The Evolution of Modern Orchestration

by Louis Adolphe Coerne

I.

France. It will be recalled that [Chapter VIII] treats of the flourishing conditions of musical art in France at the time when it was undergoing a series of metamorphoses that embodied nascent modern tendencies. The standard of sacred music was being elevated by Cherubini; French opera in serious vein as well as French instrumentation had acquired distinctly indigenous characteristics through the efforts of two native composers, Méhul and Lesueur; the development of the lighter lyric style as bequeathed by Grétry lay in the hands of the Frenchmen Boieldieu, Auber, Hérold, Halévy; finally, a renewed interest for grand opera was awakened by the so-called historic school of Spontini, which was followed by the enthusiastic reception of Rossini's melodious and emotional productions, and of Meyerbeer's sensational and spectacular presentations. Of momentous purport was the influence that these three foreigners, Spontini, Rossini, and Meyerbeer exerted upon French orchestration. Meanwhile an absolutely novel aspect of musical activity was being developed by Berlioz, who, as one of the founders of the "New Movement," has already been treated in [Chapter XI] in connection with Liszt and Wagner. In resuming and concluding the topic now under discussion, it would be well to keep the above brief review clearly in mind, in order that the simultaneous evolution of musical art in France and Germany may the better be compared.

With the exception of Berlioz, Félicien David and Gounod, few French writers have, until recently, applied themselves to independent orchestral music as one of the primary objects of their ambition. In France, the operatic stage ever has been and still is the centre of attraction. Even the most recent of her composers can with difficulty be separated into distinct groups that shall represent exclusive devotion to dramatic writing only or to sacred music or to concert works. Nevertheless, the present writer, having attempted to bring order out of the rather heterogeneous array of nineteenth century French composers, has classified them according to that particular branch in which they have been conspicuously successful.

II.

Prominent contributors to instrumental and orchestral music are Onslow, Reber, David, Franck, Lalo, Reyer, Godard, d'Indy.

Onslow (1784) enjoyed an honorable reputation during his lifetime as an exponent of classic models. He was a prolific writer of chamber music, but his style, though correct, was cold, and his three comic operas are of small importance. Reber (1807) may be regarded as the successor of Onslow in that he also restricted himself to traditional forms. He was an excellent contrapuntist as well as one of the most cultured musicians France has produced; as a result, his compositions reflect the refinement of his character. Moreover, his conservative and careful style was modelled after that of the German classicists, and the constitution of his orchestra is like Mozart's. Practically all modern instruments, all instruments of percussion excepting kettle-drums, and even trombones are excluded from most of his orchestral works. He wrote four symphonies, one overture and one suite, besides chamber and salon music in various forms.

Although Félicien David (1810) is best known to the general public on account of his opera "Lalla Rookh," he was at his best as an exponent of graceful and buoyant instrumentation. Not that his orchestration can be regarded as epoch-making when compared with that of his contemporary, Berlioz, for of the two, David was the more faithful to French traditions, and his scoring is more like that of Haydn than any other French composer. On the other hand, David, like Berlioz, introduced certain scenic qualities into his orchestration, which is ever poetic, supple, and varied. Berlioz's aim was to re-echo the thoughts of the grand romantic poets, whereas David was par excellence a dreamer in the realm of picturesque imagination, of tender love, of ardent passion. In consequence of his extensive journey through the East as an apostle and missionary of Saint-Simonism, David acquired an insight and knowledge of Oriental melodies that caused him to be the first to introduce genuinely Eastern characteristics into Western music, as strikingly displayed in "Lalla Rookh." The effectiveness of this opera is largely due to its fine orchestration, for though the musical contents are clear and simple, the ideas themselves occasionally lack force, whereas the harmonies are somewhat meagre. However, David possessed, in addition to the characteristic feature of clearness, a highly developed talent for artistic disposition of his plans, for poetic picture-painting, and for rich and descriptive orchestral color. Of especial significance is his aptitude for accompanying a solo voice with daintily embroidered counterpoint. David contributed substantially to the development in France of independent orchestral music, and displayed, among other things, a commendable appreciation for well-marked rhythmic effects. His list of instrumental works includes a symphony in F, twenty-four string quintets, and two nonets for wind instruments.

César Franck (1822) might be compared in two respects with Cherubini. Both of them, though foreigners, are rated as French composers, and the dignity and solidity of their respective styles isolate them both from the more usual methods of their respective eras. Franck differs from his French contemporaries by reason of what might be termed the masculine severity of his inspiration, together with monumental mastery of polyphonic design and exhaustless command of orchestral resources. These attributes have earned him the title of "The French Bach." The opera "Hulda" is a forceful exposition of the gloomy Viking subject, but Franck rose to the height of his creative power in his chamber music, and in the symphonic poem with chorus: "Les béatitudes." That he was influenced by Liszt and Wagner is undeniable. Not only do his productions give evidence of a reserved use of guiding themes, but also his orchestration has affinity to that of "Tristan" so far as intricacy is concerned.

This mention of Wagnerian influence suggests an interesting comparison between the styles of César Franck and of Lalo (1823). The latter was a professed admirer of Wagner, and applied such of his theories as are restricted to "Tannhäuser" and "Lohengrin." This is particularly noticeable in the opera: "Le Roi d'Ys." In antithesis to Franck's severe and somewhat solemn style of writing, that of Lalo betrays a fund of spontaneous invention, curious rhythmic effects, charming and sprightly instrumentation, and great aptitude for imbuing his works with the necessary local coloring. Both the violin concerto styled "Symphonie éspagnole" and the "Rhapsodie norvégienne" for orchestra are distinctively characteristic. His chamber music is likewise written with sentient regard for euphonious effects and artistic requirements, but it is conspicuously in the art of orchestration that Lalo displays his individuality to the best advantage.