It is not the purpose of this work to write a treatise on instrumentation or to prepare a pedagogical analysis of orchestration only, but rather to trace the evolu-tion of the orchestra and of orchestration in connection with the history of music proper. Special emphasis will be laid upon what may be termed the IMPELLING FORCES to which the development of orchestration is due. This necessitates a considerable repetition of familiar facts that do not lend themselves to further original treatment. The restatement of such facts, however, would seem to form an indispensable background for the main theme, which is thereby exposed with all its attending phases of logical evolution. In addition to extended studies of orchestral scores themselves, the standard works of Berlioz, Gevaërt, Riemann, Parry, and others have, as a matter of course, been referred to. The subject under discussion has already been admirably handled by Lavoix in his voluminous work entitled "Histoire de L'Instrumentation," but it was unquestionably done through French glasses, and the scores of not one German romanticist are submitted to careful analysis beyond those of Weber and Wagner. "Parsifal" had not been produced at the time when Lavoix's book went to press, nor had such representative composers as Brahms, Saint-Saëns, Tschaikowsky, Dvorak then won their full meed of recognition. It is obvious, therefore, that the orchestration especially of the nineteenth century offers a fertile field for further profitable research. Again, the present writer is not aware of the existence of any comprehensive work in the English language upon the history of the orchestra and of orchestration. Throughout these pages the achievements of the more prominent composers are set forth in such manner as to indicate not only the distinctive features of their orchestration but of their general creative ability as well. In each case, the general style of composition and its significance as a contribution to musical literature are first enlarged upon. This is followed by an examination of the differentiated treatment of the strings, the wood, the brass, presented in logical sequence. A final analysis is then made of the individual method of orchestration as a whole, together with its relative value in the evolution of orchestration. In the Appendix to this book will be found a few musical illustrations selected from representative orchestral scores. LOUIS ADOLPHE COERNE. Cambridge, Massachusetts, U.S.A. April 30, 1905.
About the Author: Louis Adolphe Coerne (1870 - 1922) was an American composer and music educator. He was born in Newark, New Jersey, and was educated at Harvard University, where he studied under John Knowles Paine, and in Europe. Coerne wrote a number of pedagogical pieces for piano, and also composed a number of orchestral works, one of which, thetone poem Excalibur (Op. 180), was recorded by Karl Krueger with the Royal Philharmonic Orchestra in the late 1960s, and reissued on CD in 2006 by Bridge Records. His cantata, Hiawatha (op. 18), was premiered in Munich in 1893 and performed by the Boston Symphony Orchestra in 1894. Coerne's opera, Zenobia (op. 66), premiered in Bremen, Germany, in 1905, and was the first opera by an American composer to be performed in Germany. Earlier that year, Harvard had conferred on Coerne the degree of Ph.D., with the score ofZenobia and his book, The Evolution of Modern Orchestration (published in 1908), serving as his thesis. Other operas composed by Coerne: -A Woman of Marblehead (op. 40) -Sakuntala (op. 67) -The Maiden Queen (op. 69) Coerne taught at Smith College, Harvard, and Connecticut College. He died in Boston, Massachusetts, on September 11, 1922.