Page:Pratt - The history of music (1907).djvu/353

 '''147. The Perfected Orchestra.'''—The contrast between the orchestra of the early 18th century and that of the later is remarkable, the change being due both to the rapid advance of chamber music and to the shift in methods of musical construction. In the Bach-Handel period the wood-wind rivaled the strings in number of players, the deliberate antithesis of tone-colors in groups was comparatively rare, and the massive effects desired were more indiscriminately vigorous than artfully calculated. Design in composition was far more valued than coloring, and the interplay of parts more than refinement in treating them individually. The polyphonic ideal gave but slight spur to expressiveness of delivery. But in the Haydn-Mozart period the string-quartet was made supreme in fact, the number of wood-wind players reduced, though variety of tone was greatly increased by the addition of clarinets (especially after 1775), the study of the tonal groups energetically begun, and the principle perceived that sonority depends less upon complexity of scoring or loudness of playing than upon a judicious disposition of the tones and upon purity of quality in each instrument. Color or timbre began to stand on a more equal footing with design as a means of expression and effect. The emphasis on expressive melody forced a new attention to elasticity and shading.

As now balanced for the first time, the modern orchestra comprises three divisions: (a) the strings, including first and second violins, violas (tenors) and double-basses—a quartet; (b) the wood-wind, including first and second flutes, first and second oboes, first and second clarinets, first and second bassoons—a quartet with interchangeable upper parts; (c) the brass, including first and second horns, first and second trumpets, and two kettledrums—a partial quartet. It is to be noted that the violoncello was not yet commonly used, certainly not in differentiation from the basses, but that the piccolo (octave flute), the cor anglais (tenor oboe), the basset-horn (tenor clarinet), the bass clarinet, more than two horns or two trumpets, two to three trombones, and even four kettledrums were occasionally introduced for special effects.

It should be remembered that till about 1800 the old custom persisted of using the harpsichord or piano with the orchestra both to fill in some of the harmony and to fix the tempo. The conductor usually led from this instrument, though the use of the baton had been known, though rarely employed, for at least a century.

It would be interesting if the exact time could be given when particular instruments began to be used orchestrally, but the data are few. The following summary remarks, however, may be given upon each division of the ensemble. (a) The whole violin family came into view during the