Editing Orchestration (section)

===Beethoven===
Beethoven's innovative mastery of orchestration and his awareness of the effect of highlighting, contrasting and blending distinct instrumental [[timbre|colours]] are well exemplified in the [[Scherzo]] of his [[Symphony No. 2 (Beethoven)|Symphony No. 2]]. [[George Grove]] asks us to note "the sudden contrasts both in amount and quality of sound… we have first the full orchestra, then a single violin, then two horns, then two violins, then the full orchestra again, all within the space of half-a-dozen bars."<ref>Grove, G. (1896, p. 34) ''Beethoven and his Nine Symphonies''.  London, Novello.</ref> "The scoring, a bar of this followed by a bar of that, is virtually unique, and one can visualize chaos reigning at the first rehearsal when many a player must have been caught unprepared."<ref>Hopkins, A. (1981, p. 51)  ''The Nine Symphonies of Beethoven''. London, Heinemann.</ref> [[File:Symphony 2 scherzo bars 1-8.wav|thumb|Beethoven, Symphony 2 scherzo bars 1-8]][[File:Symphony 2 scherzo bars 1-9.png|thumb|center|500px|Symphony 2 scherzo bars 1-8]]

Another demonstration of Beethoven's consummate skill at obtaining the maximum variety out of seemingly unprepossessing and fairly simple material can be found in the first movement of the [[Beethoven Piano Concerto No. 5|Piano Concerto No. 5]] in E flat ('The Emperor') Opus 73 (1810). The [[sonata form|second subject of the sonata form]] is a deceptively simple tune that, according to Fiske (1970, p.&nbsp;41) "is limited to notes playable on the horns for which it must have been specially designed."<ref>Fiske, R. (1970), ''Beethoven Concertos and Overtures''.  London, BBC.</ref> This theme appears in five different orchestrations throughout the movement, with changes of [[Mode (music)|mode]] (major to minor), [[Dynamics (music)|dynamics]] ([[forte (music)|forte]] to [[Dynamics (music)|pianissimo]]) and a blending of instrumental [[Timbre|colour]] that ranges from boldly stated [[tutti]] passages to the most subtle and differentiated episodes, where instrumental sounds are combined often in quite unexpected ways:[[File:Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor).wav|thumb|Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)]][[File:Subsidiary theme from the first movement of beethoven's Piano Conxcert No. 5 (Emperor).png|thumb|center|600px|Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)]]

The theme first appears in the minor mode during the orchestral introduction, performed using [[staccato]] articulation and orchestrated in the most delicate and enchanting colours:[[File:Minor version of the theme.wav|thumb|Minor version of the theme]][[File:Minor version 1.png|thumb|center|500px|Minor version of the theme.]] This is followed by a more straightforward version in the major key, with horns accompanied by strings.  The theme is now played [[legato]] by the horns, accompanied by a sustained [[pedal point]] in the bassoons.  The violins simultaneously play an elaborated version of the theme.  (See also [[heterophony]].)  The timpani and [[pizzicato]] lower strings add further colour to this variegated palette of sounds. "Considering that the notes are virtually the same the difference in effect is extraordinary":<ref>Fiske, R. (1970, p. 41), ''Beethoven Concertos and Overtures''.  London, BBC.</ref>[[File:Major version of the theme, with horns playing the melody.wav|thumb|Major version of the theme, with horns playing the melody]][[File:Major version of the theme.png|thumb|center|500px|Major version of the theme, with horns playing the melody.]] When the solo piano enters, its right hand plays a variant of the minor version of the theme in a [[Tuplet|triplet]] rhythm, with the backing of pizzicato (plucked) strings on the off-beats:[[File:Minor version of the theme, with piano right hand elaborating the melody in triplets.wav|thumb|Minor version of the theme, with piano right hand elaborating the melody in triplets]][[File:Minor version 2 - piano.png|thumb|center|500px|Minor key version of the theme, with piano right hand elaborating the melody in triplets.]] This is followed by a bold ''[[tutti]]'' statement of the theme, "with the whole orchestra thumping it out in aggressive semi-[[staccato]].<ref>Fiske, R. (1970, p. 42), ''Beethoven Concertos and Overtures''.  London, BBC.</ref> [[File:Tutti statement of the theme.wav|thumb|Tutti statement of the theme]]:[[File:Tutti version in major.png|thumb|center|500px|Tutti statement of the theme.]] The minor version of the theme also appears in the [[cadenza]], played staccato by the solo piano:[[File:Solo piano statement of theme in the cadenza.wav|thumb|Solo piano statement of theme in the cadenza]][[File:Cadenza.png|thumb|center|500px|Solo piano statement of theme in the cadenza.]] This is followed, finally, by a restatement of the major key version, featuring horns playing legato, accompanied by pizzicato strings and [[filigree]] arpeggio figuration in the solo piano:[[File:Final statement of the theme in a major key by the horns after the end of the cadenza.wav|thumb|Final statement of the theme in a major key by the horns after the end of the cadenza]][[File:Major version in cadenza.png|thumb|center|500px|Final statement of the theme in a major key by the horns after the end of the cadenza.]] Fiske (1970) says that Beethoven shows "a superb flood of invention" through these varied treatments.  "The variety of moods this theme can convey is without limit."<ref>Fiske, R. (1970, p. 42), ''Beethoven Concertos and Overtures''.  London, BBC.</ref>