The Evolution of Modern Orchestration

by Louis Adolphe Coerne

V.

The second classification, relating to differentiated style of orchestration, is popularly divided into three groups, but a division into four groups would seem more appropriate to the present writer. Wagner's earliest orchestral attempts need not be taken into consideration, and so the first group may include only "Rienzi," "Der Fliegende Holländer" and "Tannhäuser." The scores of these works do not display radical departure from contemporary methods excepting in polyphonic treatment and individualistic coloring. The instruments of wood are as yet represented only in pairs, although already a cor anglais and a bass-clarinet are regularly employed. The addition of a second piccolo flute, a second English horn and a third bassoon is but exceptional. The numerical distribution of strings and the constituency of the brass are normal. Entirely new tendencies are discovered in "Lohengrin" and "Tristan und Isolde" which comprise the second group, since each wood-wind family is now represented by three instruments. The number of strings are augmented so as to balance the wood-wind, as well as in consequence of their own frequent subdivision; but the brass is the same as in Group I. The magnitude of the Nibelungen Tetralogy gave rise to the adaptation of the exceptional third group. The augmentation affects both the wood and the brass. The wood-winds are divided into families of four each, and the same principle is applied to the brass. Strings, harps and battery are augmented in proportion. The reason for regarding "Die Meistersinger" and "Parsifal" as representatives of a separate fourth group is that in the former, Wagner reverted to the orchestra of Groups I and II, whereas the number of instruments used in "Parsifal" correspond to those in "Tristan." Notwithstanding, the orchestration and the treatment of instruments for both "Die Meistersinger" and "Parsifal" embody a composite style that frequently suggests certain traits peculiar to the Tetralogy. They may, therefore, be rightfully regarded as belonging to a distinct group by themselves.

We need not here concern ourselves again with the first mentioned philosophical and æsthetic classification. On the other hand, the purpose of these pages certainly demands some further analysis of the second orchestral classification.

GROUP I. RIENZI; DER FLIEGENDE HOLLÄNDER; TANNHÄUSER.

Strings; 1 or 2 harps.

1 piccolo flute (sometimes 2); 2 flutes; 2 oboes; 1 English horn (rarely 2); 2 clarinets; 1 bass-clarinet; 2 bassoons (sometimes 3 bassoons or an additional contra-bassoon).

4 horns (of which at least 2 are chromatic); 2 chromatic trumpets (often 3); 3 trombones (2 tenor, 1 bass); 1 bass-tuba.

2 kettle-drums (sometimes 3); further instruments of percussion.

"Rienzi" was first given at Dresden in 1842. Of its orchestration little need be said. Being influenced by Meyerbeer and the French dramatic traditions, the scoring embodies much that is extravagant and bombastic, though many instrumental passages of surprising beauty are by no means absent. What might be called the composite of rich, velvet tone-color peculiar to Wagner's orchestral palette is already noticeable—a coloring that was not attained even by Spontini, Meyerbeer or Halévy. "Der Fliegende Holländer" (Dresden, 1843) revolutionized at one stroke the dramatic functions of orchestration as well as the treatment of instruments, even if the combinations themselves are not radically different from contemporary procedure. In this transition work Wagner revealed the future path he was destined to pursue. The innovation of continuity and alliance of music, poetry, scenes and action proved that his latent powers had already begun to unfold themselves. "Der Fliegende Holländer" is the direct successor to Weber's romantic operas, and in detail and color it resembles Marschner's "Hans Heiling." For the first time he made use of the German myth. He drew freely upon a naturalistic use of chromatics and of astounding brass effects for portraying the tempest, called into requisition the most characteristic accents of the wood-wind to depict the gloomy atmosphere of the Northern seas, and elaborated upon Weber's use of the horns for romantic episodes. His subsequent predilection for divided strings is already to be found in a modified form. In a word, the entire work is imbued with virile force and truthful expression. Its successor, "Tannhäuser" (Dresden, 1845—Paris, 1861), follows along similar lines but displays greater advance both in the handling of the mediæval legend itself and in style of orchestration. Of decidedly modern effect is the condensed declamatory style of Tannhäuser in the last act, as well as the powerful sweep of the violins in the Overture, the passage for 4-part violas in the March, and the important rôle assigned to the harp throughout the opera. An admirable illustration of writing for unsupported wood-wind accompanies the exit of Elizabeth in the third act. Her grief and resignation could have found no more faithful interpreter than that solo for bass-clarinet beneath syncopated chords of gentle and tender-voiced flutes. The 12 horns on the stage in the first act, and the 12 trumpets for the March in the second act are treated in a novel and interesting manner that bears but slight resemblance to the previous experiments of the "historic" school.