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RR 2013/303 The Cambridge Guide to Orchestration Ertugrul Sevsay Cambridge University Press Cambridge 2013 xxii + 656 pp. ISBN 978 1 107 02516 5 £90 $150 Original edition as Handbuch der Instrumentationpraxis, Bärenreiter-Verlag Karl Vöttrele, 2005-10
Keywords Guides and handbooks, Music Review DOI 10.1108/RR-07-2013-0167
It often comes as a surprise to learn that otherwise fine musicians and performers may be novices when it comes to orchestration. This is when we select and combine the many various instrumental sections and parts (itself known as instrumentation) into the whole shape and character of the musical composition. All this of course is based on a good landerstanding of what the instruments can do - string and wind, brass and percussion, piano and the rest. The matter is made more complicated still from knowing the style and period of the composition itself, say a Haydn or Mozart symphony, or Tristan und Isolde or Tchaikovsky's Serenade for Strings. Over the centuries orchestration has been understood and carried out in many ways, building today on the foundation of works by Haydn and Mozart and Beethoven. Rimsky-Korsakov and Ravel, Debussy and Mahler stand out as distinctive orchestrators in their own right.
Today the interest in orchestration extends beyond mainstream "classical music" and "popular music" genres and performers to a wide range of conductors, arrangers, and sound/ recording engineers. Because of this, many centres of musical study offer courses on orchestration. In this case, Sevsay, professor of music at the University of Music and Performing Arts in Vienna, has taught such a course for many years, and this book emerges from.