Editing Orchestration (section)

===J.S Bach===
During the [[Baroque]] era, composers showed increasing awareness of the expressive potential of orchestration.  While some early Baroque pieces have no indication of which instruments should play the piece, the choice of instruments being left to the musical group's leader or [[concertmaster]], there are Baroque works which specify certain instruments. The orchestral accompaniment to the aria 'et misericordia' from [[J. S. Bach]]'s ''[[Magnificat (Bach)|Magnificat]]'', BWV 243 (1723) features muted strings [[Voicing (music)#Doubling|doubled]] by flutes, a subtle combination of mellow instrumental [[timbres]].[[File:Et misericordia.png|thumb|center|500px|Orchestral introduction to 'et misericordia' from Bach's Magnificat, BWV 243.<ref>{{Cite web |last=stigekalder |date=Mar 27, 2015 |title=Bach's own score - Magnificat - Et misericordia (Duet) |url=https://www.youtube.com/watch?v=Om6FA-8Rs5I |website=YouTube}}</ref>]]

A particularly imaginative example of Bach's use of changing instrumental colour between orchestral groups can be found in his Cantata BWV 67, ''[[Halt im Gedächtnis Jesum Christ]]''.  In the dramatic fourth movement, Jesus is depicted as quelling his disciples' anxiety (illustrated by agitated strings) by uttering ''Friede sei mit euch'' ("[[John 20:19|Peace be unto you]]"). The strings dovetail with sustained chords on woodwind to accompany the solo singer, an effect [[John Eliot Gardiner]] likens to "a cinematic dissolve".<ref>Gardiner, J.E. (2013, p. 313) Music in the Castle of Heaven; a Portrait of Johann Sebastian Bach. London, Allen Lane.</ref>[[File:Bach, from Cantata BWV 67, 4th movement, bars 8-13.wav|thumb|Bach, from Cantata BWV 67, 4th movement, bars 8-13]][[File:Bach, from Cantata BWV 67, 4th movement, bars 8-13.png|thumb|center|600px|Bach, from Cantata BWV 67, 4th movement, bars 8-13]]

The orchestral introduction to the opening chorus of J. S. Bach's [[epiphany (holiday)|epiphany]] Cantata [[Sie werden aus Saba alle kommen, BWV 65|''Sie werden aus Saba alle kommen'']] BWV 65, which [[John Eliot Gardiner]] (2013, p.&nbsp;328) describes as "one of the crowning glories of Bach's first Christmas season" further demonstrates the composer's mastery of his craft.  Within a space of eight bars, we hear recorders, [[oboe da caccia|oboes da caccia]], horns and strings creating a "glittery sheen" of contrasted timbres, sonorities and textures ranging from just two horns against a string [[pedal point]] in the first bar to a "restatement of the octave unison theme, this time by all the voices and instruments spread over five octaves" in bars 7-8:<ref>Gardiner, J.E. (2013, p. 328) ''Music in the Castle of Heaven''.  London, Allen Lane.</ref>[[File:Opening orchestral introduction to J.S. Bach's Cantata, BWV65.wav|thumb|Opening orchestral introduction to J.S. Bach's Cantata, BWV65.]][[File:Sie werden aus Saba Alle kommen opening bars.png|thumb|center|600px|Opening orchestral introduction to J.S. Bach's Cantata, BWV65.]]

In contrast, Bach's deployment of his instrumental forces in the opening movement of his ''[[St John Passion]]'' evokes a much darker drama: 

[[File:St John Passion opening for audio 01.wav|thumb|St John Passion, opening]][[File:St John Passion opening.png|thumb|center|600px|St John Passion opening]] "The relentless tremulant pulsation generated by the reiterated bass line, the persistent sighing figure in the violas and the violins the swirling motion in the violins so suggestive of turmoil… all contribute to its unique pathos.   Over this ferment, pairs of oboes and flutes locked in lyrical dialogue but with anguished dissonances enact a very different kind of physicality, one that creates a harrowing portrayal of nails being driven into bare flesh."<ref> Gardiner, J.E. (2013, p. 343) ''Music in the Castle of Heaven: a Portrait of Johann Sebastian Bach.''  London, Allen Lane. </ref>

Igor Stravinsky (1959, p45) marvelled at Bach's skill as an orchestrator: "What incomparable instrumental writing is Bach's. You can smell the resin [(rosin)] in his violin parts, [and] taste the reeds in the oboes."<ref>Stravinsky I. and Craft, R. ''Conversations with Igor Stravinsky''.  London, Faber.</ref>