I )l) o f F ig a r o V ic 14325
(T la . )8 C ol X -85
(T ic .)
C b. ) e
P a g · 80 THE MUSICAL MERCURY

STRING AMD VJQODffTTm CnMBTNATTnKS r-ont

COMBINATION WORK_________ COMPOSER____RECORDING SCORE

P re d o m in a n tly W oodwinda

1 C l.( a o lo ) Symphony Ho. BRAHMS y l c It- 4 2 KALMUS p 8 ; th e

1 P I. 3 : 1 s t m ov t. V ic M—341 b e g in n in g o f th e
1 Pg. C o l s e t 181 s e c o n d th e m e ,
V ia . ■ cas. 3 6 ^ 3 9 .
V ic . fp lz z ,
C b. (p is s )

1 O b .(s o lo ) Symphony No. BRAHMS V i c M—8 2 VAT-· I p . 8 0 .

2 C l. 2 : 3 rd m o v t. C ol s e t 265 M ea su re· 1 -1 1 *
2 Fg.
V lc .(p lz z )

2 Ob. Symphony No. BEETHO- V ic M -17 EULENBERG p 6—7 .

2 C l. 7 : 1 s t m o v t. VEIN V ic K -3 1 7 The f i r s t s i x
2 Pg. C ol s e t 250 b a r s o f th e
V I .I se c o n d them e i n
V l.I I t h e s lo w I n t r o ­
V ia . d u c t i o n . N ote
t h e u n o b t r u s iv e
use o f v i o l a s
a s an I n n e r v o ic e
O b. I , C l . I Symphony N o. SCHU- V lc * -2 6 8 BULENBSRG p . 2 .
O b .I I , C l . I I 7 in C : 1st BERT C o l s e t 88
Pg. X m ovem ent.
P g .I I
V I ,I (p lz z )
V l.I I (p lz z )
V l c . (p lz z )
C b. (p lz z )
E ^ u ai d i s t r i b u t i o n

O b. I Symphony BE3TH0- V ie K -5 0 EULEHBERG p 8 1 —

P g .I (o c ­ N o. 6 : 7EN V lo M -417 82. F ir s t s ta te ­
c a s io n a l) 3 rd m o v t. C ol s e t 210 ment o f th e
V I .1 se co n d them e,
V l.I I

1 P I. Symphony No. SIBEL­ V ic K -394 KALKUS p 1 0 .

C b. 3 ; 1 s t m o v t. IUS M eas. 9 -1 1 and
1 3 -1 4 a f t e r * 5 * .
2 C l.(o o c a - F in g a la MENDELS­ V lc 11886 B AND H p 9 , f f
\ s i o n a l ) C ave O v e rtu re SOHN C o l 6 7 6 9 2 -3 B The se co n d theme
o f th e e x p o s i ­
tio n
7 1 °* u n is o n )

2 C l. The M oldau SMETANA V l c 1 1 4 3 4 -5 HRBANEE, p 2 6 -

2 Pg. 2 7 . B e g in n in g
V I .I o f th e P e a sa n t
V l.I I N eddlng s e o t i o n ,
V lc .
C b.

P I .1 ,V I ,I C o n c e r t o N o. RACHMAH- V lc M-58 B AND H, (G u t -

2 C l . , V I .I I
(d lv .)
P g . I , V ia .
V lc .(p lz z )
Cb. (p lz z )
2 , f o r P la n o INOV H S IL ), p . 9 7 .
3 r d movement The se c o n d theme
i n th e r e c a p i t ­
u la tio n .
THE MUSICAL MERCURY Page 81

The emancipation o f the percussion instruments has been so recent that there is
not much available to the student in the wayof woodwind and percussion combination.
The examples have been arranged in the chronological order o f their composition.

WOODWIND AND PERCUSSION COMBINATIOHS

COYBIN ATI ON WORK COMPOSER RRnORTYTWO SCORE
I Ob. C on certo f o r BEETHO- V ic M-325 PETERS p i . Tye
2 C l. V io lin : 1st VEN C ol se t 177 f i r s t n in e b a r s .
2 P g. m ovem ent.
T im p a n i( 2 )
1 P le c . C a r n iv a l BERLIOZ V ic 9207 EULENBEKU p 1 2 -
1 P I. O v ertu re C o l 68921-D 1 3 . The m a ster
2 Ob. o f o r c h e s tr a tio n
2 C l. e x h ib it s h is
2 Pg. t a le n t in p o r­
c2 sm a ll t r a y i n g m u sica l
( s i d e drums sk y rock ets.
T r ia n g le
Tim pani

P I. (s o lo ) L 'A r l e - BIZET C o l 68882-D CHOTIDENS pn 2 9 -

Harp * sle n n e 31.
S u ite No.
2 ; M inuet

2 Ob. Don Q u i x o t e : STRAUSS V ic M -144 UNIVERSAL p 61

2 C l. V ar. V I. R. Im ita tio n o f a
1 B e l. r u ra l band.
8 Pg.
1 K fg .
Tam bourine

• F I. The P la n e ts HOLST C o l s e t 83 GOODWIN AND

1 Bass P I . m o v t: S a t­ TABBE; p 1 1 3 -1 1 4
8 Harps u rn .

In combining brasses and strings the composers o f the past have always pre­
ferred the horns over all other brasses. The horn is less obtrusive than the trumpet
and trombone and its multitude and richness o f overtones makes it a welcome ad­
dition to the string forces. It may be used as a solo voice, with the strings accompanying,
or it may be used (in pairs, usually) to fill in the harmony. In the latter case it is
customary to entrust to it the ‘ 'orchestral pedal” , usually a tone com m on to the chords
employed.

BRASS AND STRING COMBINATIONS

COMBINATION WORK COMPOSER RECORDING SCORE
1 H r. SymDhony TSCRAI- V ic M -253 KIEMtJS p 6 9 .
V I. I No." 5 · KOWSKY C o l s e t 104 The p r i n c i p a l
VI .1 1 2nd m o v t. theme a f t e r a
V ia . sh o rt In tro d u c­
V ic . t i o n I n th e
Cb. s tr in g s .
Symphony BRAHMS V i c N -82 KAXMUS p 4 9 -5 2
H o. 2 : C o l s e t 265 The b e g in n in g
1 s t m o v t. o f th e c o d a .
 Pag· 82 THE MUSICAL MERCURY

COMBINATION WoftK------------ COMPOSER RECORDING SCORB

2 H r. Symphony N o . BEETHO­ V io M-50 KOLbMtJKKU p 3 4 -
V I .I 6 ; 2nd m o v t. VEN V i c H -417 5 . The f i r s t
VI .1 1 C ol s e t 201 fo u r b a rs.
V ia .
2 s o lo V ic .
i r e m a in in g
\ V lc .( p I z z )
C b. ( p l z z )

VI . 1 , 1 1 C oncer- TSCHAI- V ic M-180 EULEHBERG p 1 4 2 .

(m e lo d y ) to fo r KOHSKT C o l s e t 141 F i r s t sta te m e n t
H orn I ) i n - ) P la n o o f th e s e c o n d
H o r n lljn e r ) H o. 1 : th em e.
H o r n lll)p a rts) 3 r d m o v t.
V ic .(p lz z )
Cb. (p lz z )

8 (V 1 .I ,1 1 Symphony No . SIBEL- V ie M-290 B AND H p 1 0 8 .

(V ia .,V ic . l j 4 th m ovt . IDS C ol s e t 151 I h e b e g in n in g
H r. T ,I I I o f th e m o v t.
T r im . I
H r. I I , 1 V
T r b n .I I
T rbn ,1 I I

Paradoxical though it may seem, the truth is that the tw o choirs most clearly
associated with each other in practice offer us the fewest examples for observation.
This is perhaps because both o f them were the last to become emancipated and recog­
nized as distinct and unique groups quite able to stand alone. They are only slowly
being accorded their "m inority rights” . I am referring, o f course to the brass and
percussion sections.. This close association can be discovered by the most casual ob­
server in most o f the symphonies of Haydn and Mozart, and the first tw o o f Beethoven.
The following examples are o f brass and percussion instruments alone.

BRASS AND PERCUSSION COMBINATIONS

COMBINATI ON YORK COMPOSER RECORDING SCORE
4 H r. Symphony TSCHAI— V ic M -48 “ TuRGENSON p 1 4 3 -
2 T r. No. 4 : XOWSKT V ic M -327 4 . At th e Tempt
3 T rb n . 3 rd m o v t. C ol 3©t» 133 I , fo llo w in g
Tim pani th e s e c t i o n In
w h ich th e w ood­
w in ds p l a y a lo n e
3 T r. Symphony N o. SIBEL­ V Io M-272 B AND H p 8 1 .
3 T rbn . 2 ; 3 r d m o v t. IUS C ol s e t 149 th e b e g in n in g o f
1 T u ba. th e r e p e t i t lo ti
T im pani o f part I , a ft e r
th e Tr l o .
4 H r. C a p r lc c io R iy s in - V ic 1 1 8 2 7 -8 KALMUS p 3 7 - 8 .
2 T r. E spagn ol KORSAKOFF The b e g in n in g
S ld e -D ru n o f th e sc e n a e
ca n to g lt a n o .
The last group o f tw o choirs is the combination o f strings and percussion. The
strings are not only able to contrast with the percussion, as in lyrical, or melodic
passages, but are able also to simulate percussion effects by virtue o f the pizzicato.
Examples o f both follow .
THE MUSICAL MERCURY Paga 83

STRING AND FERCUSSIPH COMBINATIONS.

COMBINATI ON WORK COMPOSER RECORDING____________SCORE
Harp* Symphony FRANCfK V i c M-30O KALMUS p 68—6 9 .
V I. I (p i* z ) 2nd m o v t. C ol s e t 121 The b e g in n in g
V X .I1 ( p i z z i o f th e m o v t.
V ia .(d iv ia l)
(p lz z )
V ie . (p iz z i
C b. (p lz z )

T im pani Symphony N o. BE8THO- V ic 1 -2 4 5 PHI LHARMONI A p

5 . 3 rd m o v t. VER C o l s e t 254 6 9 - 7 0 . The
V I. X b r i d g e p a ssa g e
VI .H
V ia . a t th e end o f
V ic . th e m o v t ., le a d -
C b. ln g t o th e
F in a le .
2 H arps The p l a n e t s ; HOLST C o l s e t 83 GOODWIN AND
Tim pani m o v t: Maps TABBE, p i . The
V I. I s t r i n g s p la y
V I. II o o l l e g n o . T h is
V ia . I 3 an accom pan­
V ic . im en t a f t e r
C b. two b a r s t o
b r a s s and low
w ood w in d s.
2 H arps A lb o r a d a d e l RAVEL V ic 8552 ESCHIO p 1 4 .
X y lop h on e G r a z io s o . C ol 68077-D T h is c o m b in a tio n
Cymbal a lt e r n a t e s w ith
M ilita r y s o lo bassoon .
drum The d iv id e d
C a s ta n e ts s t r in g s are a l l
V l.I (d iv .a 6 ) d o in g d i f f e r e n t
V I.I I (d iv .a 6 ) t h i n g s ; som eare
V ia .(d iv .a 5 ) p la y i n g p l z z . ;
V lc .( d iv .f t 4 ) o t h e r s h a rm on ica
Cb. (d lv .a 3 ) o r su r l a to u ch e

2 T im pani The R it e o f STRAVIN- V i c M-74 KALMTJS p 1 1 1 .

1 B ass Drum S p r in g SET C ol s e t 129 C lo s e o f th e
V ia . (p l z z ) R it u a l p e r fo r m ­
V ic . (p lz z ) a n ce o f th e a n ­
C b. (d lv .a 2 ) c e s t o r s ; s tr in g s
(p lz z ) and p e r c u s s io n
accom pany C l.
and BQ1.

O f all the combinations o f three choirs the most frequent one is that o f woodwind,
brdss and string. In the classical period it was not uncommon to omit percussion in­
struments from the score altogether. Thus one o f Mozart’s supreme contributions to
orchestral literature, the G minor symphony, is scored without timpani. So is the
slow movement o f Beethoven’s second symphony. There is no doubt but that these
three choirs are the least dispensible o f the four.
In speaking o f combinations o f brass and woodwinds or strings we mentioned
the extra capacity for mixing with other choirs that is possessed by the horns over
the other brasses. The same holds true in the cases to be observed below. With tw o
chairs to balance the brass section, however, trumpets and trombones may be used in
moderation if balanced sound is die objective. O f course, we may wish the brass
section to stand out, and this can be achieved even with a fairly full accompaniment
or background o f woodwinds and strings.
Page 84 THE MUSICAL MERCURY

It is primarily the problem of balance that should be the frame o f reference in

examining the quotations below and the great number that the student may find in
almost any score.

WOODWIND. BRASS AND STRING COMBINATIONS

COMBI NATI ON " Wo r k — COMPOSER RECORDING SCORE
1 F l.(m e lo - Symphony BRAHMS V ic M-185 KALMUS p 1 3 9 .
dy) N o. 4 · 4 th V ic M-242 The t w e l f t h
2 H r .(u n is ) movement C o l s e t 335 v a r ia t io n , 3 /2 .
V I. I
V I .I I
V ia .

c2 F I . Symphony BRAHMS V ic M-42 KALMUS p 7 5 - 7 6 ;

¿ ( l o w r e g i s t e r ) N o . 3 : 3 rd V ic M-341 The r e c a p i t u l a -
1 H r. ( s o l o ) m ovem ent. C o l s e t 181 tlo n o f p art
V I. I one·
VI .11
V ia .
V ic .
C b .(p iz z )

1 C l. Symphony N o. BEETHO- V ic M-181 KALMUS p 6 3 .

2 H r. E: 3 r d m o v t. VEN V ic H-336 The f i r s t e i g h t
V ic . C o l s e t 292 b a r s o f th e t r i o
C b .(P lz z )

1 Fg. L’ A r le 3 ie n n e EŒZET V i c M-62 EULENBERG 9 p 8 j

2 Hr .( u n i a ) S u it e N o. 1 : C o l X -6 9 The a n d a n tln o
V ic . P r e lu d e m id d le s e c t i o n .

3 Ob. B randen bu rg BACH, V ic 1 1 7 8 1 -2 EULENBERG; The

1 Pg. C o n c e r t o N o. J .S . C ol s e t 249 e n tir e f i r s t
2 H r. 1 : 1 s t m o v t. movement i s r e -
V I. I ccommended f o r
V I .XI stu d y .
V ia .
V ic .
C b.

i C l. Symphony BEETHO- V i c M-17 EULENBERG p 1 2 0 «

2 Fg. N o. 7 : VEN V i c M -317 1 21.- The b e g i n -
2 H r. 3 rd m o v t. C ol s e t 260 n ln g o f th e t r i o
8 (V I .I
(V I .X I

2 F g. Symphony No. BRAHVS V ic M-185 KALFTJS p 1 4 1 .

2 H r. 4 : 4 t h -n ov t. V i c M-242 The f o u r t e e n t h
3 T rb n . C o l s e t 325 (c h o r a le ) v a r -
V ia . ia tlo n .
V ic .( d lv .a 2 )

Another combination is that of string, percussion and woodwind.. W e have here

three groups of instruments all differing widely in character. A more closely knit
texture than would be anticipated, therefore, comes with the employment o f string
pizzicato and col legno, which approach percussion effects rather closely. The per­
cussion may be used as the orchestral pedal in a rather special way. A sustained note
or timbre may act as a pedal without the harmonic implications that arise when a
member o f any one o f the other three choirs is so employed. It has the advantages o f
a pedal and in addition the negative quality o f melodic and harmonic neutrality. This
is true ever, in the case o f the kettledrums, as in the last example mentioned below.
THE M U S IC A L M E R C U R Y Page 85

COMBI NATI ON WORK C0MPD3ER RECORDINÖ SUTTRB

1 C l. S ch e h e ra z a d e RIVSKY- V ie 8 6 9 8 -8 7 0 3 KALMUS p 1 1 7 ,
Tambourine 3 rd movement KORSAKOV C o l s e t 135 f f . The se co n d
V ia .(p iz z ) th e m e .
V i c .(d iv .a 3 )
Cb. ( p i e z )

1 C l. En Saga SIBEL­ V io 9 9 2 5 -6 B AND H, p 8 4 -5

C y m b a l( r o l l) IUS Tow ard th e c l o s e
V i. I
V l.I I
V ia .
V ic .
C b.

1 F I. B randenburg BACH, V ic 7 8 6 3 -4 PHILHAEMONIA p

1 V I .(s o lo ) C o n c e r t o N o. J .S . C o l s e t 250 3 3 , f f . The e n ­
1 P ia n o 5 ; 2nd m o v t. t i r e m o v t.
2 C l. Concerto f o r BRAHMS V io M -80 SIMROCK, p . 1 3 8 —
1 P iano Piano, No. 2 : 1 3 9 . I n th e
V ic . 3rd movement m id d le o f th e
m ovem en t.
2 P i. The Moldau SMETANA V ie 1 1 4 3 4 -5 URBANEK, p 3 —4 .
Harp N ear th e b e g in ­
V l.I X p is a ) n i n g , i n th e
V l.I K p lB i!) in tr o d u c tio n .

8 F g .( u n l a ) Symphony N o. TSCHAI- V ic M -253 KALMUS p 68

Timpani Si I s t m ovt. KOWSK C o l s e t 104 The l a s t 16 b a r s
V ie .
Cb.

2 P g .( B · ) Symphony Ho. SIBELIUS V ic M-272 B AND H p 3 9 -4 0 .

'Timpani 2 t 2nd m ovt. Col s e t 149 The b e g in n in g o f
F l o . (p lea ) th e f i r s t th em e,
a f t e r in t r o d u c t iil·

The complete absence o f strings for any extended period o f time is rare in or­
chestral music. W ith technical improvements in the woodwinds and the permanent
addition o f chromatic horns and trumpets to the orchestra composers o f the nineteenth
and twentieth centuries have found that the strings may be abandoned without re­
sulting in paucity o f resource to them. Experience has proven, over and over again,
however, that the string color is the least wearying o f all, and therefore, even with
the new wind and percussion capital, composers have been reluctant to part for long
with the strings. Below are a few examples o f combinations of woodwind, brass
and percussion instruments, without any strings.

WOODWIND, BRASS AND PERCUSSION COMBINATIONS

COMBINATION "TORE------------- Composer RECORDING SCORE
X Pi Sc".--------- Symphony N o. BE3TH0- V i c M -236 KALMUS p 2 0 0 -
2 Ob. 9 . 4th m o v t. won C o l s e t 227 2 0 2 , m e a s. 3 4 3 -
2 C l. 3 7 3 . The a l i a
2 Pg. m a r c ia v a r i a t i o n
1 K fg .
2 H r.
1 T r.
T r ia n g le
Cymbal 3
B ass Drttn
Page 86 T H E M U S IC A L M E R C U R Y

WOODWIND. BRASS AND PERCUSSION COMBINATIONS ( e o n c l. )

COMBINATION WORK CCWP03ER REGORDTHÜ---------- - “gCUHH
1 p i OC • Petrouohlca STRAVTN- V io M-49 KAlnus p 56 th e
2 F I. SKY Col s e t 109 1 2 -1 7th m easure«
2 Oh. a fte r " 4 2 " .
3 C l.
1 B.C1 •
2 Fg.
Xylophone
Plano
2 F I . 4 Hr. Symphony No· BRAHMS Vio M-1S5 XAUTOS p 1 2 5 .
2 Ob. 2 T r . 4 ; 4th movt. V ie M-242 The f i r s t e ig h t
2 C l . 3 Trbn. Col se t 335 b ars.
2 F g. Timpani
1 Kfg,

3 F I. 2 Oh. Lohengrin WAGNER V ic 14006 KAurus p i i .

1 E .H . ¿ C l. Prelude to Maas, 54—5 5 . A t
1 B e l. 3 F g. g o t I . th e clim ax o f
4 Hr. 3 T r.
1 Tuba the o vertu re the
3 Trbn.
s t r in g fo r c e s
Timpani
are dropped.

One of the secrets o f successful orchestration, as the student may have discovered
by this time, is the adding o f a dash o f color here and there much as a good cook im­
proves a recipe by sprinkling a little o f this and a little o f that. This presence in
small, unnoticed quantities o f subordinate elements gives the product a body and
roundness that can hardly be analyzed out o f it by the gustatory sensibilities, in the
one case, or the aural in the other. A passage essentially for one group o f instruments
not infrequently is graced by the presence o f a stranger to the group, whose ex­
istence is felt more than heard. O f all the orchestral instruments which may be
used as "condiments” the woodwinds are by far the most favored. It is for this
reason that a combination o f brass, percussion and strings, w ithout woodwinds, is rare
in an extended passage.

BRASS. FERCUS3IOH AITO STRINO COMPERATI OHS

COMBIMATE OH WORK C0MP03BR
OSBP RECORDING SCORR
3 T r. S ie g fr ie d I T ÏÏEBS W O T JfflLtiNBJSKG p 6.
1 Bass T r. Funeral March, V ic 9049
4 Trbn. from "G ö tt e r ­ Col 68044-D
1 Tuba dämmerung* .
Timpani
V l a . f d i v .)
V l c .f d i v .)
Cb.

2 T r. Eapana CHABHIER Vie 1337 KALMUS p 4 3 - 4 .

2 Cornets Vio 4375
T riangle
Tambourine
Bass Drum
Cymbale
V i a . V io .
Cb.

4 H r. Symphony No. SI BEL- vio 1 -2 9 0 B AND H p 4 7 .

Harp 1 : 2nd a o v t . IUS Col se t 151 The beginning o f
o t V l . I (sord) the movement.
^Vlc . ( sord)
TH E M U S IC A L M E R C U R Y Page 87

The greatest degree o f complexity is attained when all the four choirs are drawn
upon by the composer or orchestrator. The potentialities are practically infinite. Any
attempt to adequately cover this field is impossible in the short space o f an article,
and all I shall hope to achieve is an indication o f the historical progress that has been
made in employing the full orchestra.
The full orchestra is a term that has a constantly changing meaning. Before the
time of Philip Emanuel Bach and Haydn there was no permanent, fixed organization
such as our modern symphony orchestra. There was no standardization such as the
fixed body o f strings, woodwind pairs, etc. Music was generally written at the com ­
mand o f a patron or sponsor who maintained an instrumental staff, and the instru­
mentation varied according to the particular instrumentalists that were available. This
was certainly the case with J. S. Bach.
In the symphonic writing o f P. E. Bach and Htaydn, however , the string body
became fixed as we know it today. The Jupiter Symphony and the Rite o f Spring
employ the same body of strings. The late eighteenth century woodwind choir con­
sisted generally of a pair o f oboes and bassoons, and one or two flutes. O nly in the
latter part o f Mozart’s life did the clarinets become a regular and permanent member
o f this choir. Mozart’s first orchestration o f the G minor symphony (N o. 10) contained
no parts for clarinets. Later he revised the score and distributed the former oboe parts
among oboes and clarinets. The Jupiter Symphony o f Mozart has no clarinet parts.
The flute was the last instrument to appear regularly in pairs. As late as 1806, in
Beethoven’s fourth symphony, we find a score that calls for only one flute.
A pair o f horns was the first brass to appear regularly. Then came the trumpets
also in pairs. Mozart occasionally used trombones, as in the Magic Flute, and
Beethoven used them sparingly, as in the finale of his fifth, the last tw o movements
o f the sixth, and the second and fourth movements o f his ninth symphonies. Contrary
to the employment of woodwinds and other brass in pairs, the trombones were almost
always used in a group of three.
The only permanent member o f the percussion section has been the timpani. They
were used in pairs only, at first, on the tonic and dominant. Beethoven broke with
precedent by giving them the tonic and mediant in the third movement o f the seventh,
low and high F’s in the finale o f the eighth, and the second movement o f the ninth
symphonies, and the tonic and subdomiant in the finale o f the fourth piano concerto.
Brahms used three timpani in the third movement o f his fourth symphony, and also
a triangle. Wagner tuned the drums in F sharp and C in the second act o f Siegfried,
and the Russian composers such as Stravinsky and Rimsky-Korsakov have employed
the piccolo timpani. In the Rite o f Spring there is an enormous percussion section,
but this work is a departure from conventional treatment.
A few examples in chronological order may serve as a guide to the immense field
tc be explored.

WOODWIND. BRASS. PERCOSSIOH AND STRING COMBINATIONS

C O l g I K A T I O N wftflf CflflTiSEH---- RBCOHMTO------------ SOUTH’
2 O b._ s_______
u it « # fo r BaSh .J .S . vio 1Í-53S IfbiasimtsRU; p 1
3 <pr. Orchestra Col aot 135 tti a l l m oT ·-
T im p a n i(2 ) ments except tile
V I. I a i r . Note the
V I .n d la to n lo use o f
V ia . hlgfc t ran p ets ,
V ic , and the oonstant
Cb. d o u b lin g .
1 F I . 2 Ob. Symphony So HOZAR* V ic M-203 XATJfTTS p 5 2 . t t o
2 p g . 2 H r . 41s F in a le Col s e t 194 Note the g re a te r
Tlrnpah?. ( 2 ) independence o f
V I. I V I. II p a r t s , though
V ia . V ic . the V o l . i s
Cb. 2 T r. s t i l l chaired
t o th e C b .
Page 88 T H E M U S IC A L M E R C U R Y

2 F l . a Ob. Symphony in HAYDN V ie 35981 KALMUS p 4 1 , f f .

2 C l. 2 Fg. D major 35982 Note the orches­
2 H r. 2 T r . ( London)t 399*5 t r a l p e d a l,
Timpani(2) 4 th m ovt. m eas. 5 4 -6 4 t the
V I . I V I .1 1 use o f v a lv e ­
V ia . V lo . l e s s Hr. and T r .
Cb.

1 P i c o . 2 FI * Symphony BEETHO­ V ie 11-245 PHILHARMONIA p .

2 Ob. È Cl • Ho· 5 j 4 th VEN Col s e t 254 7 1 , f f . Note i n -
2 Fg. 1 C fg . movement creased member-
2 HI*. 2 T r . s h ip .
3 T rbn .
Timpani( 2 )
V I. I V I .I I
V i a . V i e . C b.
0
2 F I . 2 Ob. Euryanthe WEBER V ie 9008 KALMUS p 1 ;
2 C l. 2 F g. Overture Vio 12057 Note in creased
4 H r. * T r . C o l 68069-D importance o f
3 Trbn. woodwinds and
Timpani (2 ) b rass, e. g ., p
V I . I V I .1 1 3 ; a ls o g r e a te r
V i a . V l o . Cb. independence o f

3 7 . Note a ?ls·o' P
th e use o f fo u r
Hr.
1 P i o o . 2 Ob. D ie M e is t - WASHER V ic 6651 KALMUS p 1 , f f .
2 F I. 2 C l. e r s ln g e r V ic M-37 Note th e u se o f
2 Fg. 4 Hr . P r e lu d e t o C ol 68823-D fo u r v a lv e h o m e
3 T r. 3 T rb n . A c t I C ol 68854-D e s p e c ia lly p p .
1 Tuba Tim pani ( 2 ) 4 - 6 , 1 9 -2 0 , 2 5 -
T r ia n g le Cymbals 3 1 , 3 1 - 4 . The
Harp V l . I V l . I I V i c . C b . v i o l a m e lo d ic u se o f
tr u m p e t, e . g ,
p p .1 5 -1 6 ,
1 P ic c . 2 F I. R u s s ia n RIMSKY- V ic 7018 KALMUS p 7 9 -8 0
1 Ob. 2 C l . E a ster KORSAKOV 7019
C a m p a n e lli O v e r tu r e
Harp 3 Trbns Tuba V I . I V I . I I

1 p l c o . 3 F l . A l s o S p ra ch STRAUSS,R. V ic M-257 EULENBERG p 8 - 9 .

3 O b. 1 E b C l . ( p i o o ) Z a r a th u s tr a
2 C l . 1 BC1. 3 F g . 1 K f g . 6 H r.
4 T r . 3 T r b n . 2 T ubas Timpani
B ass Drum Cymbals T r ia n g le Organ
V I . I V l . I I V i a . V i c . Cb.
1 o r 2 P io o * The R i t e STRA- V ic M-74 KALMUS. I t I s an
2 or 3 P i. o f S p r in g VINSKY C o l s e t 129 i n f l a t e d w ood­
1 B a ss F I . wind s e c t i o n
3 o r 4 O b. 1 o r 2 E . H. w h ich c o n t r a s t s
1 Eb C l . ( p i t a ) 2 o r 3 C l . o d d ly wi th th e
1 o r 2 BC1. 3 o r 4 F g . 1 o r 2 C fg . same s t r i n g
8 Hr . 1 P i c e . T r . 3 o r 4 T r . c h o i r Bach u s e d
1 o r HO Baas T r . 3 T r b n . 2 T e n o r Tubas In h is t h ir d
2 B ass Tubas 1 Tim pano ( p i c c ) 4 Tim pani s u i t e . T h is
Tam-tam Bass Drum T r ia n g le A n tiq u e Cymbals w ork I s th e c l i ­
S p a n is h K itch e n g r a t e V I . I V I . I I V i o l a max o f a p e r io d
V i c . C b. In w h ich o r c h e s ­
t r a t i o n was one
o f th e p r i n c i p a l
o o n o e m s o f com­
posers.
THE M U S IC A L M ERCURY Page 89

We turn now to a necessarily brief consideration o f orchestration as one of the

many elements which together form the complex we call a musical composition. The
following categories o f ways and means do not pretend to be exhaustive but will
serve, I hope, to suggest other points o f view and new ways o f using the orchestra in
the construction o f an interesting tonal design. First we will consider the orchestra
as a variable factor in the tonal complex, and then as a reinforcement o f other elements.
Repetition and contrast are two o f the most important principles in art. Variation
is a method o f securing contrast within repetition, and thus is a compromise o f re­
conciliation between the tw o opposing procedures. One o f the happy ways o f applying
variation to music is to repeat the essence of a motive or phrase but to vary the or­
chestral setting. There results the same roundness and fullness o f expression that
we find by analogy in the inclusion o f synonyms and figures of speech in the art o f
literary composition and in poetry.
There are many degrees o f orchestral variation, o f course, from the strict re­
petition o f the notes (but assigned to other instruments) to the more complex and
free variation in which the underlying substructure alone remains constant, while a
number o f other factors, including the orchestration, vary. In example 1 the repeti­
tions consist o f doublings at the octave o f the characteristic figure o f the movement.
In the second example the following interesting variations may be seen:

n#l ffl , 2 tti . 3 —4 iq , 5 «7

1 s t tim e s tr in g s C l,F g . s tr in g s s tr in g s
2nd tim e F l.C l.F g . V I «1 ,1 1 F l , C l ,F g « s tr in g s ?
and c i . ;

It is possible to quite disguise the repetition by the addition ot superimposition o f

new parts as in bars 18 to 34 o f the third example, which are a virtual repetition
o f bars 1 to 17.
The last case shows the great freedom and variety possible in the orchestral treat­
ment o f a theme, in this instance the subsidiary theme (in the minor) o f the first
movement o f Brahms’ second symphony.

EXAVPLE ■VQRK________ COMPOSER RECORDINO SCORE

1“ Symphony BEETHO­ v i e m-1 6 1
n o . 8 , 4 th VEN V ie M -336 fir s t fo u r b a rs .
movement C ol s e t 292
2 Symphony No. MOZART V ie M -293 KALMUS p . 4 - 5 .
4 0 , l a t movt • C ol s e t 183 The s e c o n d theme
m e a s. 4 4 - 5 8 .
3 M arriage o f MOIART V ie 11242 KALMUS p . 1 - 3 .
F ig a r o : O vertu re V ie 14325
C ol X -8 5
4 Symphony No. BRAHMS V ie M -82 KALMTJS: th e theme
2 ; 1 s t m ov t. C o l s e t 265 a p p e a r s a t mm.
82 and 1 0 2 ; 156
and 1 6 4 ; 350 and
3 7 0 ; 424 and 432
Page 90 T H E M U S IC A L M E R C U R Y

Perhaps the most interesting and significant function o f orchestration is the

reinforcement o f other elements o f design. That the various elements should and do
function in this way in a good work o f art is easily demonstrable. Let us examine,
for example, the first seven bars o f the first movement proper (allegro) o f the first
symphony o f Beethoven. (V ic M— 73; Vic M— 409; col set 57; KALMUS p. 3.)
The chief harmonic progression is from C major to d minor. The melody hovers
around C until the modulation to d minor is achieved. The modulation is assisted
orchestrally' by introducing the woodwinds at the beginning o f the modulation and
by dropping them when it has been achieved. A t the seventh bar o f the allegro the
first six bar phrase is repeated, sequentially, in d minor. This repetition is reinforced
by the preservation o f the orchestration, i. e., four bars o f strings alone, followed by
the introduction o f woodwinds, where the harmony becomes active. It is the dove­
tailing and neatly jointing together o f these design elements that makes for clarity
o f form.
Below may be found a few examples o f individual design elements which are re­
inforced by the particular orchestration associated with each.

ELEMBHT WORK________________ COMPOSER___RECORnTtr____________ SC0R2

M elod y M a rria g e o f MOZART V i c 11242 KALMUS p 9 -1 1
F ig a r o O v e rtu re V ie 14325 H ie secon d theme
C o l.X -8 5 f i r s t In V I . 1 ,
P g . Then I n V I .
I , P I ·» P g ···
H ie f o l l o w i n g
c lo s in g s e c tio n
h a s th e m elody
I n V I . I : the
e s s e n t ia l p ro­
g r e s s io n fr o p
A up t o G I s
r e i n f o r c e d by
th e s u s ta in e d
ton es o f F l . I .
Harmony Symphony N o. BEETHO- V io M-5 PHI LHARHONI A p
5 ; 4 th m o v t. YEN V ic M-245 7 1 , f f . Timpani
C o l s e t 254 and trorib on es
f u n c t i o n p rim a r­
i l y a s harm onic
r e in fo r c e m e n t .
HhytTvn Symphony No· SIBELIUS V i c M -160 B AND H pp 3 9 -
4 ; 4 th m o v t. 4 1 . M easures
5 - 6 a f t e r " a"
and m easures 7 -
1 0 a f t e r "B *;
tim p a n i r e i n ­
f o r c e th e r h y -
t t m lc p a ssa g e s
I n th e s t r i n g s .
C o u n te r ­ B randenburg B A 0H ,J.S . V i c 7 8 6 3 -4 f-flT LHÂHUCRIA,
p o in t C o n c e r t o N o. C ol s e t 250 p 33, f f . In d e -
5 ; 2nd m o v t. p en den ce o f parts
and c l a r i t y o f
e n t r a n c e s I s due
t o s c o r in g f o r
w oodw ind, s tr in g !
| SCHOOL OF~| and p e r c u s s io n
i / . ir-T: In s tilm e n ts ,
resp .
1 r ffc.MN- |
L il!-VAN,A 1
THE MUSICAL MERCURY P»9· 91

ELEMENT__________ WORK_________ COMPOSER RECORDING SCORE

P hrase Symphony H o. BRAHMS V i c M-S2 KALMUS p 1 - 2 .
S tru ctu re 2 ; 1 s t m ovt.. C o l s e t 265 P ou r b a r s o f F g .
H r . , V i c . , C b.
P our b a rs o f
P I . , C l . , P g ·,
V i c . , C b . The
tw o p a t t e r n s a r e
th e n r e p e a t e d ,
s e q u e n tia lly .
Tempo S u it e N o. 1 BACH,J.S. V i c K -332 EULEKBERG o n .
(c h ie f f o r O r c h e s tr a 2 2 - 2 7 . Menuet I
fu n c tio n s c o r e d f o r 2 O b.
t o sup­ P g . , end s t r in g s
p ly c o n t r a s t Menuet. T I f o r
betw een m o v ts . s tr in g s o n l y ...
B ou rree I f o r 2
O b ., P g . , end
s t r i n g s . B o u rre e
I I f o r 2 O b .,
and F g . o n l y .
Dynamics L o h e n g r in : WAGNER V i c 14006 KALMUS. The
P re lu d e t o orch e s tr a t io n
A ct I h e lp s t o c r e a t e
th e d yn am ics
p a tte rn , pp. to
f f . to pp.

The symphonic works o f the great masters, particularly Mozart, Beethoven and
Brahms, offer excellent opportunities for the further study o f orchestration as design,
especially as a reinforcement o f the various other elements. The scores o f the roman­
ticists, such as Wagner, and o f the impressionists, headed by Debussy, show how or­
chestration may be chosen among the many other factors for particular attention and
development. Which o f these two approaches is to bee favored by the composers o f
tomorrow remains to be seen, but the tendency seems to away from orchestral vir­
tuosity as an end in itself and towards a greater organic unity and mutual interdepen­
dence o f component parts.
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