The Evolution of Modern Orchestration

by Louis Adolphe Coerne

To independent orchestration Gluck contributed but little, but, considering the age in which he lived, none have excelled him as an interpreter, by means of the orchestra, of pathetic expression, or in the use of appropriate instrumentation, varied and rich tone-coloring. To quote from Parry's "The Art of Music," page 220: "Moreover, the expressive qualities of his admirable recitatives are very much enhanced by his way of dealing with the accompaniment. He neglected no opportunity to make use of the qualities of his orchestral instruments—as far as in him lay—to enforce and accentuate the situations, and even to intensify the passing moment of feeling implied by the dialogue. Composers were successfully developing the sense of the functions and resources of instrumentation. Even Gluck's rival, Piccini, made some very appropriate effects by using his instruments consistently with the spirit of the situations. But Gluck applied himself to the matter with far more intensity, and far more genuine perception of the characters of the instruments. Indeed it would be hardly an exaggeration to say, that he was the first composer in the world who had any genuine understanding of this very modern phase of the art. Mozart was the first to show real natural gift and genuine feeling for beautiful disposition of tone, but Gluck anticipated modern procedure in adapting his colors exactly to the mood of the situation. A good deal had been attempted already in a sort of half-hearted and formal manner, but he was the first to seize firmly on the right principles and to carry out his objects with any mastery of resources." On the other hand, "his orchestration has none of the roundness or balance or maturity of Mozart's. It is unequal and uncertain, and requires humoring in performance to make it produce the effect which is intended."

Gluck relied to an excessive degree upon the string band, and his orchestral writing lacked that balance which the contemporary and sequent classicists regarded as the fundamental requirement. Notwithstanding, his instrumentation exhibits many original insignia that are worthy of record. Thus he demonstrated the dramatic power of low-written viola parts, made varied and characteristic use of the tremolo, was the first to introduce mutes into the orchestra in his "Armide," and caused the trombones to emerge from their hitherto menial subservience, and stand forth in all their dignity and tragic power of portraying peace, sorrow, fear, religion, majesty. And by proving the superior effectiveness in employing a group of three trombones, he established a precedent that has been endorsed by all subsequent composers.

But it must be confessed that in turning over page after page of his scores, one discovers the fact that in deploying his wood-wind Gluck usually laid but modest demands upon them. Their duties were more commonly restricted to the lending of comparatively simple tone-color for heightening dramatic action, or for relieving the monotony of prolonged use of strings alone. Of weird and tragic effect is his concentration of all high wood-wind unisono. But many of his other orchestral characteristics bear the impress of conventionalism then in vogue, which soon becomes monotonous; and his manner of writing for the deeper instruments causes much of his orchestration to sound heavy.

All things considered, the same must be said of Gluck as of his vancourier, Lulli, and of the great oratorio composers, Carissimi and Händel—neither he nor they were attracted by the kaleidoscopic potentiality of the orchestra when isolated from its kindred rivals, the opera and the oratorio. And although his name is to be revered for having opened up the resources of the orchestra, the attention he bestowed upon it was but a reflection of the greater glories that he offered up to the shrine of dramatic lustration.

The Contemporaries of Gluck.

For two hundred years dramatic writing had now dominated musical art, therefore orchestration as well. The best fruits of these two centuries of experiments having culminated in the reforms of Gluck, his music dramas, with their continuity of action and dignity of subject-matter, were to be surpassed only by Mozart's splendid attainments, by reason of the latter's perfect melody, pure form and admirably adjusted orchestration.

A final glance at the dramatic situation of Europe with the date of Beethoven's birth as a consistently convenient landmark will be necessary in order to comprehend the significance of Mozart's operatic constellation as it appeared on the horizon. For the decade beginning with 1770 was replete with big events, preordained, as it were, to do homage to the future master—Beethoven. Of the generation born between 1714 and 1756, further mention has yet to be made of the Frenchman, Grétry, of the Germans, J.A. Hiller and Dittersdorf, and of the conservators of declining Italian dogmas, Jomelli, Piccini, Sacchini, Paesiello, Cimarosa, Salieri.

II.

France. After the defeat of the kindly Piccini,—who deserves more credit than is usually awarded him, not alone for his graceful melody, clear and sonorous orchestration, but especially for his judicious application of the orchestral instruments to the demands of a situation,—the stage of the French capital, now monopolized by foreign composers, patronized for a brief period the productions of the Neapolitan Sacchini, and of Salieri. The former was also a fair composer of chamber music, whereas the latter is signally notorious for his intrigues against Mozart. Both of them were pupils of Gluck, and their instrumentation was but an imitation of his. But meanwhile, after Grétry (1741-1813) had fairly launched his graceful conceptions, the public soon recognized in him a worthy successor to Rameau, even though the genre of his offerings was of a different mould. Interest in imported art waned, and the career of the second great French composer began.