Orchestration: An Anthology of Writings is designed to be a primary or ancillary text for college-level music majors. Although there are several 'how to' textbooks aimed at this market, there is little available that traces the history of orchestration through the writings of composers themselves. By collecting writings from the ninenteenth century to today, Mathews illuminates how orchestration has grown and developed, as well as presenting a wide variety of theories that have been embraced by the leading practitioners in the field. The collection then traces the history of orchestration, beginning with Beethoven's Orchestra (with writings by Berlioz, Wagner, Gounod, Mahler, and others), the 19th century (Mahler, Gevaert, Strauss) the fin de siecle (on the edge of musical modernism; writings by Berlioz, Jadassohn, Delius, and Rimsky Korsakov), early modern (Busoni, Schoenberg, Stravinsky, Grainger, and others), and high modern (Carter, Feldman, Reich, Brant). Many of these pieces have never been translated into English before; some only appeared in small journals or the popular press and have never appeared in a book; and none have ever been collected in one place. The study of orchestration is a key part of all students of music theory and composition. Orchestration provides a much needed resource for these students, filling a gap in the literature.

Table of Contents:
The Early Nineteenth Century; Chapter 1 On the Symphony, Carl Czerny; Chapter 2 Instruments Added to the Scores of Old Masters, Hector Berlioz; Chapter 3 On the Rendering of Beethoven’s Ninth Symphony, Richard Wagner; Chapter 4 Instruments Added by Modern Composers, Charles Gounod; Chapter 5 Pamphlet on Mahler’s Edition of Beethoven’s Ninth Symphony, Gustav Mahler, Siegfried Lipiner; Chapter 6 Beethoven’s Instrumentation, Igor Stravinsky; The Late Nineteenth Century; Chapter 7 Statements on Orchestration, Gustav Mahler; Chapter 8 First Lesson: Preliminary Instruction, F.-A. Gevaert; Chapter 9 Foreword to Berlioz’ Treatise on Instrumentation, Richard Strauss; Interlude; Chapter 10 The Orchestra, Hector Berlioz, Richard Strauss; Chapter 11 Orchestra Tutti, Salomon Jadassohn; Chapter 12 The General Divisions and Classification of the Principal Instruments of the Orchestra, Delius, Papus; Chapter 13 Composition of the Orchestra, Nikolay Rimsky-Korsakov; The Turn of the Twentieth Century; Chapter 14 An Inadequate Means for Musical Expression, Ferruccio Busoni; Chapter 15 The Orchestra: Diatonic and Atonal Music, Josef Matthias Hauer; Chapter 16 Possibilities of the Concert Wind Band from the Standpoint of a Modern Composer, Percy Grainger; Chapter 17 Instrumentation, Arnold Schoenberg; Chapter 18 The Balance of Sonorities: Volume and Intensity, Charles Koechlin; Chapter 19 Instrumentation, Igor Stravinsky, Robert Craf; The Early Twentieth Century; Chapter 20 Klangfarbenmelodie, Arnold Schoenberg; Chapter 21 Letter to Heinrich Jalowetz Regarding the Symphony, Op.21, Anton Webern; Chapter 22 Letter to Hermann Scherchen Regarding the Transcription of J.S. Bach’s Ricercata, Anton Webern; Chapter 23 Anton Webern:, Arnold Schoenberg; Chapter 24 Regarding Klangfarbenmelodie, Igor Stravinsky, Robert Craft; Chapter 25 Timbral Relationships and Their Functional Use, Alfred Schnittke; Later Twentieth-Century Innovations; Chapter 26 Program Note for the Fourth Symphony, Charles Ives; Chapter 27 Instrumental Character and the Problem of the Tutti, Elliott Carter, Allen Edwards; Chapter 28 On the Size and Seating of an Orchestra, Steve Reich; Chapter 29 Spatial Music and Orchestration, Henry Brant, Frank J. Oteri; Chapter 30 Remarks on Ochestration, Morton Feldman; Chapter 31 Timbre and Composition — Timbre and Language, Pierre Boulez;