The Classical Orchestra
The end of the 17th century and the beginning of the 18th saw the beginnings of the Classical period. The
woodwinds took their place as a proper section, usually combined in pairs. The use of a pair of horns
gradually replaced the continuo, filling out the texture of the orchestra. This combination of instruments
is known popularly as the ‘Classical Orchestra’; this is because most works of this period, including
Hadyn’s last symphonies and Beethoven’s earlier ones, were composed for this particular combination.
A famous orchestra of this time period was the Mannheim Orchestra, which numbered 46 players in 1782,
comprising of skilled musicians who were considered the best in Europe. Mozart was said to have been
influenced by the performance of their clarinettist, leading him to use the clarinet in his works as often as
he could. The Orchestra had a reputation for elegant and precise performances and was also renowned
for its use of effective variations in dynamics.
Mozart influenced the development of the Orchestra in his own way. His works led to the acceptance of
the woodwinds as a complete and independent section of the orchestra, as well as causing the decline in
the use of the continuo. He also experimented with the timbres of the various instruments, mixing them in
new ways. Haydn, too, had a hand in this stage of the evolution of the orchestra.
Typical classical orchestra layout
Towards the end of the Classical period Beethoven brought about some innovations in
orchestral arrangement; these included the addition of instruments such as the piccolo,
double bassoon, bass drum. The scores for cello and bass in his works were separated,
which was uncommon for that time. It is mainly due to him that the standard woodwind
section was fixed to be the ‘double wind’ configuration, with 2 of each instrument. His
brass section was also enlarged, for example his 9th Symphony required 4 horns. These
changes required a larger string section to balance the overall sound of the orchestra,
and this in turn led to an increase in the power of the orchestra.
The Classical Orchestra
Classical Orchestra
Early Romantic Orchestra
Late Romantic Orchestra
Modern Orchestra
Woodwinds
Woodwinds
Woodwinds
Woodwinds
2 Flutes
(Piccolo)
Piccolo
Piccolo
2 Oboes
2 Flutes
3 Flutes
2 Flutes
2 Clarinets
2 Oboes
3 Oboes
2 Oboes
(in C, B-flat, or A)
(English Horn)
English Horn
English Horn
2 Bassoons
2 Clarinets in B-flat, A
Clarinet in E-flat
2 Clarinets in B-flat, A
(Bass Clarinet in B-flat, A)
3 Clarinets in B-flat,
Bass Clarinet (and/or
2 or 4 Horns
2 Bassoons
A
Clarinet in E-flat)
(in any key)
(Contrabassoon)
Bass Clarinet
2 Bassoons
3 Bassoons
Contrabassoon
Brass
2 Trumpets
Brass
(in any key)
4 Horns in F
2 Trumpets in F
Percussion
Timpani
Contrabassoon
Brass
4 Horns in F
Brass
(2 Cornets in B-flat)
8 Horns in F
3 Trumpets in C, B-flat
3 Trombones (2 Tenor, 1
4 Trumpets in E,
3 Trombones (2 Tenor, 1
6 Violins I
Bass)
E-flat, A, D, F, C,
Bass)
6 Violins II
(Tuba)
B-flat
Tuba
4 Trombones (3
Euphonium
Strings
4 Violas
Percussion
3 Violoncellos
Timpani
Tenor, 1 Bass)
2 Contrabasses
Snare Drum
(Euphonium)
Timpani
Bass Drum
(Wagner Tubas (2
Snare Drum
Cymbals
Tenor, 2 Bass))
Tenor Drum
Triangle
Tuba
Bass Drum
Tambourine
Percussion
Cymbals
Percussion
Glockenspiel
Timpani
Tam-tam
Snare drum
Triangle
Harp
Bass drum
Wood block
14 Violins I
Cymbals
Tambourine
12 Violins II
Tam-tam
Glockenspiel
10 Violas
Triangle
Xylophone
8 Violoncellos
Tambourine
Vibraphone
6 Double basses
Glockenspiel
Tubular bells
Strings
Xylophone
Keyboards
Chimes
Celesta
Piano
Keyboards
Celesta
Organ
Strings
Harp
16 Violins I
Strings
2 Harps
14 Violins II
16 Violins I
12 Violas
16 Violins II
10 Violoncellos
12 Violas
8 Double basses
12 Violoncellos
12 Double basses
The Classical Orchestra
The Classical Orchestra
Celesta
orchestral percussion instrument resembling a small upright piano,
patented by a Parisian, Auguste Mustel, in 1886. It consists of a series of small
metal bars (and hence is a metallophone) with a keyboard and a simplified piano
action in which small felt hammers strike the bars. Each bar is resonated by
a wooden box or similar chamber tuned to reinforce the fundamental harmonic
(component tone) of the bar. A pedal lifts a felt-pad damper from the bars,
permitting use of either sustained or short notes.
The Classical Orchestra
Glockenspiel
Most orchestral glockenspiels are mounted in a case.
A glockenspiel [German Glocken (bells) + spielen (to play)] is a percussion
instrument, composed of a set of tuned keys arranged in the fashion of the
keyboard of a piano. In this way, it is similar to the xylophone; however, the
xylophone's bars are made of wood, while the glockenspiel's are metal plates
or tubes, thus making it a metallophone. The glockenspiel, moreover, is usually
smaller and higher in pitch.
One classical piece where the glockenspiel is used is Mozart's Die Zauberflöte.
(This part, like many others, calls for a keyboard glockenspiel. The part is
sometimes performed on a celesta, which, however, sounds quite different from
the intended effect.) A modern example of the glockenspiel is Steve Reich's 1974
composition Drumming, in which the glockenspiel becomes a major instrument in
the 3rd and 4th movements.[1]
Other instruments which work on the same struck-bar principle as the
glockenspiel include the marimba and the vibraphone. There are also many
glockenspiel-like instruments in Indonesian gamelan ensembles.