University of Virginia Library

Editor's Preface.

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. [1]

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. I had
not yet thought of the second part of the book which was to be
devoted to instruments in combination. But I soon realised that
I had gone too far. With wind instruments in particular, the
different systems were innumerable, and each manufacturer favoured
his own pet theory. By the addition of a certain key the maker
endowed his instrument with the possibility of a new trill, and

made some difficult passages more playable than on an instrument
of another kind.

There was no end to such complications. In the brass, I found
instruments with three, four, and five valves, the mechanism
varying according to the make. Obviously, I could not hope to
cover so large a field; besides, of what value would such a
treatise be to the student? Such a mass of detailed description of
the various systems, their advantages and drawbacks, could not
but fail to confuse the reader only too eager to learn. Naturally he
would wish to know what instrument to employ, the extent of its
capabilities etc., and getting no satisfactory information he would
throw my massive work aside. For these reasons my interest in
the book gradually waned, and finally I gave up the task."

In 1891 Rimsky-Korsakov, now an artist of standing, the composer
of Snegourotchka, Mlada, and Shéhérazade, a master of
the orchestral technique he had been teaching for twenty years,
returned to his handbook on instrumentation. He would seem to
have made notes at different times from 1891 to 1893, during
which period, after the first performance of Mlada, he gave up
composition for a while. These notes, occasionally referred to
in his Memoirs, are in three volumes of manuscript-paper. They
contain the unfinished preface of 1891, a paragraph full of clear,
thoughtful writing, and reprinted in this book. [2]

As the author tells us in his Memoirs (p. 297), the progress of
his work was hampered by certain troublesome events which
were happening at the time. Dissatisfied with his rough draft, he
destroyed the greater part of it, and once more abandoned his task.

In 1894 he composed The Christmas Night; this was the
beginning of his most fertile period. He became entirely engrossed
in composition, making plans for a fresh opera as soon as the
one in hand was completed. It was not until 1905 that his
thoughts returned to the treatise on orchestration, his musical
output remaining in abeyance through no fault of his own. Since
1891 the plan of the work had been entirely remodelled, as
proved by the rough drafts still extant. The author had given up
the idea of describing different instruments from their technical

standpoint, and was more anxious to dwell upon the value of
tone qualities and their various combinations.

Among the author's papers several forms of the book have been
found, each widely differing in detail from the other. At last, in
the summer of 1905 Rimsky-Korsakov brought his plans to a
head, and outlined the six chapters which form the foundation of
the present volume. But the work suffered a further interruption,
and the sketches were once more laid aside. In his Memoirs,
Rimsky-Korsakov explains the fact by lack of interest in the work
and a general feeling of weariness: "The treatise remained in
abeyance. To start with, the form of the book was not a success,
and I awaited the production of Kitesh, in order to give some
examples from that work" (p. 360).

Then came the autumn of 1906. The composer experienced
another rush of creative energy; his opera, The Golden Cockerel
made rapid strides, and kept him busy all that winter and the
following summer. When it was finished, in the autumn of 1907,
his thoughts reverted to the treatise on orchestration. But the
work made little progress. The author had his doubts as to the
adequacy of the plan he had adopted, and, in spite of the entreaties
of his pupils and friends, he could not bring himself to broach
the latter part of the book. Towards the end of 1907 RimskyKorsakov
was constantly ailing in health, and this materially
affected his energy. He spent the greater part of his time reading
old notes and classifying examples. About the 20th of May he
set out for his summer residence in Lioubensk, and having just
recovered from a third severe attack of inflammation of the lungs,
began to work on the first chapter of the treatise in its present,
final form. This chapter was finished on June 7/20, about 4 o'clock
in the afternoon; the same night, the composer was seized with a
fourth attack which proved fatal.

The honour fell on me to prepare this last work of RimskyKorsakov
for publication. Now that Principles of Orchestration
has appeared in print I think it necessary to devote a few words
to the essential features of the book, and to the labour imposed
upon me in my capacity as editor.

On the first point I will say but little. The reader will observe
from the Contents that the work differs from others, not merely by

reason of its musical examples, but more especially in the systematic
arrangement of material, not according to orchestral division
in groups (the method adopted by Gevaert for instance), but according
to each constituent of the musical whole, considered separately.
The orchestration of melodic and harmonic elements (Chapters II
and III) receives special attention, as does the question of orchestration
in general (Chapter IV). The last two chapters are devoted
to operatic music, and the sixth takes a supplementary form,
having no direct bearing on the previous matter.

Rimsky-Korsakov altered the title of his book several times, and
his final choice was never made. The title I have selected seems
to me to be the one most suitable to the contents of the work, "principles"
in the truest sense of the word. Some may expect to find
the "secrets" of the great orchestrator disclosed; but, as he himself
reminds us in his preface, "to orchestrate is to create, and this is
something which cannot be taught."

Yet, as invention, in all art, is closely allied to technique, this
book may reveal much to the student of instrumentation. RimskyKorsakov
has often repeated the axiom that good orchestration
means proper handling of parts. The simple use of tone-colours
and their combinations may also be taught, but there the science of
instruction ends. From these standpoints the present book will
furnish the pupil with nearly everything he requires. The author's
death prevented him from discussing a few questions, amongst
which I would include full polyphonic orchestration and the
scoring of melodic and harmonic designs. But these questions
can be partly solved by the principles laid down in Chapters II
and III, and I have no wish to overcrowd the first edition of this
book with extra matter which can be added later, if it is found
to be necessary. I had first of all to prepare and amplify the
sketches made by Rimsky-Korsakov in 1905; these form a connected
summary throughout the whole six chapters. Chapter I was completed
by the author; it is published as it stands, save for a few
unimportant alterations in style. As regards the other five chapters,
I have tried to keep to the original drafts as far as possible,
and have only made a few changes in the order, and one or two
indispensable additions. The sketches made between 1891 and
1893 were too disconnected to be of much use, but, in point

of fact, they corresponded very closely to the final form of
the work.

The musical examples are of greater importance. According to
the original scheme, as noted on the 1891 MS., they were to be
drawn from the works of Glinka and Tschaikovsky; those of
Borodin and Glazounov were to be added later. The idea of
choosing examples solely from his own works only came to
Rimsky-Korsakov by degrees. The reasons for this decision are
partly explained in the unfinished preface of 1905, but other
motives may be mentioned. If Rimsky-Korsakov had chosen his
examples from the works of these four composers, he would have
had to give some account of their individual, and often strongly
marked peculiarities of style. This would have been a difficult
undertaking, and then, how to justify the exclusion of West-European
composers, Richard Wagner, for example, whose orchestration
Rimsky-Korsakov so greatly admired? Besides, the latter
could hardly fail to realise that his own compositions afforded
sufficient material to illustrate every conceivable manner of scoring,
examples emanating from one great general principle. This is not
the place to criticise his method; Rimsky-Korsakov's "school" is
here displayed, each may examine it for himself. The brilliant,
highly-coloured orchestration of Russian composers, and the scoring
of the younger French musicians are largely developments of the
methods of Rimsky-Korsakov, who, in turn, looked upon Glinka
as his spiritual father.

The table of examples found among the author's papers was far
from complete; some portions were badly explained, others, not at
all. The composer had not mentioned which musical quotations
were to be printed in the second volume, and which examples
were to indicate the study of the full score, further, no limit was
fixed to the length of quotation. All this was therefore left to the
editor's discretion. I selected the examples only after much doubt
and hesitation, finding it difficult to keep to those stipulated by the
composer, as every page of the master's works abound in appropriate
instances of this or that method of scoring.

I was guided by the following considerations which agreed
with the opinions of the author himself: in the first place the
examples should be as simple as possible, so as not to distract

the student's attention from the point under discussion; secondly,
it was necessary that one example should serve to illustrate several
sections of the book, and lastly, the majority of quotations should be
those mentioned by the author. These amount to 214, in the second
volume; the remaining 98 were added by me. They are drawn, as far
as possible, from Rimsky-Korsakov's dramatic music, since operatic
full-scores are less accessible than those of symphonic works. [3]

At the end of Vol. II I have added three tables showing different
ways of scoring full chords; all my additions to the text are
marked with asterisks. I consider that the careful study of the
examples contained in the second volume will be of the greatest
use to the student without replacing the need for the study of other
composers' scores. Broadly speaking, the present work should
be studied together with the reading of full scores in general.

A few words remain to be said regarding Rimsky-Korsakov's
intention to point out the faulty passages in his orchestral works,
an intention expressed in his preface to the last edition. The
composer often referred to the instructional value of such examinations.
His purpose however was never achieved. It is not for me
to select these examples, and I shall only mention two which were
pointed out by the composer himself: 1. The Legend of Tsar Saltan
220 7th bar — the theme in the brass is not sufficiently prominent
the trombones being tacet (a mistake easily rectified); 2. The
Golden Cockerel 233, bars 10 — 14, if the marks of expression are
observed in the brass, the counter-melody on the violas and
violoncellos doubled by the wood-wind will hardly be heard.
Example 75 may also be mentioned, to which the note on page 63,
in the text, refers. I will confine myself to these examples.

In conclusion I desire to express my deep gratitude to Madame
Rimsky-Korsakov for having entrusted me with the task of editing
this work, thereby providing me with the opportunity of performing a
duty sacred to the memory of a master, held so deeply in reverence.