An orchestra (; ) is a large

instrumental ensemble A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instrumentalists, ...

typical of

classical music Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also ...

, which combines instruments from different families. There are typically four main sections of instruments: * bowed

string instrument String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when a performer plays or sounds the strings in some manner. Musicians play some string instruments by plucking the ...

s, such as the violin, viola, cello, and double bass * woodwinds, such as the

flute The flute is a family of classical music instrument in the woodwind group. Like all woodwinds, flutes are aerophones, meaning they make sound by vibrating a column of air. However, unlike woodwind instruments with reeds, a flute is a reedless ...

, oboe,

clarinet The clarinet is a musical instrument in the woodwind family. The instrument has a nearly cylindrical bore and a flared bell, and uses a single reed to produce sound. Clarinets comprise a family of instruments of differing sizes and pitches ...

, saxophone, and

bassoon The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuo ...

Brass instrument A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones or labrophones, from Latin a ...

s, such as the horn, trumpet, trombone,

cornet The cornet (, ) is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B, though there is also a sopr ...

, and tuba * percussion instruments, such as the timpani,

snare drum The snare (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used ...

bass drum The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. Th ...

cymbal A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs soun ...

s, triangle, tambourine, and mallet percussion instruments Other instruments such as the piano,

harpsichord A harpsichord ( it, clavicembalo; french: clavecin; german: Cembalo; es, clavecín; pt, cravo; nl, klavecimbel; pl, klawesyn) is a musical instrument played by means of a keyboard. This activates a row of levers that turn a trigger mechanism ...

, and

celesta The celesta or celeste , also called a bell-piano, is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box ( ...

may sometimes appear in a fifth keyboard section or may stand alone as soloist instruments, as may the concert harp and, for performances of some modern compositions, electronic instruments and guitars. A full-size Western orchestra may sometimes be called a or philharmonic orchestra (from Greek ''phil-'', "loving", and "harmony"). The actual number of musicians employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played and the size of the venue. A ' (sometimes ''concert orchestra'') is a smaller ensemble of not more than about fifty musicians. Orchestras that specialize in the

Baroque music Baroque music ( or ) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transiti ...

of, for example, Johann Sebastian Bach and

George Frideric Handel George Frideric (or Frederick) Handel (; baptised , ; 23 February 1685 – 14 April 1759) was a German-British Baroque music, Baroque composer well known for his opera#Baroque era, operas, oratorios, anthems, concerto grosso, concerti grossi, ...

, or Classical repertoire, such as that of Haydn and

Mozart Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period (music), Classical period. Despite his short life, his ra ...

, tend to be smaller than orchestras performing a

Romantic music Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism—the ...

repertoire such as the

symphonies A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning com ...

of Ludwig van Beethoven and

Johannes Brahms Johannes Brahms (; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid- Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped wit ...

. The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras (of as many as 120 players) called for in the works of

Richard Wagner Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most op ...

, and later,

Gustav Mahler Gustav Mahler (; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism ...

. Orchestras are usually led by a

conductor Conductor or conduction may refer to: Music * Conductor (music), a person who leads a musical ensemble, such as an orchestra. * ''Conductor'' (album), an album by indie rock band The Comas * Conduction, a type of structured free improvisation ...

who directs the performance with movements of the hands and arms, often made easier for the musicians to see by use of a conductor's baton. The conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The conductor also prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed. The leader of the first violin section – commonly called the concertmaster – also plays an important role in leading the musicians. In the

era (1600–1750), orchestras were often led by the concertmaster, or by a chord-playing musician performing the

basso continuo Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing th ...

parts on a

pipe organ The pipe organ is a musical instrument that produces sound by driving pressurized air (called ''wind'') through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ''ranks ...

, a tradition that some 20th century and 21st century

early music Early music generally comprises Medieval music (500–1400) and Renaissance music (1400–1600), but can also include Baroque music (1600–1750). Originating in Europe, early music is a broad musical era for the beginning of Western classical m ...

ensembles continue. Orchestras play a wide range of repertoire, including symphonies, opera and ballet

overture Overture (from French ''ouverture'', "opening") in music was originally the instrumental introduction to a ballet, opera, or oratorio in the 17th century. During the early Romantic era, composers such as Beethoven and Mendelssohn composed overt ...

concerto A concerto (; plural ''concertos'', or ''concerti'' from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typi ...

s for solo instruments, and as pit ensembles for operas, ballets, and some types of

musical theatre Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music, movemen ...

(e.g.,

Gilbert and Sullivan Gilbert and Sullivan was a Victorian era, Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900), who jointly created fourteen comic operas between 1871 and 1896, of which ...

operetta Operetta is a form of theatre and a genre of light opera. It includes spoken dialogue, songs, and dances. It is lighter than opera in terms of its music, orchestral size, length of the work, and at face value, subject matter. Apart from its s ...

s). Amateur orchestras include those made up of students from an elementary school or a high school, youth orchestras, and community orchestras; the latter two typically being made up of amateur musicians from a particular city or region. The term ''orchestra'' derives from the Greek ὀρχήστρα (''orchestra''), the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus.

History

Baroque and classical eras

In the Baroque era, the size and composition of an orchestra was not standardised. There were large differences in size, instrumentation and playing styles—and therefore in orchestral soundscapes and palettes — between the various European regions. The ''Baroque orchestra'' ranged from smaller orchestras (or ensembles) with one player per part, to larger scale orchestras with many players per part. Examples of the smaller variety were Bach's orchestras, for example in Koethen, where he had access to an ensemble of up to 18 players. Examples of large scale Baroque orchestras would include Corelli's orchestra in Rome which ranged between 35 and 80 players for day-to-day performances, being enlarged to 150 players for special occasions. In the classical era, the orchestra became more standardized with a small to medium-sized string section and a core wind section consisting of pairs of oboes, flutes, bassoons and horns, sometimes supplemented by percussion and pairs of clarinets and trumpets.

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 Beethoven after Haydn and Mozart. Beethoven's instrumentation almost always included paired flutes, oboes,

s, horns and trumpets. The exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No. 4, which each specify a single

. 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 "Eroica" Symphony arrives to provide not only some harmonic flexibility, but also the effect of "choral" brass in the Trio movement.

Piccolo The piccolo ( ; Italian for 'small') is a half-size flute and a member of the woodwind family of musical instruments. Sometimes referred to as a "baby flute" the modern piccolo has similar fingerings as the standard transverse flute, but the so ...

contrabassoon The contrabassoon, also known as the double bassoon, is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its smaller cousin, with a few notable differences. Differences from the bassoon The reed is consi ...

, and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, also known as the ''Pastoral Symphony''. The

Ninth In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its ...

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

chorus Chorus may refer to: Music * Chorus (song) or refrain, line or lines that are repeated in music or in verse * Chorus effect, the perception of similar sounds from multiple sources as a single, richer sound * Chorus form, song in which all verse ...

and vocal soloists — in his finale, are his earliest suggestion that the timbral boundaries of symphony might be expanded. For several decades after his death, symphonic instrumentation was faithful to Beethoven's well-established model, with few exceptions.

Instrumental technology

The invention of the piston and rotary valve by Heinrich Stölzel and Friedrich Blühmel, both Silesians, in 1815, was the first in a series of innovations which impacted the orchestra, including the development of modern keywork for the flute by Theobald Boehm and the innovations of Adolphe Sax in the woodwinds, notably the invention of the saxophone. These advances would lead

Hector Berlioz In Greek mythology, Hector (; grc, Ἕκτωρ, Hektōr, label=none, ) is a character in Homer's Iliad. He was a Trojan prince and the greatest warrior for Troy during the Trojan War. Hector led the Trojans and their allies in the defense o ...

to write a landmark book on instrumentation, which was the first systematic treatise on the use of instrumental sound as an expressive element of music.

Wagner's influence

The next major expansion of symphonic practice came from

Bayreuth Bayreuth (, ; bar, Bareid) is a town in northern Bavaria, Germany, on the Red Main river in a valley between the Franconian Jura and the Fichtelgebirge Mountains. The town's roots date back to 1194. In the 21st century, it is the capital of U ...

orchestra, founded to accompany his musical dramas. Wagner's works for the stage were scored with unprecedented scope and complexity: indeed, his score to '' Das Rheingold'' calls for six

harp The harp is a stringed musical instrument that has a number of individual strings running at an angle to its soundboard; the strings are plucked with the fingers. Harps can be made and played in various ways, standing or sitting, and in orche ...

s. Thus, Wagner envisioned an ever-more-demanding role for the conductor of the theatre orchestra, as he elaborated in his influential work ''On Conducting''. This brought about a revolution in orchestral composition, and set the style for orchestral performance for the next eighty years. Wagner's theories re-examined the importance of tempo, dynamics, bowing of string instruments and the role of principals in the orchestra.

20th-century orchestra

At the beginning of the 20th century, symphony orchestras were larger, better funded, and better trained than previously; consequently, composers could compose larger and more ambitious works. The works of

were particularly innovative; in his later symphonies, such as the mammoth Symphony No. 8, Mahler pushes the furthest boundaries of orchestral size, employing huge forces. By the late Romantic era, orchestras could support the most enormous forms of symphonic expression, with huge string sections, massive brass sections and an expanded range of percussion instruments. With the recording era beginning, the standards of performance were pushed to a new level, because a recorded symphony could be listened to closely and even minor errors in intonation or ensemble, which might not be noticeable in a live performance, could be heard by critics. As recording technologies improved over the 20th and 21st centuries, eventually small errors in a recording could be "fixed" by audio editing or

overdubbing Overdubbing (also known as layering) is a technique used in audio recording in which audio tracks that have been pre-recorded are then played back and monitored, while simultaneously recording new, doubled, or augmented tracks onto one or more av ...

. Some older conductors and composers could remember a time when simply "getting through" the music as best as possible was the standard. Combined with the wider audience made possible by recording, this led to a renewed focus on particular star conductors and on a high standard of orchestral execution.

Instrumentation

The typical symphony orchestra consists of four groups of related

musical instrument A musical instrument is a device created or adapted to make musical sounds. In principle, any object that produces sound can be considered a musical instrument—it is through purpose that the object becomes a musical instrument. A person who pl ...

s called the woodwinds, brass, percussion, and

strings String or strings may refer to: *String (structure), a long flexible structure made from threads twisted together, which is used to tie, bind, or hang other objects Arts, entertainment, and media Films * ''Strings'' (1991 film), a Canadian anim ...

. Other instruments such as the piano and

may sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and electric and electronic instruments. The orchestra, depending on the size, contains almost all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time, often agreed to have been standardized by the classical period and Ludwig van Beethoven's influence on the classical model. In the 20th and 21st century, new repertory demands expanded the instrumentation of the orchestra, resulting in a flexible use of the classical-model instruments and newly developed electric and electronic instruments in various combinations. The terms ''symphony orchestra'' and ''philharmonic orchestra'' may be used to distinguish different ensembles from the same locality, such as the London Symphony Orchestra and the

London Philharmonic Orchestra The London Philharmonic Orchestra (LPO) is one of five permanent symphony orchestras based in London. It was founded by the conductors Sir Thomas Beecham and Malcolm Sargent in 1932 as a rival to the existing London Symphony and BBC Symphony ...

. A symphony or philharmonic orchestra will usually have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. A ''chamber orchestra'' is usually a smaller ensemble; a major chamber orchestra might employ as many as fifty musicians, but some are much smaller. ''Concert orchestra'' is an alternative term, as in the BBC Concert Orchestra and the RTÉ Concert Orchestra.

Expanded instrumentation

Apart from the core orchestral complement, various other instruments are called for occasionally. These include the

flugelhorn The flugelhorn (), also spelled fluegelhorn, flugel horn, or flügelhorn, is a brass instrument that resembles the trumpet and cornet but has a wider, more conical bore. Like trumpets and cornets, most flugelhorns are pitched in B, though some ...

and

. Saxophones and

classical guitar The classical guitar (also known as the nylon-string guitar or Spanish guitar) is a member of the guitar family used in classical music and other styles. An acoustic wooden string instrument with strings made of gut or nylon, it is a precursor o ...

s, for example, appear in some 19th- through 21st-century scores. While appearing only as featured solo instruments in some works, for example

Maurice Ravel Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In ...

's orchestration of Modest Mussorgsky's ''

Pictures at an Exhibition ''Pictures at an Exhibition'', french: Tableaux d'une exposition, link=no is a suite (music), suite of ten piano pieces, plus a recurring, varied Promenade theme, composed by Russian composer Modest Mussorgsky in 1874. The piece is Mussorgsky's ...

'' and

Sergei Rachmaninoff Sergei Vasilyevich Rachmaninoff; in Russian pre-revolutionary script. (28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one o ...

's '' Symphonic Dances'', the saxophone is included in other works, such as Ravel's ''

Boléro ''Boléro'' is a 1928 work for large orchestra by French composer Maurice Ravel. At least one observer has called it Ravel's most famous composition. It was also one of his last completed works before illness forced him into retirement. Co ...

'', Sergei Prokofiev's Romeo and Juliet Suites 1 and 2, Vaughan Williams' Symphonies No. 6 and No. 9, and William Walton's ''Belshazzar's Feast'', and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic music, Romantic and 20th-century classical music, 20th century works, usually playing parts marked "tenor tuba", including Gustav Holst's ''The Planets'', and Richard Strauss's ''Ein Heldenleben''. The Wagner tuba, a modified member of the horn family, appears in

's cycle ''Der Ring des Nibelungen'' and several other works by Strauss, Igor Stravinsky (as featured in The Rite of Spring), Béla Bartók, and others; it also has a notably prominent role in Anton Bruckner's Symphony No. 7 (Bruckner), Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet ''Swan Lake'', Claude Debussy's ''La Mer (Debussy), La Mer'', and several orchestral works by

. Unless these instruments are played by members "doubling" on another instrument (for example, a trombone player changing to euphonium or a bassoon player switching to

for a certain passage), orchestras typically hire freelance musicians to augment their regular ensemble. The 20th century orchestra was far more flexible than its predecessors. In Beethoven's and Felix Mendelssohn's time, the orchestra was composed of a fairly standard core of instruments, which was very rarely modified by composers. As time progressed, and as the Romantic period saw changes in accepted modification with composers such as Berlioz and Mahler; some composers used multiple harps and sound effect such as the wind machine. During the 20th century, the modern orchestra was generally standardized with the modern instrumentation listed below. Nevertheless, by the mid- to late 20th century, with the development of contemporary classical music, instrumentation could practically be hand-picked by the composer (e.g., to add electric instruments such as electric guitar, electronic instruments such as synthesizers, non-Western instruments, or other instruments not traditionally used in orchestra). With this history in mind, the orchestra can be analysed in five eras: the Baroque music, Baroque era, the Classical music period, Classical era, early/mid-

era, late-Romantic era and combined Modernism (music), Modern/Postmodern eras. The first is a Baroque music, Baroque orchestra (i.e., Johann Sebastian Bach, J.S. Bach, Handel, Vivaldi), which generally had a smaller number of performers, and in which one or more chord-playing instruments, the

group (e.g.,

and assorted bass instruments to perform the bassline), played an important role; the second is a typical classical period orchestra (e.g., early Beethoven along with

and Joseph Haydn, Haydn), which used a smaller group of performers than a

orchestra and a fairly standardized instrumentation; the third is typical of an early/mid-Romantic era (e.g., Franz Schubert, Schubert, Hector Berlioz, Berlioz, Robert Schumann, Schumann, Brahms); the fourth is a late-Romantic/early 20th-century orchestra (e.g., Wagner, Mahler, Igor Stravinsky, Stravinsky), to the common complement of a 2010-era modern orchestra (e.g., John Adams (composer), Adams, Samuel Barber, Barber, Aaron Copland, Philip Glass, Glass, Krzysztof Penderecki, Penderecki).

Late Baroque orchestra

;woodwind instrument, Woodwinds: :2

s :2–3 oboes : oboe d'amore : oboe da caccia :

(several players in large orchestras) : recorder (musical instrument), recorder ;brass instrument, Brass: :2 natural horns : corno da tirarsi, slide horn :2–3 natural trumpets : tromba da tirarsi, slide trumpet ;Percussion: :2 timpani (only if trumpets are required) ;Keyboard instrument, Keyboards and other chord-playing instruments selected by the ensemble leader :

;String section, Strings: (sometimes several players per part) : violin I : violin II : viola : violoncello da spalla(neck cello) : violoncello : violone : viola da gamba(in various type) : theorbo(a baroque lute)

Classical orchestra

;Woodwinds: :1–2 Western concert flute#Traverso, flutes of which 1 might play :1 piccolo :2 oboes :2

s (soprano clarinet, B, C, or A) both of which might also play :2 basset horns (occasionally with Mozart) :2

s :1

(occasionally with Mozart, and Haydn, but not yet a standard instrument) ;Brass: :2 natural horns (valveless) :2 natural trumpets (valveless) :1 alto trombone :1 tenor trombone :1 bass trombone (on occasion Gluck, Haydn, and Mozart, but trombones not yet a standard instrument) ;Percussion: :2 timpani (one player) ;Keyboards: :

(until the late 18th century, by which time it was gradually phased out of the orchestra) ;Strings: (multiple players per part) : violins I : violins II : violas : cellos and double basses

Early Romantic orchestra

;Woodwinds: :piccolo :2 Western concert flute#Development, flutes :2 oboes :2 soprano clarinets of which both might also play :2 Basset horns (occasionally with Beethoven) :2

s :1

;Brass: :4 natural horn, natural (valveless) or French horn, valved horns :2 natural trumpet, natural or Trumpet, valved trumpets :3 tenor trombones of which some might play ::1 alto trombone ::1 bass trombone :1–2 Serpent (instrument), serpents or ophicleides (gradually replaced by tubas) ;Percussion: :2 timpani (one player) :

s : triangle : tambourine :glockenspiel ;Strings: :14 violins 1 :12 violins 2 :10 violas :8 cellos :6 double basses :1 concert harp

Late Romantic orchestra

;Woodwinds: :3–4 Western concert flute#Boehm flute, flutes, some of which may double on :1–2 piccolos :3–4 oboes, of which some may double on :1 oboe d'amore :1 cor anglais :1 bass oboe :3–4

s in soprano clarinet, B or A, of which some might play ::1 E-flat clarinet, E clarinet or D clarinet ::1 basset horn ::1 bass clarinet ::1 contrabass clarinet :3–4

s :1

;Brass: :4–8 French horns, German horns, or Vienna horns (more rarely natural horns) of which some might play ::2–4 Wagner tubas – 2 tenors, 2 bass :3–6 trumpets in F, and other keys including C, B of which some might play ::1 trumpet, bass trumpet :3–4

s :3–4 trombone, tenor trombones (alto trombone parts from the classical era usually played on tenor trombone) :1–2 trombone, bass trombones of which 1 might play :1 trombone, contrabass trombone :1–2 tubas :1 euphonium (usually played by a trombonist when needed) ;Keyboards: : piano :

;Percussion: :4 or more timpani (one player) :

s :tam-tam :triangle (musical instrument), triangle : tambourine :glockenspiel :xylophone :tubular bells ;Strings: :16 violins 1 (sometimes more) :14 violins 2 :12 violas :12 cellos :10 double basses :2 or more concert harps

Modern/Postmodern orchestra

;Woodwinds: :2–4 western concert flute, flutes of which some might play ::1–2 piccolos ::1 alto flute :2–4 oboes of which 1–2 might play ::1 cor anglais ::1 bass oboe :2–4 soprano clarinet, B

s of which some might play ::1 E-flat clarinet, E clarinet ::1 basset horn ::1 bass clarinet ::1 contrabass clarinet :2–4

s, of which 1 might play :: 1

:(occasionally 1 or more saxophones of various types) ;Brass: :4–8 french horn#Double horn, horns (double horns) in F/B of which some might play ::2–4 Wagner tubas :3–6 trumpets in B of which some might play ::2–3

s ::1 trumpet, piccolo trumpet (often for playing very high parts originally for natural trumpets) ::1 bass trumpet ::1

:1 alto trombone (restored to the postmodern orchestra for playing music of the classical era) :3–6 tenor trombones :1–2 bass trombones of which 1 might play ::1 contrabass trombone :1–2 tubas in B of which 1 might play ::1 baritone horn ::1 euphonium ;Percussion: :4–5 timpani (one player) :

:tenor drum :

s :triangle (musical instrument), triangle :tam-tam : tambourine :Woodblock (instrument), wood block :glockenspiel :xylophone :vibraphone :marimba :crotales :tubular bells :mark tree :sleigh bells :bell tree :drum kit (in some works) :Other percussion instruments, including ethnic or world music instruments specified by composers ;Keyboards: : piano :

:accordion :

;Strings: :16 1st & 14 2nd violins :12 violas :10 cellos :8 double basses :1–2

s :(1 or more

s of various types) ;Miscellaneous: :harmonica ;Electrophone: As required by the compositions in the program, various electric instruments or electronic instruments may be used in the orchestra. These performers are not typically permanent orchestra members. They are typically freelancers hired on contract for one or more concerts. Instruments may include: * theremin * ondes Martenot * electric guitar & electric bass guitar, bass guitar * electric double bass * electric electric violin, violin, electric viola, viola & electric cello, cello * electric & digital organ (Hammond organ, Hammond & Lowrey organ, Lowrey organ) * electric piano * keytar * digital accordion * Ring modulation, ring modulators * synthesizer * Synclavier * Novachord * clavinet * electronic wind instrument * electric harp * digital drum kit * Other electronic musical instruments * Non-musical instruments such as a typewriter or reel-to-reel tape player

Organization

Among the instrument groups and within each group of instruments, there is a generally accepted hierarchy. Every instrumental group (or section) has a principal who is generally responsible for leading the group and playing orchestral solos. The violins are divided into two groups, first violin and second violin, with the second violins playing in lower registers than the first violins, playing an accompaniment part, or harmonizing the melody played by the first violins. The principal first violin is called the concertmaster (or orchestra "leader" in the U.K.) and is not only considered the leader of the string section, but the second-in-command of the entire orchestra, behind only the

. The concertmaster leads the pre-concert musical tuning, tuning and handles musical aspects of orchestra management, such as determining the bowings for the violins or for all of the string section. The concertmaster usually sits to the conductor's left, closest to the audience. There is also a principal second violin, a principal viola, a principal cello, and a principal bass. The principal trombone is considered the leader of the low brass section, while the principal trumpet is generally considered the leader of the entire brass section. While the oboe often provides the tuning note for the orchestra (due to a 300 year-old convention), there is generally no designated principal of the woodwind section (though in woodwind ensembles, the flute is often the presumptive leader.) Instead, each principal confers with the others as equals in the case of musical differences of opinion. Most sections also have an assistant principal (or co-principal or associate principal), or in the case of the first violins, an assistant concertmaster, who often plays a tutti part in addition to replacing the principal in his or her absence. A section string player plays in unison with the rest of the section, except in the case of divided (''divisi'') parts, where upper and lower parts in the music are often assigned to "outside" (nearer the audience) and "inside" seated players. Where a solo part is called for in a string section, the section leader invariably plays that part. The section leader (or principal) of a string section is also responsible for determining the bowings, often based on the bowings set out by the concertmaster. In some cases, the principal of a string section may use a slightly different bowing than the concertmaster, to accommodate the requirements of playing their instrument (e.g., the double-bass section). Principals of a string section will also lead entrances for their section, typically by lifting the bow before the entrance, to ensure the section plays together. Tutti wind and brass players generally play a unique but non-solo part. Section percussionists play parts assigned to them by the principal percussionist. In modern times, the musicians are usually directed by a

, although early orchestras did not have one, giving this role instead to the concertmaster or the

ist playing the Basso Continuo, continuo. Some modern orchestras also do Conductorless orchestra, without conductors, particularly smaller orchestras and those specializing in historically accurate (so-called "period") performances of baroque music, baroque and earlier music. The most frequently performed repertoire for a symphony orchestra is Western European classical music, classical music or opera. However, orchestras are used sometimes in popular music (e.g., to accompany a rock or pop band in a concert), extensively in film music, and increasingly often in video game music. Orchestras are also used in the symphonic metal genre. The term "orchestra" can also be applied to a jazz ensemble, for example in the performance of big band, big-band music.

Selection and appointment of members

In the 2000s, all tenured members of a professional orchestra normally audition for positions in the ensemble. Performers typically play one or more solo pieces of the auditionee's choice, such as a movement of a

, a solo J.S. Bach, Bach movement, and a variety of excerpts from the orchestral literature that are advertised in the audition poster (so the auditionees can prepare). The excerpts are typically the most technically challenging parts and solos from the orchestral literature. Orchestral auditions are typically held in front of a panel that includes the conductor (music), conductor, the concertmaster, the principal player of the section for which the auditionee is applying, and possibly other principal players. The most promising candidates from the first round of auditions are invited to return for a second or third round of auditions, which allows the conductor and the panel to compare the best candidates. Performers may be asked to sight read orchestral music. The final stage of the audition process in some orchestras is a ''test week'', in which the performer plays with the orchestra for a week or two, which allows the conductor and principal players to see if the individual can function well in an actual rehearsal and performance setting. There are a range of different employment arrangements. The most sought-after positions are permanent, tenured positions in the orchestra. Orchestras also hire musicians on contracts, ranging in length from a single concert to a full season or more. Contract performers may be hired for individual concerts when the orchestra is doing an exceptionally large late-Romantic era orchestral work, or to substitute for a permanent member who is sick. A professional musician who is hired to perform for a single concert is sometimes called a "sub". Some contract musicians may be hired to replace permanent members for the period that the permanent member is on parental leave or disability leave.

History of gender in ensembles

Historically, major professional orchestras have been mostly or entirely composed of men. The first women in music, women members hired in professional orchestras have been

ists. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than comparable orchestras (the other orchestras ranked among the world's top five by ''Gramophone (magazine), Gramophone'' in 2008). The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. In February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told ''Westdeutscher Rundfunk'' that accepting women would be "gambling with the emotional unity () that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem. In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova, became one of the orchestra's concertmasters in 2008, the first woman to hold that position in that orchestra. In 2012, women made up 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions. In 2013, an article in ''Mother Jones'' stated that while "[m]any prestigious orchestras have significant female membership — women outnumber men in the New York Philharmonic's violin section — and several renowned ensembles, including the National Symphony Orchestra, the Detroit Symphony, and the Minnesota Symphony, are led by women violinists", the double bass, brass, and percussion sections of major orchestras "... are still predominantly male." A 2014 BBC article stated that the "... introduction of 'blind' auditions, where a prospective instrumentalist performs behind a screen so that the judging panel can exercise no gender or racial prejudice, has seen the gender balance of traditionally male-dominated symphony orchestras gradually shift."

Amateur ensembles

There are also a variety of amateur orchestras: ; School orchestras: These orchestras consist of students from elementary or secondary school. They may be students from a music class or program or they may be drawn from the entire school body. School orchestras are typically led by a music teacher. In some cases, school orchestras are string orchestras, consisting only of students playing string instruments, with students playing woodwinds, brass and percussion grouped together as a concert band. ; University or conservatory orchestras: These orchestras consist of students from a university or music conservatory. In some cases, university orchestras are open to all students from a university, from all programs. Larger universities may have two or more university orchestras: one or more orchestras made up of music majors (or, for major music programs, several tiers of music major orchestras, ranked by skill level) and a second orchestra open to university students from all academic programs (e.g., science, business, etc.) who have previous classical music experience on an orchestral instrument. University and conservatory orchestras are led by a conductor who is typically a professor or instructor at the university or conservatory. ; Youth orchestras: These orchestras consist of teens and young adults drawn from an entire city or region. The age range in youth orchestras varies between different ensembles. In some cases, youth orchestras may consist of teens or young adults from an entire country (e.g., Canada's National Youth Orchestra). ; Community orchestras: These orchestras consist of amateur performers drawn from an entire city or region. Community orchestras typically consist mainly of adult amateur musicians. Community orchestras range in level from beginner-level orchestras which rehearse music without doing formal performances in front of an audience to intermediate-level ensembles to advanced amateur groups which play standard professional orchestra repertoire. In some cases, university or conservatory music students may also be members of community orchestras. While community orchestra members are mostly unpaid amateurs, in some orchestras, a small number of professionals may be hired to act as principal players and section leaders.

Repertoire and performances

Orchestras play a wide range of repertoire ranging from 17th-century Baroque music#Dance suite, dance suites, 18th century divertimentos to 20th-century film scores and 21st-century symphonies. Orchestras have become synonymous with the symphony, an extended musical composition in Western

that typically contains multiple movements which provide contrasting keys and tempos. Symphonies are notated in a Full score, musical score, which contains all the instrument parts. The conducting, conductor uses the score to study the symphony before rehearsals and decide on their interpretation (e.g., tempos, articulation, phrasing, etc.), and to follow the music during rehearsals and concerts, while leading the ensemble. Orchestral musicians play from parts containing just the notated music for their instrument. A small number of symphonies also contain vocal parts (e.g., Beethoven's Beethoven's Ninth Symphony, Ninth Symphony). Orchestras also perform

s, a term originally applied to the instrumental introduction to an opera.Blom (1954). During the early Romantic era, composers such as Beethoven and Felix Mendelssohn, Mendelssohn began to use the term to refer to independent, self-existing instrumental, programmatic works that presaged genres such as the symphonic poem, a form devised by Franz Liszt in several works that began as dramatic overtures. These were "at first undoubtedly intended to be played at the head of a programme". In the 1850s the concert overture began to be supplanted by the symphonic poem. Orchestras also play with instrumental soloists in

s. During concertos, the orchestra plays an accompaniment role to the soloist (e.g., a solo violinist or pianist) and, at times, introduces musical themes or interludes while the soloist is not playing. Orchestras also play during operas, ballets, some musical theatre works and some choral works (both sacred works such as Masses and secular works). In operas and ballets, the orchestra accompanies the singers and dancers, respectively, and plays overtures and interludes where the melodies played by the orchestra take centre stage.

Performances

In the Baroque era, orchestras performed in a range of venues, including at the fine houses of aristocrats, in opera halls and in churches. Some wealthy aristocrats had an orchestra in residence at their estate, to entertain them and their guests with performances. During the Classical era, as composers increasingly sought out financial support from the general public, orchestra concerts were increasingly held in public concert halls, where music lovers could buy tickets to hear the orchestra. Aristocratic patronage of orchestras continued during the Classical era, but this went on alongside public concerts. In the 20th and 21st century, orchestras found a new patron: governments. Many orchestras in North America and Europe receive part of their funding from national, regional level governments (e.g., state governments in the U.S.) or city governments. These government subsidies make up part of orchestra revenue, along with ticket sales, charitable donations (if the orchestra is registered as a charity) and other fundraising activities. With the invention of successive technologies, including sound recording, radio broadcasting, television broadcasting and Internet-based Streaming video, streaming and downloading of concert videos, orchestras have been able to find new revenue sources.

Issues in performance

Faking

One of the "great unmentionable [topics] of orchestral playing" is "faking (Western classical music), faking", the process by which an orchestral musician gives the false "... impression of playing every note as written", typically for a very challenging passage that is very high or very fast, while not actually playing the notes that are in the printed music part. An article in ''The Strad'' states that all orchestral musicians, even those in the top orchestras, occasionally fake certain passages. One reason that musicians fake is because there are not enough rehearsals. Another factor is the extreme challenges in 20th century and 21st century contemporary pieces; some professionals said "faking" was "necessary in anything from ten to almost ninety per cent of some modern works". Professional players who were interviewed were of a consensus that faking may be acceptable when a part is not written well for the instrument, but faking "just because you haven't practised" the music is not acceptable.

Counter-revolution

With the advent of the early music movement, smaller orchestras where players worked on execution of works in styles derived from the study of older treatises on playing became common. These include the Orchestra of the Age of Enlightenment, the London Classical Players under the direction of Sir Roger Norrington and the Academy of Ancient Music under Christopher Hogwood, among others.

Recent trends in the United States

In the United States, the late 20th century saw a crisis of funding and support for orchestras. The size and cost of a symphony orchestra, compared to the size of the base of supporters, became an issue that struck at the core of the institution. Few orchestras could fill auditoriums, and the time-honored season-subscription system became increasingly anachronistic, as more and more listeners would buy tickets on an ''ad-hoc'' basis for individual events. Orchestral endowments and — more centrally to the daily operation of American orchestras — orchestral donors have seen investment portfolios shrink, or produce lower yields, reducing the ability of donors to contribute; further, there has been a trend toward donors finding other social causes more compelling. While government funding is less central to American than European orchestras, cuts in such funding are still significant for American ensembles. Finally, the drastic drop in revenues from recording, related to changes in the recording industry itself, began a period of change that has yet to reach its conclusion. U.S. orchestras that have gone into Chapter 11 bankruptcy include the Philadelphia Orchestra (April 2011), and the Louisville Orchestra (December 2010); orchestras that have gone into Chapter 7 bankruptcy and have ceased operations include the Northwest Chamber Orchestra in 2006, the Honolulu Orchestra in March 2011, the New Mexico Symphony Orchestra in April 2011, and the Syracuse Symphony in June 2011. The Festival of Orchestras in Orlando, Florida, ceased operations at the end of March 2011. One source of financial difficulties that received notice and criticism was high salaries for music directors of US orchestras, which led several high-profile conductors to take pay cuts in recent years. Music administrators such as Michael Tilson Thomas and Esa-Pekka Salonen argued that new music, new means of presenting it, and a renewed relationship with the community could revitalize the symphony orchestra. The American critic Greg Sandow has argued in detail that orchestras must revise their approach to music, performance, the concert experience, marketing, public relations, community involvement, and presentation to bring them in line with the expectations of 21st century audiences immersed in popular culture. It is not uncommon for contemporary composers to use unconventional instruments, including various synthesizers, to achieve desired effects. Many, however, find more conventional orchestral configuration to provide better possibilities for color and depth. Composers like John Adams (composer), John Adams often employ Romantic-size orchestras, as in Adams' opera ''Nixon in China''; Philip Glass and others may be more free, yet still identify size-boundaries. Glass in particular has recently turned to conventional orchestras in works like the ''Cello Concerto No. 1 (Glass), Concerto for Cello and Orchestra'' and the Violin Concerto No. 2 (Glass), Violin Concerto No. 2. Along with a decrease in funding, some U.S. orchestras have reduced their overall personnel, as well as the number of players appearing in performances. The reduced numbers in performance are usually confined to the string section, since the numbers here have traditionally been flexible (as multiple players typically play from the same part).

Role of conductor

Conducting is the art of directing a musical performance, such as an orchestral or Choir, choral concert. The primary duties of the conductor are to set the tempo, ensure correct entries by various members of the ensemble, and "shape" the phrasing where appropriate. To convey their ideas and interpretation, a conductor communicates with their musicians primarily through hand gestures, typically (though not invariably) with the aid of a Baton (conducting), baton, and may use other gestures or signals, such as eye contact with relevant performers. A conductor's directions will almost invariably be supplemented or reinforced by verbal instructions or suggestions to their musicians in rehearsal prior to a performance. The conductor typically stands on a raised podium with a large music stand for the full score, which contains the musical notation for all the instruments and voices. Since the mid-18th century, most conductors have not played an instrument when conducting, although in earlier periods of

history, leading an ensemble while playing an instrument was common. In

from the 1600s to the 1750s, the group would typically be led by the

ist or first violinist (see concertmaster), an approach that in modern times has been revived by several music directors for music from this period. Conducting while playing a piano or synthesizer may also be done with musical theatre pit orchestras. Communication is typically non-verbal during a performance (this is strictly the case in art music, but in jazz big bands or large pop ensembles, there may be occasional spoken instructions, such as a "count in"). However, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung. Conductors act as guides to the orchestras or choirs they conduct. They choose the works to be performed and study their sheet music, scores, to which they may make certain adjustments (e.g., regarding tempo, articulation, phrasing, repetitions of sections, and so on), work out their interpretation, and relay their vision to the performers. They may also attend to organizational matters, such as scheduling rehearsals, planning a concert season, hearing auditions and selecting members, and promoting their ensemble in the media. Orchestras, choirs, concert bands and other sizable musical ensembles such as big bands are usually led by conductors.

Conductorless orchestras

In the

era (1600–1750), most orchestras were led by one of the musicians, typically the principal first violin, called the concertmaster. The concertmaster would lead the tempo of pieces by lifting his or her bow in a rhythmic manner. Leadership might also be provided by one of the chord-playing instrumentalists playing the

part which was the core of most Baroque instrumental ensemble pieces. Typically, this would be a

player, a

ist, or a lute, lutist or theorbo player. A keyboard player could lead the ensemble with his or her head, or by taking one of the hands off the keyboard to lead a more difficult tempo change. A lutenist or theorbo player could lead by lifting the instrument neck up and down to indicate the tempo of a piece, or to lead a ritard during a cadence or ending. In some works which combined choirs and instrumental ensembles, two leaders were sometimes used: A concertmaster to lead the instrumentalists and a chord-playing performer to lead the singers. During the Classical music period (), the practice of using chordal instruments to play basso continuo was gradually phased out, and it disappeared completely by 1800. Instead, ensembles began to use conductors to lead the orchestra's tempos and playing style, while the concertmaster played an additional leadership role for the musicians, especially the string players, who imitate the bowstroke and playing style of the concertmaster, to the degree that is feasible for the different stringed instruments. In 1922, the idea of a conductor-less orchestra was revived in post-revolutionary Soviet Union. The symphony orchestra Persimfans was formed without a conductor, because the founders believed that the ensemble should be modeled on the ideal Marxism, Marxist state, in which all people are equal. As such, its members felt that there was no need to be led by the dictatorial baton of a conductor; instead they were led by a committee, which determined tempos and playing styles. Although it was a partial success within the Soviet Union, the principal difficulty with the concept was in changing tempo during performances, because even if the committee had issued a decree about where a tempo change should take place, there was no leader in the ensemble to guide this tempo change. The orchestra survived for ten years before Joseph Stalin, Stalin's cultural politics disbanded it by taking away its funding. In Western nations, some ensembles, such as the Orpheus Chamber Orchestra, based in New York City, have had more success with conductorless orchestras, although decisions are likely to be deferred to some sense of leadership within the ensemble (for example, the principal wind and string players, notably the concertmaster). Others have returned to the tradition of a principal player, usually a violinist, being the artistic director and running rehearsal and leading concerts. Examples include the Australian Chamber Orchestra, Amsterdam Sinfonietta & Candida Thompson and the New Century Chamber Orchestra. As well, as part of the

movement, some 20th and 21st century orchestras have revived the Baroque practice of having no conductor on the podium for Baroque pieces, using the concertmaster or a chord-playing

performer (e.g., harpsichord or organ) to lead the group.

Multiple conductors

Offstage instruments

Some orchestral works specify that an offstage trumpet should be used or that other instruments from the orchestra should be positioned off-stage or behind the stage, to create a haunted, mystical effect. To ensure that the offstage play in time, sometimes a sub-conductor will be stationed offstage with a clear view of the principal conductor. Examples include the ending of "Neptune" from Gustav Holst's ''The Planets''. The principal conductor leads the large orchestra, and the sub-conductor relays the principal conductor's tempo and gestures to the offstage musician (or musicians). One of the challenges with using two conductors is that the second conductor may get out of synchronization with the main conductor, or may mis-convey (or misunderstand) the principal conductor's gestures, which can lead to the offstage instruments being out of time. In the late 20th century and early 21st century, some orchestras use a video camera pointed at the principal conductor and a closed-circuit TV set in front of the offstage performers, instead of using two conductors.

Contemporary music

The techniques of polystylism and polytempo music have led a few 20th and 21st century composers to write music where multiple orchestras or ensembles perform simultaneously. These trends have brought about the phenomenon of polyconductor music, wherein separate sub-conductors conduct each group of musicians. Usually, one principal conductor conducts the sub-conductors, thereby shaping the overall performance. In Percy Grainger's ''The Warriors'' which includes three conductors: the primary conductor of the orchestra, a secondary conductor directing an off-stage brass ensemble, and a tertiary conductor directing percussion and harp. One example in the late-century orchestral music is Karlheinz Stockhausen's ''Gruppen'', for three orchestras, which are placed around the audience. This way, the "sound masses" could be spatialized, as in an electroacoustic music, electroacoustic work. ''Gruppen'' was premiered in Cologne, in 1958, conducted by Stockhausen, Bruno Maderna and Pierre Boulez. It has been performed in 1996 by Simon Rattle, John Carewe and Daniel Harding.

Notes

References

External links

* {{Authority control Orchestras, Articles containing video clips Types of musical groups

History

Baroque and classical eras

Beethoven's influence

Instrumental technology

Wagner's influence

20th-century orchestra

Instrumentation

Expanded instrumentation

Late Baroque orchestra

Classical orchestra

Early Romantic orchestra

Late Romantic orchestra

Modern/Postmodern orchestra

Organization

Selection and appointment of members

History of gender in ensembles

Amateur ensembles

Repertoire and performances

Performances

Issues in performance

Faking

Counter-revolution

Recent trends in the United States

Role of conductor

Conductorless orchestras

Multiple conductors

Offstage instruments

Contemporary music

See also

Notes

References

Further reading

External links