Hector Berlioz · section 65 of 67

The Orchestra

The orchestra may be considered a large instrument capable of playing a great number of different tones simultaneously or in succession; its power is moderate or gigantic according to the proportionate use of all or only part of the resources available to the modern orchestra, and according to the more or less propitious application of these resources in relation to acoustic conditions of various type.

It is also regulated by the degree to which the inner

power of the themes involved not only justifies, but

actually demands the full application of physical resources.

The performers of all sorts, constituting together the orchestra, are, so to speak, its strings, tubes, pipes, sounding boards—machines endowed with intelligence, but subject to the action of an immense keyboard played by the conductor under the direction of the composer.

I believe I have already stated my conviction that the invention of beautiful orchestral effects cannot be taught. Although this faculty can be developed by practice and rational observation, it belongs to those precious gifts which the composer, at once a poet and an inspired caleulator, must have received from nature, similarly to talent for melody, expression, and even for harmony.

But it is certainly easy to indicate quite precisely how to form an orchestra capable of faithfully rendering compositions in all forms and dimensions.

A distinction should be made between theater and concert orchestras, In certain respects theater orchestras are inferior to concert orchestras:

The placing of the musicians is of great importance; whether they are arranged on a horizontal or an inclined platform, in a space enclosed on three sides, or in the middle of the hall; whether there are reflectors and whether these have hard surfaces (throwing back the sound) or soft ones (absorbing and breaking it); how close the reflectors are to the performers—all this is of extraordinaty cons e.

Reflectors are indispensable. They are found, in various forms, in every enclosed place. The closer they are to the source of sound the greater is their effect. This is why there is no such thing as music in the open air. The largest orchestra, playing in a garden open on all sides—such as the Jardin des Tuileries—must remain completely ineffective. Even if it were placed close to the walls of the palace, the reflection would be insufficient; the sound would be immediately lost in all directions.

An orchestra of a thousand wind instruments and a chorus of two thousand voices, placed in an open plain, would be far less effective than an ordinary orchestra of eighty players and a chorus of a hundred voices ar-

in the concert hall of the Conservatoire. The brilliant effect produced by military bands in some streets of big cities confirms this statement, in spite of the seeming contradiction. Here the music is by no means in the open sir: the walls of high buildings lining the street on both sides, the avenues of trees, the facades of big palaces, near-by monuments—all these serve as reflectors. The sound is thrown back and remains for some time within the circumscribed space before finally escaping through the few gaps in the enclosure. But

as soon as the band reaches an open plain without buildings and trees on its march from the large street, the tones diffuse, the orchestra disappears, and there is no more music.

The best way of placing an orchestra in a hall sufficiently large for the number of players used, is to arrange them in rows one above the other on a series of steps in such a fashion that each row can send its tones to the listeners without any intervening obstacles. Every well-directed orchestra should thus be arranged in echelons. If it plays on the stage of a theater the scene should be enclosed by wooden walls in the rear, at the sides and above.

Shells are bad if they seat only half the orchestra, while the other half is placed in front of the shell.

Pear-shaped concert halls are the best.

On the other hand, if the orchestra is placed at one end of a hall or in a church and if, as frequently happens, the massive rear wall reflects with too much force and hardness the sound of the instruments closest to it, the excessive reverberation can easily be diminished by hanging a number of draperies or by placing other suitable objects there which serve to break the sound waves,

The architecture of our theaters and the requirements of dramatic representation make this ampitheatrical arrangement impossible for opera orchestras. Their members are condemmed to play at the lowest point of the hall, on @ horizontal plane, immediately in front of the footlights; thus, they are deprived of most of the advantages resulting from the arrangement of the concert orchestra suggested by me. This is why so many effects are lost, so many fine shadings remain unnoticed in opera orchestras, in spite of the best execution. The difference is so great that composers must take it into account; they should not score their dramatic works in the same fashion as their symphonies, masses or oratorios.

In the past the number of string instruments in opera orchestras was always in correct proportion to that of the other instruments; but for some years this has no longer been the case. A comic-opera orchestra which had only two flutes, two oboes, two clarinets, two French horns, two bassoons, rarely two trumpets and hardly ever any kettledrums, was well balanced with nine first Violins, eight second violins, six violas, seven violoncellos and six double-basses. Nowadays, however, with four horns, three trombones, two trumpets, a bass drum and kettledrums, but still with the same number of string instruments, the balance is completely destroyed. The violins are scarcely audible, and the total effect is extremely unsatisfactory.

The Bayreuth orchestra has 16 first violins, 16 second violins, 12 violas, 12 violoncellos and 8 doublebasses.

The orchestra for grand opera which has—besides the wind instruments already named—two cornets and an ophicleide, various percussion. instruments and sometimes six or eight harps, is equally unbalanced with 12 first violins, 11 second violins, 8 violas, 10 violoncellos and 8 double-basses. There should be at least 15 first violins, 14 second violins, 10 violas and 12 violoncellos, although not all of them need be used in works with very soft accompaniments,

The make-up of the comic-opera orchestra would be sufficient for a concert orchestra intended for the performance of Haydn’s and Mozart’s symphonies. A greater number of stringed instruments might even be too strong in some instances for the tender effects which these masters frequently assign to flutes, oboes and bassoons.

On the other hand, Beethoven’s symphonies, Weber's overtures and more modern compositions in the monumental or passionate style require the number of stringed instruments just indicated for grand opera.

Yet the finest concert orchestra—for a hall scarcely larger than that of the Conservatoire, the most complete, the richest in shadings and tone colors, the most majestic, the most powerful and at the same time the most mellow, would be composed as follows:

21 first violins 20 second violins

8 first violoncellos

7 second violoncellos

10 double-basses

1 basset-horn or 1 bass clarinet

2 valve trumpets

2 cornets with pistons (or cylinders)

8 trombones ( i alto or 8 tenor trombones )

1 bass trombone 1 ophicleide in Bb (or 1 bass tuba) ‘2 pairs of kettledrums with 4 drummers 1 bass drum 1 pair of cymbals This has to be modified by including two English horns instead of one, eight valve horns instead of four, and perhaps two additional clarinets in D or E>, a double-bass clarinet, a double-bassoon and four tubas. It is generally indispensable to double the woodwind in forte or where it has important themes. For a choral work such an orchestra would require:

46 sopranos (first and second) 40 tenors (first and second) 40 basses (first and second

By doubling or tripling this mass of performers in the same proportion one could doubtless obtain a magnificent orchestra for a music festival, But it would be an‘error to assume that all orchestras must be composed according to this system, which is based on the preponderance of the strings; the opposite plan may bring very beautiful results, foo. In this case the string instruments, too weak to dominate the mass of clarinets and brass instruments, serve as a harmonious link between the brilliant tones of the brass, sometimes softening their sharp soond, sometimes stimulating their movement with 4 tremolo which even transforms drumrolls into music by blending with them..

Commonsense tells us that the composer—uuless he is forced to employ a particular kind of orchestra—must adapt the number of performers to the character and style of his work and to the principal effects demanded by its ideas. In a Requiem, for instance, I have employed four small bands (trumpets, trombones, cornets and

ophicleides) placed seperately at the four corners of the main orchestra, in order to render musically the monumental images of the hymn of the dead. The main orchestra consists of an imposing body of stringed instruments, of the rest of the wind instruments doubled and tripled, and of eight pairs of differently tuned kettledrums played by ten drummers. It is certain that the peculiar effects achieved by this new kind of orchestra would be impossible with any other combination.

In this connection I want to mention the importance of the different points of origin of the tonal masses. Certain groups of an orchestra are selected by the composer to question and answer each other; but this design becomes clear and effective only if the groups which are to carry on the dialogue are placed at a sufficient distance from each other. The composer must therefore indicate in his score their exact disposition. For instance, the drums, bass drums, cymbals and kettledrums may remain together if they are employed, as usual, to strike certain rhythms simultaneously. But if they execute an interlocutory rhythm, one fragment of which is given to the bass drums and cymbals, the other to kettledrums and drums, the effect would be greatly improved and intensified by placing the two groups of percussion instruments at the opposite ends of the orchestra, i.e. at a considerable distance from each other, Hence, the constant uniformity of orchestral groups is one of the greatest obstacles to the creation of monumental and truly original works. This uniformity is preserved by composers more out of habit, laziness and thoughtlessness than for reasons of economy, $ This situation is still the same even today. although the latter motive is, unfortunately, also a rather important one. This is especially the case in France, where music is so far from forming a part of national life, where the government does everything possible for the theater but nothing for music itself, where capitalists readily pay fifty thousand francs and more for a painting by some great master (because it represents a value), but will not spare fifty francs to organize an annual music festival worthy of our nation, which would display the numerous musical resources which we own but do not use!

Yet it would be interesting to try once to combine all musical forces available in Paris for the performance of a work especially composed for such an occasion. If this combination were put at the disposal of a master, in a hall built for this purpose by an architect with a good knowledge of acoustics and music, the composer would have to determine the exact plan and arrangement of this gigantic orchestra first-and then design his work accordingly. Where such an immense body is to be used, it is obviously of the greatest importance to consider the greater or smaller distance of the various groups from each other. This is indispensable if one wants tc derive full advantage from this orchestra and to calculate with certainty the scope of the different effects.

At past music festivals only ordinary orchestras and choruses were heard, quadrupled or quintupled according to the number of performers available. But the orchestra proposed here would be entirely different. The composer trying.to employ the extraordinary and enormous resources of such an instrument would have to solve an entirely new problem.

Here, then, is how this could be achieved in Paris— with the necessary outlay of time, money and effort. The arrangement of the groups would be determined by the wishes and intentions of the composers. The percussion instruments, which exercise an irresistible influence on the rhythm and always lag when they are far from the conductor, should be placed as close to him as possible to be able to follow the slightest change of measure or tempo instantaneously and strictly.

120 violins, divided into two, three or four groups

40 violas, divided into first and seconds, if necessary 3 at least 10 of the players able to play the viola d’amore

45 violoncellos, divided into firsts and seconds, if

necessary 18 double-basses with three strings, tuned in fifths

18 other double-basses with four strings, tuned in fourths (E, A, D, G)

4 flutes in Bb

2 octave piccolo flutes 2 piccolo flutes in Dd

4 small clarinets (in Ed)

8 clarinets (in C or Bb or A) 8 bass clarinets in Bb

16 French horns (6 with valves)

4 alto trombones

6 tenor trombones

2 bass trombones

ry low positive organ with at least a 16’ stop rs of kettledrums (10 drummers)

rs of cymbals

sets of small bells

rs of ancient cymbals (in different keys). very low bells

465 instrumentalists

40 children sopranos (first and second) 100 women sopranos (first and second ) 100 tenors (iret and second)

120 basses (first and second )

860 chorus singers

As one sees, the chorus does not predominate in this ensemble of 825 performers; even so, it would be difficult to assemble 860 suitable voices in Paris—so little is the study of singing cultivated in this city.

Every time this entire mass is put in action, a broad and monumental style must be adopted; tender effects, light and fast movements are assigned to smaller orchestras, which the composer can easily form out of this multitude and employ in musical dialogues.

Besides the radiant colors which this myriad of different sounds could conjure at any moment, unheard-of harmonic effects could be produced—as follows:

by dividing the 120 violins into eight or ten parts supported by the high tones of the forty violas—seraphic, ethereal expression in pianissimo;

by dividing the violoncellos and double-basses in the low range and in slow movements—melancholy, religious expression in meszoforte;

by combining the lowest tones of the clarinet family into a small band—gloomy expression in forte and mezsoforte;

by combining the low tones of oboes, English horns, tenoroons and large flutes into a small band—expression of pious mourning in piano;

by combining the low tones of ophicleides, bass tubas and French horns into a small band, joined with the pedal tones of the tenor trombones, the lowest of the bass trombones and the 16’ stop of the organ—profoundly grave, religious and calm expression in piano;

by combining the highest tones of the small clarinets, flutes and piccolos into a small band—shrill expression in forte;

by combining the French horns, trumpets, cornets, trombones and ophicleides into a small band—pompous and brilliant expression in forte;

by combining the 80 harps with the entire mass of stringed instruments playing pizzicato into a large orchestra, thus forming a new gigantic harp with 984 strings—graceful, brilliant and voluptuous expression in all shadings;

by combining the’80 pianofortes with the 6 sets of small bells, the 12 pairs of ancient cymbals, the 6 triangles (which might be tuned in different keys like cymbals) and the 4 crescents into a metallic percussion or- | chestra—gay and brilliant expression in messoforte;

by combining the 8 pairs of kettledrums with the 6 drums and the 8 bass drums into a small, almost exclusively rhythmic percussion orchestra—menacing expression in all shadings;

by combining the 2 gongs, the 2 bells and the 8 large cymbals with certain chords of the trombones—sad and sinister expression in mezsoforte,

Who could envisage all the instrumental combinations which would result if each of these groups were joined with another similar or contrasting group?

There could be formed: grand duets between the wind instruments and the stringed instruments;

between one of these two and the chorus; between © the chorus and the harps and pianofortes alone;

a grand trio between the chorus in unison and in the octave, the wind instruments in unison and in the octave, and the violins, violas and violoncellos likewise in unison and in the octave;

the same trio, accompanied by a rhythmic motif executed by ail the percussion instruments, the double-basses, harps and pianofortes;.

a single, double or triple chorus without accompaniment;

.a melody for the combined violins, violas and violoncellos, or for the combined wood-wind, or for the combined brass, accompanied by a vocal orchestra;

a melody for the sopranos or tenors or basses, or for all voices in the octave, accompanied by an instrumental orchestra;;

a small chorus,. accompanied by the large chorus and some instruments;

a smal] orchestra, accompanied by the large orchestra and some voices;

a solemn melody executed by all bowed basses and accompanied above by the divided violins, the harps and pianofortes;

a solemn melody executed by the wind basses and the organ and accompanied above by flutes, oboes, clarinets and divided violins;

and so on, and so forth,

The method of rehearsal for such a gigantic orchestra would, of course, be the same as that employed for complex and monumental works offering difficulties in performance—i.e. the method of partial rehearsals, In this analytical task the conductor would have to proceed as follows:

I take for granted that he knows the work to be performed thoroughly and in its minutest details. First he would appoint two assistant conductors who are to beat the time during the general rehearsals, keeping their eyes continually upon him, in order to transmit the tempo to the groups too far removed from the center. $ (The optical telegraph is still the best.)

Then he would designate coaches for each of the different instrumental and vocal groups.

He would now study with these coaches and instruct them how to rehearse the parts assigned to them.

The first coach would rehearse the first and second sopranos—first separately, then together.

The second coach would proceed with the first and second tenors in the same fashion; likewise the third with the basses. After this, three choruses will be formed, each composed of one-third of the entire chorus. Finally the entire chorus would rehearse together.

In these choral rehearsals an organ or a pianoforte supported by a few string instruments (violins and bassen) could be used for the accompaniment.

The assistant conductors and coaches of the orchestra would rehearse separately in the same fashion:

1. the first and second violins—separately, then together;

2. the violas, violoncellos and double-basses—separately and together;

8. all the stringed instruments;

4. the harps alone;

5. the pianofortes alone;

6. the harps and pianofortes together;

7. the wood-wind instruments alone;

8. the brass instruments alone;.

9. all the wind instruments together; 10, the percussion instruments alone, with special attention to the tuning of the kettledrums;

11. the percussion and wind instruments together;

12. finally the entire vocal and instrumental body together under the direction of the main conductor.

This procedure would, first, result in an excellent performance such as could never be obtained by the old method of rehearsing with all performers at once; € (now almost generally and rightly abandoned)

and, secondly, it would require each performer for not more than four rehearsals. As many toning forks as possible should be distributed among the members of the orchestra; this is the only way in which the accurate tuning of such a multitude of instruments, so different in character and temperament, could be insured.

General prejudice charges large orchestras with being noisy. However, if they are weld balanced, well rehearsed and well conducted, and if they perform truly good music, they should rather be called powerful. In fact, nothing is as different in meaning as these two expressions. A shabby, little vaudeville band may appear noisy, whereas a large orchestra, skillfully employed, will be extremely soft and of the greatest beauty of sound even in passionate outbursts. Three trombones, if clumsily employed, may appear noisy and unbearable; and the very next moment, in the same hall, twelve trombones will delight the listeners with their powerful and yet noble tone. Very true and important!

Heavy brass sounds rather soft. Furthermore, a great mass of brass diminishes rather than increases the power. Two trumpets, stabbing sharply into a woodwind and string orchestra, may occasionally produce more strident effects than a whole army of brass instruments which balance each other.

In fact, unisons are effective only if executed by many instruments. Thus, four first-rate violinists playing the same part will produce a rather unpleasant effect, whereas fifteen average violinists in unison would sound excellent.

Particularly the pp of a large orchestra is incompar-

This is why small orchestras are of so little effect and hence of so little value, however accomplished the performance of the individual players.

On the other hand, the thousand combinations possible with the giant orchestra above described could produce a wealth of harmonies, a variety of sounds, an abundance of contrasts surpassing anything heretofore achieved in art. It could create, above all, an incalculable melodic, rhythmic and expressive power, a penetrating force of unparalleled strength, a miraculous sensitivity of gradations, in the whole or in any individual part. Its calm would be as majestic as an ocean in repose, its outbursts would recall tropical tempests, its explosive power the eruptions of volcanos. In it could be heard the plaints, the murmurings, the mysterious sounds of primeval forests, the outcries, the prayers, the triumphant or mourning chants of a people with an expansive soul, an ardent heart and fiery passions. Its silence would inspire awe by its solemnity. But its crescendo would make even the most unyielding listeners shudder; it would grow like a tremendous conflagration gradually setting the sky on fire.