Principles of Orchestration: With Musical Examples Drawn From his own Works

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Rimsky-Korsakov, Nikolay

Shteinberg, Maksimilian Oseevich

Agate, Edward

History

Franklin Classics

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Legare Street Press

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Snegurotchka: (The Snow Maiden); a Legend of Springtide

BiblioLife

Enfantines

Arts & Photography

Mussorgsky, Modest Petrovich

Bernhard, A

Music

Nabu Press

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Principles of orchestration: with musical examples drawn from his own works

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Principles of orchestration: with musical examples drawn from his own works - Scholar's Choice Edition

Scholar's Choice

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Andesite Press

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Principles of OrchestrationBy Nikolay Rimsky-KorsakovEdited by Maximilian SteinbergEnglish translation by Edward AgateRimsky-Korsakov had long been engrossed in his treatise on orchestration. We have in our possession a thick note book of some 200 pages in fine hand writing, dating from the years 1873-1874, containing a monograph on the question of acoustics, a classification of wind instruments and a detailed description of the construction and fingering of the different kinds of flute, the oboe, clarinet and horn.In his "Memoirs of my musical life" (1st edition, p. 120) the following passage occurs: "I had planned to devote all my energies to the compilation of a full treatise on orchestration. To this end I made several rough copies, jotting down explanatory notes detailing the technique of different instruments. What I intended to present to the world on this subject, was to include everything. The writing of this treatise, or, to be more exact, the sketch for it took up most of my time in the years 1873 and 1874. After reading the works of Tyndall and Helmholtz, I framed an introduction to my work, in which I endeavoured to expound the laws of acoustics as applied to the principles governing the construction of musical instruments. My manual was to begin with a detailed list of instruments, classified in groups and tabulated, including a description of the various systems in use at the present day. I had not yet thought of the second part of the book which was to be devoted to instruments in combination. But I soon realised that I had gone too far. With wind instruments in particular, the different systems were innumerable, and each manufacturer favoured his own pet theory. By the addition of a certain key the maker endowed his instrument with the possibility of a new trill, and-VIII- made some difficult passages more playable than on an instrument of another kind.

Principles of Orchestration: The Age of Brilliance and Imaginative Quality

CreateSpace Independent Publishing Platform

Principles of OrchestrationBy Nikolay Rimsky-KorsakovEdited by Maximilian SteinbergEnglish Translation by Edward AgateA Treatise on OrchestrationVolume IOrchestration is the study or practice of writing music for an orchestra or of adapting music composed for another medium for an orchestra. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece.As regards orchestration it has been my good fortune to belong to a first-rate school, and I have acquired the most varied experience. In the first place I have had the opportunity of hearing all my works performed by the excellent orchestra of the St. Petersburgh Opera. Secondly, having experienced leanings towards different directions, I have scored for orchestras of different sizes, beginning with simple combinations (my opera The May Night is written for natural horns and trumpets), and ending with the most advanced. In the third place, I conducted the choir of the Military Marine for several years and was therefore able to study wind-instruments. Finally I formed an orchestra of very young pupils, and succeeded in teaching them to play, quite competently, the works of Beethoven, Mendelssohn, Glinka, etc. All this has enabled me to present this work to the public as the result of long experience.

Principles of Orchestration: A Treatise on Orchestration

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Books by Rimsky-Korsakov, Nikolay

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Principles of Orchestration: With Musical Examples Drawn From his own Works

Principles of Orchestration: With Musical Examples Drawn From his own Works

Snegurotchka: (The Snow Maiden); a Legend of Springtide

Enfantines

Principles of orchestration: with musical examples drawn from his own works

Principles of orchestration: with musical examples drawn from his own works - Scholar's Choice Edition

Principles of Orchestration: With Musical Examples Drawn From his own Works

Principles of Orchestration: With Musical Examples Drawn From his own Works

Principles of Orchestration: The Age of Brilliance and Imaginative Quality

Principles of Orchestration: A Treatise on Orchestration