Operatic effects are obtained by contrast of collective forces rather than by detail of polyphony. The earlier Italian composers made frequent use of loud-voiced instruments. Their successors, however, learned to rely more and more upon the strings, so that not until the advent of Spontini and Rossini were the proper functions of the brass or even of the wood again sufficiently recognized in Italy.
From Philidor to Boieldieu, French orchestration was still somewhat heavy, though of dramatic effectiveness. The scoring of Méhul and Lesueur was powerful and dignified, that of Boieldieu, Berton, Grétry, supple and dramatic. Finally, in the first part of the nineteenth century French orchestration became still more varied and rich.
It is now time to turn our attention to the rise of the Romantic Movement, and with this subject the [next chapter] properly begins.
[SUMMARY OF PART II.]
[Chapter V.]
Bach's orchestration was essentially polyphonic. He contrasted his differentiated groups of instruments en masse, and laid the foundation for effective orchestral solo writing.
Händel represents solidity and sonority, and obtained the best results when employing the orchestra for massed effects in conjunction with the chorus.