The Evolution of Modern Orchestration

by Louis Adolphe Coerne

IV.

The two greatest representatives of the early Romantic School were Weber and Schubert (1797-1828), indeed, the latter is to be regarded as the ideal exponent of the romantic poets. He was the first to raise the Lied from comparative obscurity to such prominence as to bring the lyric element on a par with that of the dramatic and epic. His nature was contemplative rather than dramatic. Nevertheless some of his greatest masterpieces, such as the "Erlkönig," embody not only dramatic but epic characterization as well. He was above all the master of exquisite melody, and both his songs and his instrumental works are further conspicuous for their daring harmonies, animated and varied rhythm. He opened up a new pathway in the field of accompaniment which acquired not only greater importance in intensifying emotional expression, but came also to be the faithful ally of the vocal part as interpreter of the poem. The use of little motives in the accompaniment to his songs might be looked upon as an anticipation in the miniature of Wagner's thematic treatment of his "Leit-motiven."

Schubert's mode of life was in some respects similar to that of Beethoven in that he lived apart from the public. Spurred on by the example of Beethoven, he added to his series of youthful symphonies two masterpieces which are next in importance to those of his illustrious model. Both the C major and the unfinished B minor symphonies display rare skill in the handling of orchestral instruments, whether in solo passages or in combination. An intimate acquaintance with their respective characteristics was afforded him during his early training, and every bar reveals the hand of a master who without hesitation knew what effects he desired and how to obtain them. Although his orchestral works lack that depth of conception that only Beethoven possessed, Schubert nevertheless supplied the deficiency by means of beautiful melody, tender expression, forceful harmonic progressions, and, as just intimated, a perfect command of orchestral resources. Schubert enlarged the scope of practical instrumentation by discovering two exceedingly valuable and effective modes of expression that were entirely new so far as manner of treatment is concerned. No composer before him had elicited from the trombones such impressive utterance as is to be found, for instance, in the first movement of the symphony in C where the trombones pianissimo intone the melody. The first innovation consisted, therefore, of employing the trombones freely as solo instruments, or again as independent factors in three-part harmony, pianissimo, or in unison, forte. The second innovation was the felicitous manner in which he contrasted solo instruments of the wood-wind group, or what Prout calls "a kind of dialogue between them." As an admirable illustration well-known to all, he calls attention to the charming dialogue between the flute, oboe, and clarinet in the two Ballet airs and in the Entr'-act in B flat of the music to "Rosamunde." Many other interesting details of instrumentation could be cited such as the effective use of the trumpet in the slow movement of the symphony in G; his chamber music, also, furnishes admirable examples of string writing. Among the most prominent are the trio in E flat, the quartet in D minor, and the quintet in C.

Only in recent years has the influence of Schubert's orchestral works made itself prominently felt, for until the middle of the last century most of them had remained in manuscript. Moreover as recently as fifty odd years ago one of his symphonies was considered excessively difficult by the principal orchestra of Vienna. Grove says that "though the whole work was announced, such had been the difficulties at rehearsal that only the first two movements were given, and they were carried off by an interpolation of an air from 'Lucia' between them."

V.

Mendelssohn[45] (1809-1847). Concurrent with the advent of Mendelssohn and Schumann, the fascination that Rossini had exercised in Germany lost its hold, and the public learned to appreciate more and more the sterling qualities of its own native music. But not only did the efforts of the German composers of the nineteenth century begin to win due recognition, but also there was rekindled a veneration for the creations of the great classicists. This was in a large manner due to Mendelssohn's untiring efforts. Possessed of broad culture, wealth, and attractive personality, he combined the spirit of romanticism with the structural forms of classicism; this conservatism helped to balance the restless tendencies that were at that time dominating music and poetry. His compositions are imbued with beauty and sweetness of melody, with varied harmonies, buoyant orchestration; his choral writing is the most fluent since Bach's and surpasses in this respect that of Händel. Melody is emphasized; tragic depth is lacking. He excelled as a writer of "representative" music, but even here his refined sense for euphony never deserted him. He was successful in all forms excepting opera. "St. Paul" and "Elijah" are the most important oratorios since those of Haydn; his violin concerto comes next to Beethoven's as a favorite; his symphonies are characteristic, romantic, and abound in "local" coloring. His style may be divided into two distinct classes: the lyric, as typified in the "Songs without Words," and the fantastic and imaginative as exposed in the Scherzo of the "Midsummer Night's Dream."

Mendelssohn's contributions to the details of instrumentation were both original and varied. Already in "Midsummer Night's Dream," of which the Overture was written when he was but seventeen years old, are to be found marvellous effects that are indeed fairy-like in their daintiness.[46] In fact it might be justly claimed that this is Mendelssohn's best orchestral work, taking into consideration its polished form, transparent and perfectly balanced instrumentation. Noteworthy for their novelty are the rapid staccato passages for the wood-wind in the Scherzo.[47] In none other of his works has the flute been treated in a more charming manner.[48] Familiar to all is the romantic and extended employment of the horns in the Notturno,[49] as well as the ludicrous utterances of the opheicleide in the Overture.

As a composer of oratorio, Mendelssohn's choruses, recitatives and German chorale melodies plainly show the influence of Bach's "Passion Music." This is particularly noticeable in "St. Paul." Mendelssohn's mightiest creation is undoubtedly "Elijah." It satisfies every demand by reason of its expressive recitative, its dramatic and descriptive choruses, its beauty of lyric episodes and the appropriateness of its structural form. The orchestral score of "Elijah" is one of Mendelssohn's best. Among minor details, the violas are brought into prominence as in the accompaniment to "Lord God of Abraham" where they are given the highest part. A well-known phrase is the 'cello accompaniment in thirds to the baritone solo. The brass is again reënforced by an opheicleide. The opening of the chorus, "O be gracious, ye immortals," in "St. Paul" is accompanied by divided violas and 'cellos, and parts for the serpent are to be found in the same work.

Both the subject-matter and the orchestration of Mendelssohn's symphonies show exceptional originality, and the "Scotch," No. 2 in A minor, as well as the "Italian," No. 3 in A major, are worthy companions to the "Midsummer Night's Dream." His symphonies are full of freshness and vigor. Though classic purity of form is strictly adhered to, Beethoven's polyphony and Weber's picturesque portrayal are skilfully combined. Like Beethoven, he embodied in his symphonies certain dramatic characteristics. Rapid passages for the wood-wind, similar to those in the "Midsummer Night's Dream," are again to be met with in the Scherzo of the "Scotch" symphony. Mendelssohn was conservative in employing the brass; of all the early romanticists he remained the most faithful to traditional usage of the third group, although trombones were now incorporated as habitual members thereof. Among other novel combinations, divided violas, reënforced by clarinets, intone the second subject in the first movement of the "Lobgesang" symphony. In connection with Mendelssohn it is interesting to recall the fact that as late as 1829 the pianoforte was still sometimes employed as a means for conducting, since in that year he directed his C minor symphony in that way in London.