The Development of the Orchestra: Instruments and Instrumentation

The Development of the Orchestra: Instruments and Instrumentation

Overview of the Agenda

  • Discussion of the broad developments in orchestral families and sizes.
  • Comparison of early orchestral instruments to modern counterparts.
  • Exploration of the concept of Historically Informed Performance (HIP).
  • Listening activity: Berlioz's "Symphonie fantastique, V," focusing on period performance.
  • Writing Exercise: Formulating arguments on how historically informed performance should be approached.

Woodwind Development

  • Key Innovations:
    • Addition of keys to allow for full range of notes (enabling chromatic playing).
    • Definition of Key: A metal action attached to the outside of a wind instrument to expand the range of pitches available.
  • Changes in Bore and Shape:
    • The bore size and shape of the oboe, clarinet, and bassoon was increased over the 19th century.
    • Definition of Bore: The diameter and shape of the internal part of a wind instrument.
    • Types of Bore:
    • Cylindrical/Straight: Consistent diameter along the length.
    • Conical: Gradually widening from the mouthpiece to the bell.
  • Flute Construction:
    • Transition from wooden to metal flutes due to the invention of the Boehm-system in 1847.
  • Auxiliary Instruments:
    • As orchestras grew in size, auxiliary instruments were included, such as:
    • Alto flute
    • English horn
    • Heckelphone
    • E-flat clarinet
    • Bass clarinet
    • Contrabassoon

Brass Development

  • Transition from Crooks to Pistons:
    • This allowed brass instruments to have a full, immediate chromatic range.
    • Definition of Piston: A mechanically operated valve that changes the effective length of tubing being played.
    • Inventor: Heinrich Stölzel, who invented the piston in Germany in 1814.
  • Changes in Bore Size and Shape:
    • The bore size and shape evolved from cylindrical to conical for instruments like the trumpet and trombone.
  • Introduction of New Instruments:
    • The tuba was incorporated into orchestras, replacing earlier bass wind instruments, such as ophicleide and snake.

String Developments

  • Material Shift:
    • Strings transitioned from gut to metal, affecting the sound quality and durability.
  • Bow Design Changes:
    • The shape of bows evolved from curving outwards to curving inwards (known as Tourte bows) to produce a more sustained tone.
  • Instrument Refinements:
    • Graduation refinement improved the acoustical volume of string instruments.
  • Increase in String Count:
    • The baseline number of strings in orchestras significantly increased.

General Trends in Orchestral Development

  • Characteristics of the Orchestra throughout the 19th Century:
    • Instruments became larger, contributing to a larger sound.
    • Orchestras grew louder due to technological advancements.
    • Increased dexterity allowed for more complex musical passages.
    • The tone became more homogenous and brilliant.
    • There was greater standardization across orchestral instruments and configurations.

Historically Informed Practice: History and Mission

  • Definition of Historically Informed Practice (HIP):
    • A performance movement that began in mid-20th century America aimed at restoring original playing techniques and instruments to match a composition's original context.
  • Central Inquiry:
    • The primary question is, "What would a piece have sounded like at the time it was originally composed?"
  • Focus Areas:
    • Primarily concerns Medieval, Renaissance, and Baroque music; recent scholarship has also explored contemporary orchestral music.
  • Notable Practitioners:
    • Examples include John Eliot Gardiner, Rodger Norrington, and Jordi Savall.
  • Listening Activity:
    • Students are encouraged to compare Berlioz's "Symphonie fantastique, V" from modern and HIP performances.

Writing Exercise: How HIP Should We Be?

  • Task:
    • Compose a paragraph (5-7 sentences) beginning with a thesis statement that argues for the necessity of historically informed performance practices.
  • Considerations for Argument Development:
    • Position Spectrum:
    • Authentic music performers should closely mimic original timbres and practices using period instruments.
    • Musicians can reasonably engage in HIP by applying careful historical study to modern interpretations and instruments.
    • Some argue HIP is unnecessary as all music can be viewed as innovation; composers adapted with the available resources.

Looking Back and Forward

  • Topics Reviewed Today:
    • Technological innovations in individual orchestral families and overarching trends in orchestral development.
    • Engagement with the concept of HIP.
    • Discussion on the degree to which performers should adopt historically informed practices.
  • Preparations for Next Class:
    • Listening activities: Bates, "Mothership"; Tan Dun, "Water Percussion Concerto, I."
    • Reminder: Test #2 scheduled for Friday.
    • Students advised to review past quizzes and tests for effective preparation.