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Education » Literary
The Orchestral Revolution: Haydn and the Technologies of Timbre screenshot
English | Publisher: Cambridge University Press, 2013 | PDF | 306 pages | 5 MB
The Orchestral Revolution explores the changing listening culture of the eighteenth and early nineteenth centuries. Delving into Enlightenment philosophy, the nature of instruments, compositional practices and reception history, this book describes the birth of a new form of attention to sonority and uncovers the intimate relationship between the development of modern musical aesthetics and the emergence of orchestration.

By focusing upon Joseph Haydn's innovative strategies of orchestration and tracing their reception and influence, Emily Dolan shows that the consolidation of the modern orchestra radically altered how people listened to and thought about the expressive capacity of instruments.

The orchestra transformed from a mere gathering of instruments into an ideal community full of diverse, nuanced and expressive characters. In addressing this key moment in the history of music, Dolan demonstrates the importance of the materiality of sound in the formation of the modern musical artwork.

- Offers a new account of a radical shift in European musical discourse in the late eighteenth and early nineteenth centuries, addressing a key moment in the formation of modern musical scholarship that will interest a broad scholarly audience

- Provides an analytical approach to music from the perspective of orchestration using an innovative visual method, giving readers new ways of thinking about the musical works discussed in the book as well as a way of approaching other musical repertoire

- Draws on methodologies from the history of science and technology to create connections between the history of music and other disciplines

Content:
Introduction
1. Lessons at the ocular harpsichord
2. The idea of timbre
3. Haydn, orchestration, and re-orchestration
4. The republic of sound
5. The real museum of musical works
6. The abuse of the orchestra
Epilogue: orchestral alchemy.

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The correct chronology should be, Haydn and the completion of the formation of the symphony orchestra and Beethoven the orchestral revolution. Good to remember that Haydn and Saliere were Beethoven's teachers.
Of course, Haydn has revolutionized and finalized the orchestra as it is today, but in terms of joining and organizing, but Beethoven has changed it's sonority, which left Haydn quite astonished.

Unfortunately only in 1810 with the harp of 'Erard', the same one that we used today, arrived late so that Beethoven couldn't use it, and the timpani at their time was precarious and only touched two notes;C and G. The horns. trombones and trumpets only reached their final conformation in the twentieth century, the flute in G was only known after Ravel. Honestly, I think we're still revolutionizing the symphony orchestra.

In order to avoid confusion, the master German-Austrian 'Nikolaus Harnoncourt' preferred to use the instruments of old times, so as not to confuse our ears, he ordered to manufacture and or to reform the old instruments exactly as they were used in the baroque or classic era, this way we have a more coherent idea of how everything worked, and the sound is quite different from modern orchestras. He is amazing.

Haydn achieved the high development of the Symphonic Orchestra of his era, almost 106 symphonies, but, not so much differences between them, Haydn is an import musician, composer, organologist, maestro of his time, by the way the most respected one, but...

When Beethoven who did only 9 symphonies, one different from the other, you'll understand why he is the most important in orchestral sonority then Haydn.

While in Haydn's orchestration you'll hear all the flutes or solo flutes alone, than come another part after the flutes, all organized in a boring way, but, in Beethoven the metamorphosis happen for the first time in the history, when, while the flutes are playing, the strings start to grow together with flutes, creating and entire new "atmosphere" or soundsphere, then other winds appears hiding the all flutes.

Brahms who was born almost 6 years later after Beethoven's death, once said, this is the most perfect sonority for the orchestra, Beethoven was the guy, I will follow him for life.
Is it because we classified Brahms as Neo Classical.

It is good to remember that the word Neo comes from the Greek and means New, of course the word new that today is in the English language comes from the Greek, like many other latin languages also adopted, like: Spanish =nuevo, Italian=nuovo, Russian=новый, French=nouveau etc.
Today, however, when we use 'Neo' word, we know it has the weight of being something new and up to date, or a copy-paste of ideas from the past.

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