Editing Orchestra (section)

===Beethoven's influence===
The so-called "standard complement" of doubled winds and brass in the orchestra pioneered in the late 18th century and consolidated during the first half of the 19th century is generally attributed to the forces called for by [[Ludwig van Beethoven|Beethoven]] after Haydn and Mozart. Beethoven's instrumentation almost always included paired [[Western concert flute|flutes]], oboes, clarinets, bassoons, [[French horn|horns]] and trumpets. The exceptions are his [[Symphony No. 4 (Beethoven)|Symphony No. 4]], [[Violin Concerto (Beethoven)|Violin Concerto]], and [[Piano Concerto No. 4 (Beethoven)|Piano Concerto No. 4]], which each specify a single flute. Beethoven carefully calculated the expansion of this particular [[timbral]] "palette" in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the [[Symphony No. 3 (Beethoven)|"Eroica"]] Symphony arrives to provide not only some harmonic flexibility but also the effect of "choral" brass in the Trio movement. [[Piccolo]], [[contrabassoon]], and trombones add to the triumphal finale of his [[Symphony No. 5 (Beethoven)|Symphony No. 5]]. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the [[Symphony No. 6 (Beethoven)|Sixth]], also known as the ''Pastoral Symphony''. The [[Symphony No. 9 (Beethoven)|Ninth]] asks for a second pair of horns, for reasons similar to the "Eroica" (four horns has since become standard); Beethoven's use of piccolo, contrabassoon, trombones, and untuned percussion—plus [[choir|chorus]] and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of the symphony might be expanded. For several decades after his death, symphonic [[Instrumentation (music)|instrumentation]] was faithful to Beethoven's well-established model, with few exceptions.{{Citation needed|date=December 2015}}