Delius and the Joining of French & German Orchestration

Delius and the Joining of French & German Orchestration Paul Mathews • The Peabody Conservatory of the Johns Hopkins University Music Theory Society of the MidAtlantic, Temple University, 27 April 2003.

Anatomie et phisiologie de l’orchestre is a short volume written by Papus and Delius1 in 1894.

Papus, nom-de-plume of Dr. G.A.V. Encuasse, was at that time already a celebrated figure in Paris salons for his psychic readings. Delius, while described as a ―noted figure with the general public‖ was in fact still relatively unknown and had heard only one of his orchestral works performed.

Anatomie posits a far-fetched cabalistic and an anatomical basis of the orchestra. However, in demonstration of their theses the authors reveal much about contemporary attitudes towards orchestration. Moreover, the book documents Delius‘ thoughts about orchestration at a pivotal time in his development between his years of study in Germany and his compositional maturity in France. My paper presents the context in which Anatomie was written, discusses the book‘s concepts in that context, and uses the book as an analytical approach to Delius‘ early orchestral music.

The end of Nineteenth Century is a pivotal era for the study of orchestration and the dialectic of German orchestration and French orchestration.

German orchestration is marked by a tendency to emphasize line over color. In this style of orchestration it would be common for instruments of similar or even different timbres to play in unison to add sound mass to a line of counterpoint. German orchestration assumes a musical texture of some contrapuntal sophistication, with the late music of Beethoven often cited as the wellspring of this particular fabric. Representative composers include Schumann, Brahms, and the mostly forgotten "Gewandhaus" composers associated with the Leipzig Conservatory, including Solomon Jadassohn, with whom Delius studied.

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French orchestration is marked by a tendency to emphasize color, though not necessarily at the expense of line. In this style of orchestration instruments are more likely to sound undoubled or doubled a due. French orchestration assumes a musical texture that is more harmonically-derived and less contrapuntal. Representative composers include Meyerbeer, Bizet, Tchaikovsky, and later, Debussy and Ravel.

Implicit in my analysis is the assumption that French composers are more likely to regard orchestration as an artifact central to the musical experience whereas German composers are more likely to regard orchestration as a carrier of musical meaning, the true and proper location of which may be found in the harmony and counterpoint.2 [FIG 1] Figure 13 ―French composers are more likely to regard orchestration as an artifact central to the musical experience whereas German composers are more likely to regard orchestration as a carrier of musical meaning, the true and proper location of which may be found in the counterpoint and harmony.‖

Between these two extremes was a third group of composers identified as the "new German school." The New German school, including Liszt, Wagner, Mahler, and Strauss reconciled the possibilities of color with the primacy of counterpoint, and reconciled the contrapuntal textures of German symphonic music with the essentially French flair for dramatic and narrative orchestration.

Delius and the Joining of French and German Orchestration: 3

Delius‘ mature orchestral style is predominately French, but certain elements of his German training remain. Delius studied at the Leipzig Conservatory from 1886-1888. However, we can deduce from a variety of sources that orchestration was not treated to the satisfaction of Conservatory students. Adam Carse notes dismissively that the faculty practiced ―the standard style of orchestration in Germany and Austria before the influence of Wagner,4‖ noting particularly the, ―German tendency to continually combine tone-colours, to mix or blend instrumental voices or groups.5‖ Tchaikovsky said of the Conservatory faculty, ‗not one of them can instrumentate.‖6 A revealing glimpse into the pedagogy of orchestration at Leipzig is found in Solomon Jadassohn‘s 1889 textbook. Therein, Jadassohn gives a description of an orchestral tutti consisting of two principles: 1) all aspects of the texture should be contained in the strings; and 2) each orchestral section should contain the melody and harmony.7 He concludes ―the nature of every composition is a four-voiced one, and that such a treatment thereof, is the most natural and simple.8‖ Thus, Jadassohn‘s book is thoroughly consistent with the precepts of German orchestration: instrumentation and doubling are the means to elucidate the lines of counterpoint that are the musical composition.

In 1888, Delius settled in France where he wrote a series of largely forgotten orchestral works. In an 1899 letter to Greig, Delius laments his earlier ―orchestral brutalities‖ noting, ―Only here do I feel I have really learnt how to orchestrate.9‖ Delius‘ comments reflect a change of perspective and musical values to a French style of orchestration. These new values inform the approach to orchestration in Anatomie.

Anatomie is a unique work as it proceeds on the unstated assumption that orchestration is a constructive endeavor. It is not a textbook on orchestration. There is no discussion of voicing, doubling, or texture. Similarly, Anatomie is not a book on instrumentation. There is no discussion of

Delius and the Joining of French and German Orchestration: 4

range or instrumental technique. As they note in their first paragraph, the book treats the quality and role of orchestral instruments.

While the singular focus on the orchestra as a whole is consistent with their attempt to show a cabbalistic basis for the orchestra, it is also consistent with French idea of orchestration as artifact, central to the musical experience. The very idea that orchestration can be discussed in the absence of some musical substance to be orchestrated is essentially French.

Anatomie posits the orchestra and its sections can be divided according to a cabalistic principal called the rotations of the Tetragrammaton or Sacred Name. The cruciform representation of the Tetragrammaton forms a quaternary of a top, a bottom, and partitioned middle as the basis of division. [FIG 2] Figure 210 High Medium

Medium

Low

High.

Low

A quaternary of register based on the cabalistic principal called the rotations of the Tetragrammaton or Sacred Name. The four characters of the Tetragrammaton are represented in similar diagrams in contemporaneous occult literature. Delius and Papus note that this particular diagram is appropriated from Bartlet & Lejay. 11

For each section of the orchestra, Delius and Papus provide a quaternary of the principle instruments. For example, they divide the strings as violin (high), bass (low), viola (medium high) and cello (medium low). [FIG 3] The division of strings is consistent with the register of the instruments and their position in an orchestral score. They also note that the violin is the ―dominant instrument,‖ which may reflect the rate of change in a homophonic texture or may reflect the brilliance of violin timbre. The significant role of timbre may also be deduced by the fact that second

Delius and the Joining of French and German Orchestration: 5

violins are not indicated on the quaternary. Thus, timbre seems slightly prioritized in the presentation of sectional quaternaries.

Figure 312 Violin.

Viola.

Cello.

Bass.

The quaternary for strings. ―Let us examine the characteristic string instruments and we will easily determine the existence of a progression characterized by the dominant violin supported by the cello and the viola with the double bass as the foundation.‖13

Delius and Papus also provide a large quaternary for the entire orchestra, where each sectional quaternary is placed in the familiar cruciform arrangement. [FIG 4] In applying this classification to the orchestra they transcend the issue of register. It is noted that the four-part division of register is found in each section. This observation is consistent with Delius‘ German education. Jadassohn‘s description of a tutti – with all four parts doubled in each section – is contained by the sectional framework in Anatomie.

Delius and the Joining of French and German Orchestration: 6

Figure 414

As for the relationship between sections, Delius and Papus offer a correlation to the cabalistic view of Creation where God and Nature are joined by humanity in two manifestations: man and woman. They map strings to God, percussion to Nature, winds to women and brass to men. [FIG 4] It is clear they had more to say on the subject, but in an obvious typographical error, the next paragraph is truncated to a single sentence fragment concluding they had established the grand division of the orchestra. [EX 1]

Delius and the Joining of French and German Orchestration: 7

Figure 515 God. Man.

Woma n.

Strings.

Winds.

Nature.

Brass.

Percussio n.

Example 116

The top of page 9, showing the typesetting error in the second paragraph.

The correlation between orchestral sections and the division of Creation suggests an essentially programmatic and narrative basis for orchestration. Indeed they note the greatest masters use harps to depict divinity, timpani and cymbals to represent the wrath of nature, brass to represent the masculine and martial qualities of humanity, and winds to represent the amorous and feminine qualities of humanity. While instrumental color has always been a marker for narrativity, dramatic and narrative orchestration was by the 1890s increasingly viewed as a feature of the French and New German schools.

However, we dismiss the passage too quickly if we consider only the programmatic analogy.

The correlation to Creation also suggests that there are four sections where three of the sections are

Delius and the Joining of French and German Orchestration: 8

subservient to the first and higher section. This is consistent with their observation that the strings are themselves a veritable orchestra. It also suggests that because of the similar constitution – where each section is subdivided in four – each section acts on a local level as the whole acts at the large level. This concept is depicted in two tables. [TAB 1] One possible application of this concept is a texture where some of the parts are not found in the strings, but are rather allotted to other instruments that are, at that moment, acting as strings. Such a texture would be the opposite of Jadassohn‘s assertion that all parts should be played by the strings and doubled in each used orchestral section, but more typical of the practice of French composers and Tchaikovsky.

Table 117 WIND INSTRUMENTS LAW

STRINGS 

PERCUSSION SYNTHESIS  

WINDS

BRASS

Violin

Flute

Trumpet

Triangle

Harp

Viola

Clarinet

Horn

Tamborine

Harmonium

Cello

Oboe

Trombone

Snare Drum

Organ

Bass

Bassoon

Tuba

Timpani

Piano

Acting as strings Acting as Winds Acting as Brass Acting as Percussion

One of two tables showing the hierarchy in each section working across sections.

The orchestra is also compared to human anatomy. Papus and Delius provide a clinical description of the interaction of organs while digesting meat to show that the interaction of

Delius and the Joining of French and German Orchestration: 9

codependent parts makes life possible. [FIG 6] Each organ performs a unique task that must be integrated with the tasks of other organs to have a productive result. Similarly, orchestral sections are interdependent and may play mutually exclusive roles in the creation of a larger orchestral fabric.

Figure 618

Head.

Chest.

Chest.

Abdomen.

Lymphatic System.

Arterial System.

Venial System.

Nervous System.

Strings.

Bois.

Brass.

Percussion .

Finally, one of the more unique sections in Anatomie describes transitional instruments, or instruments that fall between the principal instruments in each section. They note that there is a direct liaison between some instruments, while other instruments are bridged by transitional instruments. Between some instruments there are gaps for which no transitional instruments exist.

[FIG 7-9]

Delius and the Joining of French and German Orchestration: 10

Figures 7, 8, and 9

Transition instruments are added to the woodwind quaternary. Delius and Papus note that there is a ―direct liaison‖ between flute and clarinet, but the gap between flute and oboe should be bridged by a ―flute à piston‖ — an instrument they imagine but do not describe.

The alto flute, while patented by Boehm in the 1850s, was virtually unknown before the turn of the century.

Transition instruments are added to the brass quaternary. Delius and Papus describe a direct liason between trombone and tuba declare a need for a transition instrument between trumpet and horn. They list the ―clarion‖ (literally and colloquially ―bugle‖) as a transition instrument between horn and tuba.

Berlioz describes bugles, keyed bugles, and valved bugles noting ―the tone of the bugle is very strong‖ and they might ―reinforce some terrible outcry of simultaneously played trombones, trumpets and horns.‖19 Ophicleides are considered keyed bugles with a lower fundamental.

Transition instruments are added to the percussion quaternary. Glockenspiel (sic, ―glocken spiel‖) is a curious word-choice, as the instrument familiarly known as the ―orchestral bells‖ is typically designated ―jeu de timbres‖ in French scores. Berlioz describes the glockenspiel as the instrument on which Mozart played the bell parts of Die Zauberflöte – a keyed glockenspiel that persists in French scores well into Ravel’s music.

While they do not specify, it seems clear that difference of timbre is the basis for transitional instruments. For example, they note a gap between the flute and oboe, while there is a direct liaison

Delius and the Joining of French and German Orchestration: 11

between the flute and clarinet. However, according to the conservative instrumental ranges they supply, the flute and oboe have a similar range while a ''flûte á piston'' would likely sound notes lower than the oboe. The ''flûte á piston'' is thus suggested as a mediating timbre between flute and oboe as the cornet is the mediating timbre between trumpet and horn. Finally, while they provide transition instruments for winds, brass, and percussion, they do not provide transition instruments for the strings because, we may deduce, the strings are homogeneous in timbre.

The section on transition instruments and their respective positions is the most direct comparison of instrumental timbre in contempory writing about orchestration. While the emphasis on timbre seems a French predeliction, it may be rooted in Delius‘ German education. In the opening paragraph of his chapter on woodwinds, Jadassohn notes that ―instruments without and with a single reed give an open free tone, and those with a double reed give an oppressed, sharp and piercing tone.‖ Transition instruments seek to address and mediate such differences and expand the principle instruments into a more complete scale of timbres that can be used as a compositional resource.

To conclude this survey of the topics in Anatomie Delius and Papus present a framework of the orchestra and orchestration that is independant of the other materials of composition. Their singular focus on orchestration assumes that orchestration is itself a significant building block of composition and an artifact that can be central to musical understanding. Their divisions of the orchestra are primarily based on timbre and are sufficiently fine as to relate all the instruments of each section into a gradiated scale of timbre. Finally, their division of the orchestra proposes that each section is unique yet integral to the whole. Their framework contains the German thinking that Delius learned in Leipzig, but is ultimately more germane to the practice of French and New German composers.

Delius and the Joining of French and German Orchestration: 12

Anatomie, while highly abstract and speculative, is informed by a practical sense of the orchestra and orchestration. To see the principles at work, we will consider two excerpts.

The first excerpt [EX 2] is a statement of a second theme from Sleigh Ride, also called Winter Night, the 1899 orchestration of a lost piano piece. In this excerpt we see a lyrical theme presented by violins I supported by the accompanying line in violins II and the counterpoint in violas. The texture is more conspicuously contrapuntal than Delius‘ later orchestral music, not because of the textural density, but rather because each line is doubled to emphasize the counterpoint. Delius is thus following Jadassohn‘s principle to have all the parts in the strings, and the German practice of emphasizing counterpoint with doubling. He unites the violins by doubling both parts with clarinets, but separates the violas by doubling them with the cornet – a favorite instrument of French composers and Delius. This doubling is problematic, as the cornet, even at ppp, will dominate the passage. Problematic doublings at the unison plagued Delius‘ music into his maturity and there are many letters documenting revisions to such passages. In the Complete Works edition, Thomas Beecham indicates that the doubling should be cut, and indeed, when the passage returns in the recapitulation, it is scored for undoubled strings.

The doubling is also problematic in view of

the division of forces found in Anatomie, since the united strings are at the top of their quaternary, but the clarinet placed to the left on its quaternary. The cornet is an instrument of transition near the top of the brass quaternary, but doubles the violas to the left of the string quaternary. In sum, the doubling creates an imbalance of forces that are supposed to emphasize the counterpoint, and the doubling lacks the logic of timbral relationships found in Anatomie.

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Example 2: Sleigh Ride, mm. 46-55

Delius demonstrates a more practical and more elegant orchestral technique in On the Mountains, also called Paa Viderne. This 1892 work is the only orchestral composition by Delius that had been performed when he was collaborating with Papus.

Delius and the Joining of French and German Orchestration: 14

In this excerpt (EX 3), which is a transition between first and second themes, a motive is initially presented in winds and strings – a more modest and conventional doubling than what is found in the previous excerpt. The woodwind instruments progress around the woodwind quaternary as the doubling strings progress around the string quaternary (FIG 10). In the fifth measure of the excerpt, the motive reaches the top of the woodwind quaternary and is sounded by flutes without strings. The hauptstimme is then transferred to the violins in octaves – at the top of the string quaternary — playing a four-bar phrase. As the phrase sounds in violins, the motive that had been in flute rotates to an oboe, which is found in the second position on the other side of the wind quaternary.

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Example 3: On the Mountain, mm. 49-72

Delius and the Joining of French and German Orchestration: 16

On the Mountains continued.

Delius and the Joining of French and German Orchestration: 17

On the Mountains continued.

Delius and the Joining of French and German Orchestration: 18

Figure 10

m. 49

m. 50

m. 51

m. 52

m. 53

m. 54

m. 55

m. 56

Violins sustain…………………………………………………………

M1 in Vla. 1 M in Vc. Horn, Harp, and Triangle

M1 in Flute 1

M in Cla.

m. 57

m. 58

m. 59

m. 60

Phrase in Violins I & II

M1 in Flute M1 in Oboe with extension

1

M in B. Cla

This process is then truncated with clarinets presenting a shorter motive in m. 61, followed by the flutes playing it twice. [FIG 11] Once again, the motive rotates from flutes to oboes on the other side of the quaternary.

Delius and the Joining of French and German Orchestration: 19

Figure 11

m. 61

m. 62

m. 63

m. 64

m. 65

m. 66

m. 67

m. 68

m. 69

m. 70

m. 71

m. 72

M1 (var) in Vln.

Strings & Harps Accompany M1 (var) in Corn.

1

M in Horn M2 in Fl. 2

M in Cla

M2 in Fl. ext.

M1 in ob.

M1 in B. Cla

The second motive rotates around the wind quaternary. Unlike the previous passage, here the oboe is the point of arrival. The melody is passed to the horn, in a similar place on the brass quaternary. The melody then progresses to the cornet (Delius prefers the cornet for melodic passages). Finally, the melody is passed to the violins. Each transfer between orchestral sections is made to an instrument in a similar position on its quaternary.

Delius and the Joining of French and German Orchestration: 20

The passage concludes with the motive passing from oboe to horn (both in second positions of their respective quaternaries). The motive then progresses from horn to cornet, before it is transferred to violins (both in the top positions in their respective quaternaries). PLAY EXCERPT The selection of instruments in this passage shows a path around the quaternaries. The logic and clear direction of this path argues for the choices to be a conscious application of the principles detailed in Anatomie. Delius used the scaled division of forces as a constructive element. This is orchestation as artifact, where the progression of timbre heightens the repetition of a static musical unit. However, the path around the quaternaries also plays an articulative role. Both progressions to the top of the woodwind quaternary trigger a musical event – the violin melody in m. 57, and the chromatic passing tone to the six-four chord in m. 65. This is orchestration as carrier, where the instrumentation is an aid to articulating the pre-composed musical substance.

On the Mountains is a transitional work for Delius but not yet an example of French orchestration. The excerpt, like much of the work, has the character of the New German school where the counterpoint is etched with distinctive timbre and shifting layers, such as the background of high strings in m. 57 becoming the hauptstimme before the end of that measure.

However, in certain details, the work skews French: the clear, high, flute timbre, the melodic use of the harp, the static background of strings, and the interdependence of orchestral sections suggest the French style

of Delius' mature works. In this transitional work, Delius uses doubling

more as a means to create novel timbres, and not as a means to emphasize counterpoint. Moreover, the instrumental choices demonstrate scaled timbral relationships.

In conclusion, Delius‘ mature orchestral works do not come of a sudden epiphany or conversion. Rather, there is a slow assimilation of French precepts. Careful study of his scores shows the gradual progression toward the French Orchestration of the beloved later orchestral

Delius and the Joining of French and German Orchestration: 21

works. The principles of this evolving style, particularly the notion of orchestration as artifact, the interdepence of sections, and the scaled relationship of timbre inform the thinking in Anatomie.

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--------

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by Harry P. Wilkins as A Course of Instruction in Instrumentation. New York: Breitkopf and Härtel, 1899.

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Lowe, Rachel, "Delius's First Performance," The Musical Times 106/1465 (1965): 190192.

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Papus [Gérard Encausse]. L'anatomie philosophique et ses divisions précédée d'un essai de classification méthodique des sciences anatomiques. MD diss., University of Paris, 1894. Reprint, Paris: Chamuel, 1894.

--------. Le Livre des mystères et les mystères du livre. Le Tarot divinatoire. Paris: Librairie hermétique, 1909.

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by Arthur E. Waite. London: Rider, 1910.

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Delius and the Joining of French and German Orchestration: 24

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1

(Paris: Chamuel Éditeurs, 1894). Papus is the nom de plume of the magus and physician G.A.V. Encuasse. Fritz Delius had not yet changed his name to Frederic. Throughout the text, he is identified only by his last name.

2 In his book Sound Structures in Modern Music (Berkley: University of California, 1975), the composer Robert Erickson uses the terms “carrier” and “object” to designate two uses of timbre. I have replaced “object” with “artifact” to separate a composite effect of the orchestration from the concept of a “sound object” – a concept that has appeared with more frequency since Erickson and tends to imply a discrete, local event. I use “artifact” here to designate the effect of the orchestration as a perceptible feature of the music fashioned by the composer.

3 © 2003 Paul Mathews.

4 Adam Carse, The History of Orchestration, (London: Kegan, Paul, Trench, Trubner and Company, Limited, 1925) reprinted, New York: Dover, 1964, 283.

5 Carse, 284.

6 Smythe, Ethel, Impressions That Remained, (New York: Knopf, 1946), 402-3 7 Jadassohn, S[olomon], A Course of Instruction in Instrumentation, trans. Harry P. Wilkins, (New York: Breitkopf and Härtel, 1899), 310.

8 Jadassohn, 341.

9 Carley, 42.

10 Delius and Papus, Anatomy and Physiology of the Orchestra (Paris: Chamuel Éditeurs, 1894), 6. The figures are drawn as accurately as possible; the translations are original for this paper.

11 The only book that matches this description is: Barlet, F. -Ch., Dr. Ferran, Papus, Nus, Eugéne, Lejay, Julien and de Guaita, Stanislas, La Science Secrète (Paris: Georges Carré, Librarire-Éditeur, 1890).

12 Delius and Papus, 10.

13 Delius and Papus, 10.

14 The plate is reproduced as faithfully as possible; only the words have been changed from the original. Moreover, it seems obvious they omitted "Tenor" from the right of the central square. The center of each quaternary shows the composite “instrument synthétique.”

15 Delius and Papus, 8.

16 Delius and Papus, 9.

17 Delius and Papus, 18.

18 Delius and Papus, 9.

19 Hector Berlioz and Richard Strauss, Treatise on Instrumentation, trans Theodore Front, (New York: E. F. Kalmus, n.d. [1948] reprint, New York: Dover, 1991), 336.