Editing Orchestration (section)

===Berlioz===

The most significant orchestral innovator of the early 19th century was Hector [[Berlioz]].  (The composer was also the author of a ''[[Treatise on Instrumentation]]''.) "He was drawn to the orchestra as his chosen medium by instinct … and by finding out the exact capabilities and [[timbres]] of individual instruments, and it was on this raw material that his imagination worked to produce countless new sonorities, very striking when considered as a totality, crucially instructive for later composers, and nearly all exactly tailored to their dramatic or expressive purpose."<ref>Macdonald, H. (1969, p. 5) ''Berlioz Orchestral Music''.  London, BBC.</ref> Numerous examples of Berlioz's orchestral wizardry and his penchant for conjuring extraordinary sonorities can be found in his ''[[Symphonie fantastique]]''.  The opening of the fourth movement, entitled "March to the Scaffold" features what for the time (1830) must have seemed a bizarre mix of sounds.  The timpani and the double basses play thick chords against the snarling muted brass: [[File:March to the Scaffold bars 1-4 for audio.wav|thumb|March to the Scaffold from the ''Symphonie fantastique'']][[File:March to the Scaffold bars 1-4.png|thumb|center|500px|Berlioz, March to the Scaffold from the ''Symphonie fantastique'']]

"Although he derives from Beethoven, Berlioz uses features that run counter to the rules of composition in general, such as the chords in close position in the low register of the double basses."<ref>Boulez, P. (203, p. 44) Boulez on Conducting.  London, Faber.</ref>
Berlioz was also capable of conveying great delicacy in his instrumental writing.  A particularly spectacular instance is the "[[Queen Mab]]" scherzo from the {{lang|fr|[[Romeo et Juliette]]}} symphony, which [[Hugh Macdonald (musicologist)|Hugh Macdonald]] (1969, p51) describes as "Berlioz's supreme exercise in light orchestral texture, a brilliant, gossamer fabric, [[prestissimo]] and [[Dynamics (music)|pianissimo]] almost without pause: [[File:Berlioz, Queen Mab Scherzo, opening bars.wav|thumb|Berlioz, Queen Mab scherzo from Romeo et Juliette]][[File:Queen Mab main theme.png|thumb|center|500px|Berlioz, Queen Mab scherzo from Romeo et Juliette]]

Boulez points out that the very fast tempo must have made unprecedented demands on conductors and orchestras of the time (1830), "Because of the rapid and precise rhythms, the staccatos which must be even and regular in all registers, because of the isolated notes that occur right at the end of the bar on the third quaver…all of which must fall into place with absolutely perfect precision."<ref>Boulez, P. (203, p. 37) Boulez on Conducting.  London, Faber.</ref>
Macdonald highlights the passage towards the end of the scherzo where "The sounds become more ethereal and fairylike, low clarinet, high harps and the bell-like antique cymbals…The pace and fascination of the movement are irresistible; it is some of the most ethereally brilliant music ever penned."<ref>Macdonald, H. (1969, p. 51) Berlioz orchestral Music.  London, BBC.</ref> [[File:From Berlioz, Queen Mab scherzo.wav|thumb|Berlioz, orchestral texture from Queen Mab scherzo]][[File:Queen mab scherzo p218.png|thumb|center|500px|Berlioz, orchestral texture from Queen Mab scherzo]] The [[New Grove Dictionary]] says that for Berlioz, orchestration "was intrinsic to composition, not something applied to finished music...in his hands [[timbre]] became something that could be used in free combinations, as an artist might use his palette, without bowing to the demands of line, and this leads to the rich orchestral resource of Debussy and Ravel."<ref>MacDonald, H., (2001) "Berlioz", article in Sadie, S. (ed.) ''The New Grove Dictionary of Music and Musicians'', second edition.  London, MacMillan.</ref>