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Principles of Orchestration
Principles of Orchestration by Nikolay Rimsky-Korsakov. Rimsky-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.
725 pages, Kindle Edition
First published July 15, 1822
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About the author
Nikolai Rimsky-Korsakov
678Ìýbooks26ÌýfollowersTraditional folk music heavily influenced operas and orchestral works of Russian composer Nikolai Andreyevich Rimsky-Korsakov.
With Aleksandr Konstantinovich Glazunov, he his student, completed an opera.
This member of the group, known as "the five," mastered. His best-known Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade constitute staples of the classical repertoire alongside suites and excerpts from some of his 15 operas. Scheherazade exemplifies his frequent use of fairy tale and subjects.
Rimsky-Korsakov as fellow Mily Balakirev and critic Vladimir Stasov developed a classical nationalistic style. This style employed song and lore alongside exotic harmonic, melodic, and rhythmic elements in a practice, known as orientalism, and eschewed traditional western methods. Rimsky-Korsakov, a professor of harmony at the Saint Petersburg conservatory in 1871, however, appreciated western techniques. He undertook a rigorous three-year program of self-education and mastered western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of the five. His exposure to the works of Richard Wagner further enriched his techniques.
With Aleksandr Konstantinovich Glazunov, he his student, completed an opera.
This member of the group, known as "the five," mastered. His best-known Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade constitute staples of the classical repertoire alongside suites and excerpts from some of his 15 operas. Scheherazade exemplifies his frequent use of fairy tale and subjects.
Rimsky-Korsakov as fellow Mily Balakirev and critic Vladimir Stasov developed a classical nationalistic style. This style employed song and lore alongside exotic harmonic, melodic, and rhythmic elements in a practice, known as orientalism, and eschewed traditional western methods. Rimsky-Korsakov, a professor of harmony at the Saint Petersburg conservatory in 1871, however, appreciated western techniques. He undertook a rigorous three-year program of self-education and mastered western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of the five. His exposure to the works of Richard Wagner further enriched his techniques.
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Displaying 1 - 19 of 19 reviews
March 20, 2020
A very colorful description of harmonics and counterpoints between instruments. I found this book rather helpful in learning more about orchestration - Rimsky-Korsakov is an already famous composer that I wish had written more than one volume on composition. I will definitely read this again, he made learning interesting and easy to audiate.
January 19, 2018
This book is a notable attempt to show all of the nuances of orchestration. The author, famous Russian composer Rimsky-Korkasov, describes everything one needs to know about arranging parts for a string or full orchestra. i recommend this to anyone studying orchestration.
March 2, 2022
Warning
The e-book is literally just a table of contents and some ads.
The entire text is missing.
Worthless. Do not purchase under any conditions.
The e-book is literally just a table of contents and some ads.
The entire text is missing.
Worthless. Do not purchase under any conditions.
September 30, 2024
Principles of Orchestration by Rimsky-Korsakov, as expected, discusses the intricacies of orchestration. It was most useful in studying Russian music specifically as that was what Rimsky-Korsakov wrote. This book outlines every detail one could possibly need in the art of orchestration, including vocal production for both opera, choir, and chamber works and how to integrate them within an orchestra. Because of these specificities it is able to retain its relevance in modern orchestral music, tying closely to the great film composers of our time. I did feel, however, that it was lacking detail on integration of woodwind solos and solis into string and brass parts. I would recommend this book to anyone looking to better understand the components behind orchestration, it is an essential book on the subject.
November 22, 2024
superb. took me a lil while to get through since i wanted to listen along and apply along with not consistently reading it, but super informative book from the master of orchestration himself. crazy how relevant and still applicable it is 100+ years later
my favorite part was when he named three separate instruments and super casually dropped, “of my invention�
my favorite part was when he named three separate instruments and super casually dropped, “of my invention�
September 17, 2011
No doubt, this is the most complete and deep study of western orchestration up to date. Although many might argue on the fact that Rimski-Korsakov is the father of this science and this is (still) the most comprehensive guide in this ocean - this guide contains the essence. Everything else is further development.
Something which is not very popular among teaching composers is the quality of Rimski-Korsakov's linguistic expression. The author is able not to inform but completely transform our understanding of the function and importance of orchestration.
Conclusion: if you feel like shaping your skills and understanding in music creation - this book is one of your best friends. For life.
Something which is not very popular among teaching composers is the quality of Rimski-Korsakov's linguistic expression. The author is able not to inform but completely transform our understanding of the function and importance of orchestration.
Conclusion: if you feel like shaping your skills and understanding in music creation - this book is one of your best friends. For life.
March 14, 2016
This is my go-to guide for orchestrating my symphonies and other full-orchestra works.
Written by one of the Mighty Handful (or Russian Five) composers, Rimsky-Korsakov's Principles of Orchestration is one of the most important treatises on how to write for a symphonic orchestra. Instruments and instrument sections are covered: strings, woodwinds, brass, percussion. Voicing, part doubling, timbre, balance, all the important aspects of how to make quality compositions and arrangements.
Musical examples are included, most of them from works by the author himself, including Scheherezade and Capriccio espagnol.
(It is also available on the web for free at several locations, in the original Russian and also in English, French and German translations.)
Written by one of the Mighty Handful (or Russian Five) composers, Rimsky-Korsakov's Principles of Orchestration is one of the most important treatises on how to write for a symphonic orchestra. Instruments and instrument sections are covered: strings, woodwinds, brass, percussion. Voicing, part doubling, timbre, balance, all the important aspects of how to make quality compositions and arrangements.
Musical examples are included, most of them from works by the author himself, including Scheherezade and Capriccio espagnol.
(It is also available on the web for free at several locations, in the original Russian and also in English, French and German translations.)
July 25, 2016
One of two books on orchestration that I've kept at my side for many years. (The other is the classic Walter Piston text.) I find R-K more charming than Piston in some ways, and he certainly has a way with color so I tend to trust his judgement. The examples from his own work are also valuable and instructive.
September 11, 2008
This is not a quick read. It takes a lot of thought and study, but I know it will be well worth it.
August 12, 2008
A bit dated, but does a good job being direct and explaining the concepts with lots of musical examples.
April 17, 2012
Not the most updated (Walter Piston's or Samuel Adler's are way more updated), but it's definitely useful for every composer/orchestrator.
September 11, 2012
A solid book on Orchestration. Tons of examples. Works best if you have access to a good Orchestra sample library to hear what the examples sound like.
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December 18, 2014helpful
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February 20, 2015Excellent book, with the visionary ideas of Korsakov. Fundamental.
July 15, 2023
I wrote some of my best pieces as a hobbyist using it as a reference.
July 30, 2023
This book was very insightful on proper orchestration within the pairing of the various pitches and timbres of orchestral instruments.
June 21, 2010
he had a definite hard-on for strings
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December 1, 2017i like it
April 12, 2018
Excellent book about orchestration. The descriptions of the instrument groups are fairly objective. The most helpful parts for me were the ones about voicing of harmonies. It’s not really the type of thing you’d just sit down and read, but I would consider it a very useful tool to a composer/orchestrator. If you’re a beginning composer, it will seem very heavy at first, so I recommend you take a little section of it and apply whatever principle it’s talking about to your own composing.
Displaying 1 - 19 of 19 reviews
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