The Development of the Orchestra

As music moved into the classical period the string section remained the centre of the orchestra but the woodwind section grew to become an important and permanent section. The harpsichord dropped out of use and a new instrument was born into the orchestra, the clarinet. As the harpsichord was no longer used the strings were require to fill out the harmony unaided. Instead of both violins doubling the melody and the violas, cellos and double basses all playing the bass line, there were now four distinct parts. The clarinet was at first, like flute, used instead of the oboe, but by 1800 the orchestra had become standardised into the double-wind orchestra. This consisted of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, first violins, second violins, violas, cellos and double basses. The variety of instruments meant a wide range of tones and colours could be achieved, which would in turn lead to the romantic period.

Because the woodwind section had increased so much since the baroque orchestra the string section also had to increase to balance the sound. Many continued to increase as the venues for concerts were getting bigger. In the baroque period many of the concerts took place in house of the nobility but by the classical period they had moved to public concert halls and large theatres. Everyone was delighted with the sounds that these larger orchestras could make and this encouraged a further development. Beginning in the works of Beethoven brass began to take an increasingly prominent place. Trombones had previously been used for dramatic effect in operas, and the invention of the valve in 1813 made the horns and trumpets completely chromatic meaning that all the brass became melody instruments. In 1817 the ophicleide was introduced and used to strengthen the bottom end of the brass section. The tuba was introduced around 1835 and the ophicleide faded out of use.

In Symphonie Fantastique, Belioz uses valved instruments that were just starting to appear by 1830. At this time trumpet, horn and timpani parts were written without a key signature. Timpani at the time had to be tuned beforehand so there was a very limited amount of notes they could play.

Also in the Symphonie Fantastique we see the use of an enlarged percussion section. Berlioz calls for Timpani, cymbals, bass drum, a snare and little bells. These however are not all used in all the movements, in the 4th movement the little bells aren't use, and neither are the harps that he calls for.