Editing Orchestration (section)

===Mozart===
[[Mozart]] "was acutely sensitive to matters of instrumentation and instrumental effect where orchestral writing was concerned", including a "meticulous attitude towards the spacing of chords."<ref>Keefe, S.P. (2003, p. 92) ''The Cambridge Companion to Mozart''. Cambridge University Press.</ref> [[H. C. Robbins Landon]] marvels at the "gorgeous wash of colour displayed in Mozart's scores."<ref>Robbins Landon, H. (1989, p. 137), Mozart, the Golden Years.  London, Thames and Hudson.</ref>   For example, the opening movement of the [[Symphony No. 39 (Mozart)|Symphony No. 39]] (K543) contains "a charming dialogue between strings and woodwind"<ref>Robbins Landon, H. and Mitchell, D. (1956, p. 191) The Mozart Companion.  London, Faber.</ref> that demonstrates the composer's exquisite aural imagination for the blending and contrast of [[timbres]].  Bars 102-3 feature a widely spaced [[voicing (music)|voicing]] over a range of four octaves.  The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a [[pedal point]] in the double basses and a sustained [[octave]] in the horns.  Wind instruments respond in bars 104–5, accompanied by a spidery ascending [[chromatic]] line in the cellos.[[File:Symphony 39, first movement, bars 102-119.wav|thumb|Symphony 39, first movement, bars 102-119]] [[File:Symphony 39, first movement, bars 102-120.png|thumb|center|500px|Symphony 39, first movement, bars 102-105]]A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.[[File:Symphony 39, first movement, bars 102-121.png|thumb|center|500px|Symphony 39, first movement, bars 106-109]]Next, a phrase for strings alone blends [[pizzicato]] cellos and basses with bowed violins and violas, playing mostly in thirds:[[File:Symphony 39, first movement, bars 110-114.png|thumb|center|500px|Symphony 39, first movement, bars 110-114]]The woodwind repeat these four bars with the violins adding a [[counter-melody]] against the cellos and basses playing [[Bow (music)|''arco'']].  The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement "ineffably grand and rich in ideas, with striking variety in almost all obbligato parts."<ref>{{cite web|last1=Black|first1=David|title=A personal response to the Mozart memorial concert in Hamburg and the Symphony in E-flat (K. 543)|url=https://sites.google.com/site/mozartdocuments/documents/1792-02-19-anderwitsch|website=Mozart: New Documents, edited by Dexter Edge and David Black|access-date=May 10, 2017}}</ref>[[File:Symphony 39, first movement, bars 115-119.png|thumb|center|500px|Symphony 39, first movement, bars 115-119]]"The main feature in [his] orchestration is Mozart's density, which is of course part of his density of thought."<ref>Robbins Landon, H. (1989, p. 137), Mozart, the Golden Years.  London, Thames and Hudson.</ref> Another important technique of Mozart's orchestration was [[call and response (music)|antiphony]], the "call and response" exchange of musical motifs or "ideas" between different groups in the orchestra. In an antiphonal section, the composer may have one group of instruments introduce a melodic idea (e.g., the first violins), and then have the woodwinds "answer" by restating this melodic idea, often with some type of variation. In the trio section of the minuet from his [[Symphony No. 41 (Mozart)|Symphony No. 41]] (1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin line [[Voicing (music)#Doubling|doubled]] at the [[octave]] by the first oboe:[[File:Mozart Jupiter Symphony Trio.wav|thumb|Trio section of the Minuet from Mozart's Symphony No. 41.]] [[File:Mozart Jupiter Trio.png|thumb|center|500px|Trio section of the Minuet from Mozart's Symphony No. 41.]] Charles Rosen (1971, p.&nbsp;240) admires Mozart's skill in orchestrating his piano concertos, particularly the [[Piano Concerto No. 22 (Mozart)|Concerto in E flat major, K482]], a work that introduced clarinets into the mix.  "This concerto places the greatest musical reliance on tone colour, which is, indeed, almost always ravishing.  One lovely example of its sonorities comes near the beginning."<ref>Rosen, C. (1971, p. 240) The Classical Style.  London Faber.</ref>[[File:Mozart Piano Concerto 22 first movement opening.wav|thumb|Mozart Piano Concerto K482 first movement bars 1-12]][[File:Mozart Piano Concerto K482 first movement bars 1-6.png|thumb|center|500px|Mozart Piano Concerto K482 first movement bars 1-6]] 
 
The orchestral [[tutti]] in the first two bars is answered by just horns and bassoon in bars 2–6.  This passage repeats with fresh orchestration: [[File:Mozart Piano Concerto K482 first movement bars 7-12.png|thumb|center|500px|Mozart Piano Concerto K482 first movement bars 7–12.]]"Here we have the unusual sound on the violins providing the bass for the solo clarinets.  The simplicity of the sequence concentrates all our interest on tone-colour, and what follows – a series of woodwind solos – keeps it there.  The orchestration throughout, in fact, has a greater variety than Mozart had wished or needed before, and fits the brilliance, charm, and grace of the first movement and the finale."<ref>Rosen, C. (1971, p. 240) The Classical Style.  London Faber.</ref>