Development of the orchestra

Orchestral music is perhaps the clearest barometer of changing tastes & style in music,
with the makeup of the orchestra & its expressive possibilities changing more radically
than in other areas of music

Late C17th/early C18th (Baroque)

Concept of a standardised musical ensemble developed by royalty/aristocracy & in opera
houses
Founded on small 4-part string group (1st Violins, 2nd Violins, Viola, unison Cello &
Double Bass), with a chordal instrument (Harpsichord/Organ) added to fill out the
harmony
Oboes & Bassoons added where resources permitted, sometimes Flute & Horn
(unvalved)
Trumpets/Timpani added for special occasions or ceremonial events

Late C18th (Classical)

Addition of Clarinets
Horns, Trumpets, Timps now regular
String section increases in size to balance woodwind & brass (Berlin opera house: 1772 =
22 string players, 1841 = 54 string players)
Occasional appearance of Trombones (originally a Renaissance instrument) and
'Turkish' percussion Bass Drum, Cymbals, Triangle
Expansion of orchestra partly results from focus of concert life moving to public halls,
theatres & opera houses, where larger sound needed than in aristocratic salons
Keyboard chordal instrument disappears from orchestra
Typical orchestra of 1800: pairs of Fls, Obs, Clts & Bsns; pairs of Hns & Trpts; Timps;
1st Vlns (8), 2nd Vlns (8), Vla (6), Cello (6), Bass (4)

1st half of C19th (early Romantic)

Composers & audiences attracted to new, rich sonorities. Tessitura of orchestra expands
through Piccolo, Contrabassoon
More regular use of Trbns & simple Percussion
Increasing size of string section encourages composers to create more complex textures
by (a) writing double-bass parts with greater independence from cello line, and (b)
sometimes dividing upper string parts
Development of woodwind keywork (earlier instruments had holes and few keys) allows
greater technical proficiency

2nd half of C19th (late Romantic)

Valves on Hns/Trpts give chromatic range
Number of brass players increases now regularly 4 Hns, 2 Trpts, 3 Trbns
Tuba adds bass to brass
Additional woodwind to extend range of section: Cor Anglais, Eb Clarinet, Bass Clarinet
Harp(s)
Extra percussion: Snare Drum, Suspended Cymbal, Tamtam (Gong), Xylophone,
Glockenspiel, Tubular Bells
Late C19th pedal mechanism on Timps allows player to change pitch of drum quickly
Occasional use of Organ with orchestra
Size of string section body increases again to balance woodwind, brass & percussion
Typical orchestra of 1900: Picc + 2 Fls, 2 Obs + Cor A, Eb Clt + 2 Clts + Bass Clt, 2 Bsns
+ Contra; 4 Hns, 3 Trpts, 3 Trbns, Tuba; Timps + 2-3 Perc, Harp, 1st Vlns (16), 2nd Vlns
(16), Vla (12), Cello (12), Bass (8)

C20th (Modern)
Early years see further increase in size, including up to 8 Hns, 4 Trpts; occasional extra
percussion (Whip, Cowbells, Wind Machine, Chains etc), occasional 2nd Timp player;
addition of exotic instruments (e.g. Ondes Martenot)
Economic conditions following World War I mean large symphony orchestras are now
less affordable. Composers often turn to smaller ensembles to ensure their music will be
played. However, despite cost, the symphony orchestra keeps its attraction for
composers both those writing in established styles (Strauss, Shostakovich, Britten)
and pushing boundaries (Webern, Messaien, Stockhausen, Boulez)