Cecil Forsyth

ORCHESTRATION

... I have not ever found a subsequent orchestration manual to be anywhere near its equal.”—Pianist/composer/teacher William Bolcom in the Introduction

Before the 17th century, composers seldom indicated in their music whether the composition was to be performed by a particular combination of voices or instruments. Then in 1607 Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as the Baroque era unfolded, the concept of orchestration began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble.

Toward the middle of the 18th century, stylistic changes in instrumental music, e.g. styles that emphasized a single melodic line, directly affected methods of orchestration; while in the 19th century, orchestration became an ever more vital factor in the composer’s technique, a stylistic determinant that placed a wealth of possibilities at his disposal. Finally, in the early 20th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.

In this classic manual—”for its time the most comprehensive treatment of the subject” (New Grove Dictionary of Music and Musicians)—a noted English composer describes 57 orchestral instruments (ca. 1914), tracing their origins, development and status at the beginning of World War I. Not only are the history and evolution of each instrument fully discussed, the author also explores the techniques of each instrument, as well as players’ impressions about what they must play. The result is an unparalleled insight into the inner workings of an orchestra—a vivid impression of what it is like to be a violinist, clarinetist, trombonist, or other orchestral player.

While there have been numerous developments in instrumental technique on an individual basis since the book’s first publication, most of what Forsyth says is still valid. Writing with wit, grace and good sense, Forsyth created a formidably thorough, comprehensive and informative text that has instructed and influenced generations of composers, conductors, musicians and musicologists.

Unabridged republication of the 2nd edition (1935) published by Macmillan and Co., Ltd., and Stainer and Bell, Ltd., London. New introduction by William Bolcom. 23 black-and-white illustrations. Addenda. Appendix. Index. xv + 530pp. (plus 12 plates). 5 3/8 x 8 1/2. Paperbound.

ISBN 0—486—24383-4

90000 9 780486243832
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