The Evolution of Modern Orchestration

by Louis Adolphe Coerne

Lack of space forbids more than a passing reference to the coevolution of the string quartet, that momentous vehicle for the sonata form, whose growth was concurrent with that of the symphony. But in both these branches of art Haydn left his indelible stamp upon the creations of Mozart and Beethoven, indeed Mozart, though more emotional and impressive, did not enlarge upon Haydn's form, and even Beethoven, the tone-poet, remained to the last true to its substance. Parenthetically it should be remembered that on the other hand Haydn's quartets and symphonies were in turn influenced by Mozart, from whom, moreover, both he and Beethoven acquired a more subtle insight into the skilful handling of the wood-wind. The symphonies of Haydn and Beethoven have been felicitously compared by styling those of the former, comedies, those of the latter, tragedies. Finally, the extent to which the reputation of Haydn's symphonies travelled is discovered in the already mentioned performances thereof in Paris (at the "Concerts des Amateurs," founded by the Belgian Gossec, for which organization Haydn specifically composed several symphonies), not to speak of his triumphs in London as well as in the musical centres of his native land.

These rather extended references to the rise of symphonic music are surely justifiable in that from it dates the dynasty of monarchical orchestration.[12]

Haydn's development of his formal architecture can be summed up by saying that he knit together and enlarged the cycle of complex forms, extended the separate movements individually, imparted to them order, clearness, variety, and developed free thematic treatment.

As has just been stated, the orchestra in Haydn's plasmic hands improved as a unit. He introduced no new instruments excepting later on the clarinet, indeed, his scores betray on the whole a greater reticence in the employment of numeric varieties of instruments than do those of Bach and Händel. Haydn's genius matured slowly; his earlier scoring does not exhibit any advanced degree of originality, and not until after Mozart had in turn become the greater did Haydn stand forth in the true strength of his greatness. The antennae of that long-lived crustacean, the Neapolitan School, had touched even Haydn as they had Händel before him, and the influence was directly beneficial, since it modified the Teutonic tendencies inoculated by his predilection for the style of Emmanuel Bach, and fostered a regard for melody. Though he used no new material, Haydn instituted a freer method of employing each instrument according to its peculiarities and powers. Despite the fact that he was addicted to the custom of three-part string writing as established by Cavalli long before, he developed the art of welding the component parts firmly together, and thereby secured vitality and elasticity.

The strings were now one complete and compact body.[13] Careful attention was bestowed both upon the manner of writing for them and upon a judicious numerical selection of each species to the end that they might not only balance, but also assist and show off to the best advantage the characteristic qualities of every part, one against the other. Only the violoncello was as yet subservient, and the harpsichord was still retained.

In the distribution of the parts for the wood-wind, he at first imitated Händel's usual methods of merely reënforcing the string parts in unison. But having benefited by repeated practical experience, and especially after the appearance of Mozart upon the arena, Haydn's writing for the wood became freer.[14] The oboe, whose functions are now largely supplanted by the more feminine and soulful clarinet, was much used as a solo instrument. And when at last the great classicists came upon the discovery that by supporting a solo instrument with held chords in the wind,[15] they could attain a more pliant mode of expression than had been possible in the earlier stiff and formal polyphonic style,—from that time on a new and poetic pathway was opened up, and the modern style of writing for the wood-wind may be said to have fairly begun.

In the use of the brass Haydn was conservative. Trombones were absent from his symphonic scheme, and the province of trumpets, if they were used at all, was exceedingly primitive, so that only the horns gained greater freedom of treatment. Thus, for example, the valuable and eventually common custom of strengthening the bass by sustained tonic and dominant horn parts was employed by Haydn in his symphony in D, No. 2 (Breitkopf & Haertel). But more than two real parts for horns are not to be found in any of his works, and the demand for four horns in the Hunting Chorus in his "Seasons" will, at a glance, be recognized as having for its purpose the reduplication of two-part writing, so as to obtain a clearer melodic delineation. And although prominence of metallic quality was thus acquired, the rich chord effect of later times is conspicuous for its absence.

When Haydn wrote his first symphony at the time when Mozart was in his infancy, he employed, in addition to strings, only two oboes and two horns. By the end of the eighteenth century, the normal symphonic orchestra had been increased so as to include strings, two flutes, two oboes, two bassoons, two horns, two trumpets and kettle-drums. To these were quite occasionally added two clarinets. The rôle of the trumpets as well as of kettle-drums was to augment the effectiveness of climaxes, to emphasize rhythm, to add virility, or to suggest martial portraiture. But the harp shared the fortunes of the trombones in that it was as yet denied admittance to the symphonic phalanx.

Of incidental interest is the characteristic deployment of bassoons in the slow movement of the symphony in D already referred to; and the introduction into the orchestra of massed short chords struck simultaneously by all the strings must also be attributed to Haydn.