ORCHESTRATION

BY Walter Piston
PROFESSOR 01': \1USIC, EMERITUS, HARVARD Ur-;IVERSlry
:A&...w York
W . W . NORTON & CO.MPANY . INC'
Publishers
CHAPTER EIGHTEEN
KEY BOA R D I ~ S T R U 1\1 E N T S
THE PIAXO
Fr., piano; It., pianoforte; Ger., Klavier
I
T IS assumed that the reader is familiar with the pianoforte and its
technique. \Ve are concerned here not so much with the capacities
of the piano as a solo instrument, as with its use as an orchestral in-
strument, occupying a status comparable, for instance, to that of the
harp or the flute.
There are five aspects to be distinguished in the association of the
piano with the orchestra:
(a) The early practice of employing a pianist to play along with
the orchestra to give support in weak places, and to help the group
keep time and rhythm. This is substantially the same role that was
played throughout the eighteenth century by the "maestro at the
harpsichord," who executed the realization of the figured bass on his
instrument and kept the ensemble together, but no special part was
written for the player, who read from the score. As the art of con-
ducting developed, this usage died out in the early nineteenth century.
(b) The piano concerto, in which the orchestra plays the accompani-
ment, and is subordinate throughout to the solo piano part. Characteris-
tic examples are the piano concertos of Mozart and Beethoven. Today
a work of this type is the occasion for engaging an outstanding virtuoso
pianist, not a member of the orchestra, to play the solo part. The piano
is placed at the front of the stage.
(c) The composition for "Piano and Orchestra," in which the solo
piano retains its position of prominence while at the same time the
34D
KEYBOARD INSTRUMENTS 341
orchestra is raised to a position of equality. This is a flexible category,
some features of which can be noted in the solo concertos of the preced-
ing paragraph (the slow movement of Beethoven's Fourth Concerto).
The solo part still is played by a visiting artist, but part of the time the
piano is used as an orchestral instrument (D'Indy-Symphony on a
French Mountain Air). For this reason, conductors sometimes prefer
to place the piano within the orchestra rather than in front of it (Falla
-Nights in the Gardens of Spain).
(d) The piano as an orchestral instrument. This situation did not
come to pass until the twentieth century. The pianist is here compara-
tively anonymous and is a regular member of the orchestra (Copland-
Appalachian Spring).
(e) The piano in the small orchestra. This is a further development
of orchestral composition in the twentieth century (Stravinsky-Suite
for Small Orchestra).
ORCHESTRAL USES
The chief use of the piano as an orchestral instrument is one of
doubling. By this means an incisi\'eness, due to the percussive quality
of the piano, is imparted to any instrument or group-strings, wood-
wind, brass, or percussion, in all registers. The high register of the
piano is especially effective in contributing brilliance to the upper
woodwind. In the following example, two piccolos go along with the
piano up to its very highest note. The left-hand part doubles three
oboes and the second violins, while the octave in between is played by
the first violins and the xylophone.
EX. 36 I. Copland-Symphony 110. 3 p. 45, ed. Boosey & Hawkes
:> :>
Copyright 1947 by Hawk.s & Son (London) Ltd. l:sed by permission.
342
INSTRUMENTS
In the next example, the right-hand notes act as strong upper partials
to the left-hand part, which doubles two oboes and a trumpet. A bas-
soon plays in the octave below. There are other parts in the score.
EX. 362. Martinu-SymphollY no. 4
p. 97, ed. Boosey & Hawkes
Copyright 1950 by Hawkes & Son (London) Ltd. Used by penn iss ion.
The piano is at a disadvantage associating with other instruments in
parts of a sostenuto and legato character. Better results are obtained
if the piano part is kept in motion, in notes of not too long duration.
Doubling of pizzicato is of course very much in its style. Here it must
be remarked that low-pitched staccato on the piano, when loud, often
sounds upper partials with undue prominence, creating a metallic tone
and disguising the pitch. This depends upon the instrument, and it is
more likely to occur if a small piano is used.
EX. 363. Shostakovich-SY111phony no. 5
J=92
~ . . .
p. 12, ed. Musicus
Copyright 1945 by Leeds :11usic Corporation, New York. Csed by permission.
Among the numerous possibilities for the combination of the piano
with other instruments, the following is particularly felicitous, with
violins playing collegno.
KEY BOA R D r N S T R U 1\1 E ?\ T S Hi
EX. 36+ Copland-SY11lp/.10/ly 110. I p. 8, cd. Cos Cot,
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Cup:- light 1931 uy Cos Cob rrcss, Inc. C::.cd by vermbsion of Arrow .Press, Inc., incorporating the
eu::; Cob Press.
SOLO PASSAGES
The piano delivers imitative thematic figures alone, just as any other
instrument. It is also given important solo parts, sometimes demanding
a high degree of virtuosity, although no more than that expected of
other players in the modern symphony orchestra.
344 INSTRUMENTS
EX. 365. Stravinsky-Phroucbka p. 64, ed. Russe
Allegro
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Copyright by Edition Russe de Musiquc. Revised version copyright 1948 by Boosey & Hawkes. 1.:sed
by permission.
KEYBOARD INSTRUMENTS 345
In the following, the piano carries the thematic material, over a back-
ground of repeated sixteenth notes by three horns. Strings mark cer-
tain of the melodic notes lightly.
EX. 366. Stravinsky-Symphony in Three Movements
p. 27, ed. Associated Music Publishers
....
poco 'marcato _ _ _ _ :
Copyright 1946 by Associated ::"lusic Publishers, Inc" ::Sew York. Used by permission.

Dissonant chords in the low register of the piano are used in percus-
sive rhythmic effects.
EX. 367. Bartok-Dance Suite p. 3, ed. Philharmonia
Copydght 1924 by 1.:ni\'ersal Edition. Copyright assigned 1939 to Boosey & Hawkes Ltd. Used by
IJtfllll""lon.
The piano tremolo is combined with rolls on bass drum and timpani.
H(i J S T R C .\1 E ~ T S
EX. 368. Prokofieff-Symphony no. 5 p. 39, ed. Leeds
Andante
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Copyright 1946 by Leeds :Music Corporation, ::\c\V York. Csed by permission.
PL\XO AXD HARP
Some twentieth-century composers have shown a preference for the
piano to be used in place of the harp, feeling perhaps that the latter
instrument conveyed a certain romantic association they wished to
avoid. Others have combined piano and harp, and some ha\'e used a
larger grouping of piano, harps, and celesta, playing harplike arpeggios,
broken chords, and figuration (D'Indy-SlI711711er Day Oll the MoltlZ-
" . .
fain; Stravinsky-UOiseau de Fell). In the next example, a deep bell
sound is created by the unison of two harps and the piano, \yith double-
bass pizzicato and timpani. The latter are omitted from the example, as
well as the held octave D for two bassoons, contrabassoon, bass trom-
bone, tuba, and a bass drum roll.
EX. 369. Britten-Sinfonia da Requiem p. I, ed. Boosey & Hawkes
Andante ben m.isuraro
2 HARPS 1
AND
PIANO
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Copyright 19-Q by Hawkes & Son (London) Ltd. Csed by permission.
Unusual uses of the piano are the part for piano four hands in De-
bussy's Prime1l1ps; the employment of two pianos in Strayinsky's SY717-
KEY BOA R DIN S T R U 1\1 E N T S 347
phon y of Psal71ls; the extraordinary orchestra of Stravinsky's Les
N oces, composed of four pianos and percussion; and the use of an up-
right piano, not necessarily in tune, for local color in Copland's Billy
tl.1e Kid.
In the small orchestra, or chamber orchestra, for which many works
ha\'e been written in the twentieth century, the piano performs a
\'ariety of serYices. It compensates for the absence of instruments like
the harp and percussion, and fills in middle parts in place of horns.
Sonorous writing like the following example gives, within the perspec-
ti\'e of the small orchestra, an impression of orchestral tutti.
EX. 370. Copland-Music for the Theater p. 37, ed. Cos Cob
by Cos Cob Pre", Inc. Csed by penni"iol1 of Arrow 1're,s, Inc., incorporating the
Scoring for the piano creates some practical difficulties that should
be at least recognized by the composer. The piano tone ought to be
that of a 9-foot concert grand piano, if it is to sound well in a full sym-
phony orchestra. On a stage of insufficient size a smaller instrument
may ha\'e to be used. Furthermore, to a\'oid much rearrangement dur-
ing a concert the piano may be placed far to the side of the stage, es-
pecially if its part seems to the conductor a subordinate one. This will
proye most unsatisfactory when the piano is combined with wood-
34H INS T R U 1\1 E N T S
winds, because of the distance. The correct position of the piano is in
the center of the stage.
THE CELESTA
The celesta may be considered a kind of keyed glod:enspiel, in that
its tone is produced by hammers striking steel slabs. The instrument
has a piano keyboard, and it resembles in appearance some modern
types of miniature upright piano. Each steel bar rests upon a tuned res-
(mating wooden box, this feature giying the celesta a softness and
delicacy that distinguish it from the glockenspiel. There is also a
damper pedal.
The written range of the celesta is as follows, sounding an octave
higher:
Fig. 109
The gentle tones of the celesta haye a bell-like ring but do not last
long, nor can they be played staccato. Easily covered by other sounds
in the orchestra, they are used primarily for decorative coloristic
touches in soft nuances. In the following familiar motiYe, the celesta
chords are doubled by harp, two flutes and piccolo, and three solo vio-
lins, muted.
EX. 371. Strauss-Der Rosenka'l..!alier p. 190, cd. Boosey & Hawkes
Copyright 1910 by Adolf Furstner. assigned 1943 to Boose;; & I-bwkes. Ltd. ('sed by permission. (For
Portugal, Italy, Germany, Danzig, as of 1935: Ltd" London.)
KEYBOARD INSTRUMENTS 349
The next example shows a simple but striking use of the celesta to
mark the final cadence of a symphonic movement.
EX. 372. Shostakovich-Symphony no. 5 p. 51, ed. Musicus
Moderato J , 42
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('opyright Leeds ':'Iusic L(jrporatiul1. ::\ew York.. '[sed by
172 The Harp and Keyboard Instruments
Glisses over either the white or the black keys can be made by one hand, or
by the two hands moving in parallel or contrary motion (see Example 7-60).
The hand, the fist, or the forearm can be used for clusters of notes, as shown
in Example 6-23. If only white or only black notes are wanted, this should be indi-
cated separately.
Harmonics can be produced by silently depressing the keys of one or more
notes in the harmonic series of a lower note, then playing the lower note sharply
and briefly (see Example 6-24). The harmonics will resonate softly-so softly that
they may not be heard in a large room, and certainly not if other sound is present.
Example 6-23
1\ :> :>
Example 6-24
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The Use of the Piano
The piano was very rarely used as a member of the orchestra in the nineteenth
century, but in recent decades it has become almost commonplace in orchestral
scores. Like the harp, it is used both to reinforce or accompany other instruments
and as a soloist (Stravinsky's Petroushka; Shostakovich's First Symphony, last move-
ment). The percussive low register is used very effectively in the first movement of
Shostakovich's Fifth Symphony and in Copland's Appalachian In Example
7-60, the piano is used to reinforce the glisses of the violins. Some works, like
Stravinsky's Symphony of Pmlms, use more than one piano.
The Toy Piano
The toy piano can be a surprisingly effective instrument. The cheaper versions
may have only the eight notes of the completed C major scale, whereas others may
The S ~ t u d y of
Orchestration
Samuel Adler
Eastman School of Music
w . W . Norton and Company
New York London
364
The Study of Orchestra tiC!!!.
The Piano
the piano as an orchestral instrument that it was a Frenc? innova-
tion, since it is in the scores of D'Indy, Debussy, and Stravmsky that
it first appears. . d' th
In relationship to the orchestra, the piano may be Vlewe m e
following capacities:
1. as the solo instrument in a piano concerto;
2. as the executant of an obligato in orchestral works, such as.
Bloch's Concerto Grosso No.1, D'Iridy's Symphony a
Mountain Air, De Falla's Nights in the Gardens of Spam, Sn:
avm
-
sky's Petrushka, and others (Saint-Saens's Carnival of the Ammals
uses two pianos obligato.);. 's
3. as a purely orchestral instrument, m such works as
Printemps Martin's Symphony No.4, Shostakovich's Symphony o.
, k fi ' Shy No 5 Ses-
1 Copland's Symphony No.3, Pro 0 ev s ymp on .,
sions's Symphony No.2, Colgrass's As Quiet As, and many others.
The piano is usually used to double a passage or emphasize a
chord or note, with its extreme registers employed more tn:d
those at the middle of the instrument. Occasional are
to the piano for contrast, and since the instrument IS usually p 0 not
somewhere in back of the orchestra, these featured passages d ry
convey the impression of a solo in a particular work. Conte.mpor.a a
composers often use it as a percussion instrument. The
substitute for or a contrast to the xylophone, marimba,. or
and at the bottom of its range can also reinforce the 0 55
drum. Combination doublings with strings, woodwmds, and bra
Keyboard Instruments 365
are of course also successful. There are instances where the piano is
used instead of a harp, playing arpeggios in fortissimo passages where
the latter would be completely obliterated. In this connection one
should remark that, of necessity, many nonprofessional and school
orchestras use a piano to minimize the "holes" that exist in the orga-
nization, since there may be no oboe, bassoon, or viola. This is some-
thing that is purely pragmatic and will be discussed in a much later
chapter.
Una corda
Pedal
The Three Piano Pedals
t
Sostenuto
Pedal
Damper (Sustaining)
Pedal
The most frequently used of the three is the damper pedal which
lifts all the dampers and permits the strings to vibrate even after the
key has been released. The una corde pedal is the next most impor-
tant. Una corde means one string, and describes the action of this
pedal on a grand piano: when depressed, it moves the hammers into
a position where they can strike only one or in some cases two of the
three strings of one pitch. On an upright piano, this pedal moves the
hammers closer to the string. Both actions are designed to soften the
tone of the instrument. The center pedal is the most problematical.
It is correctly called the sostenuto pedal and sustains only those
pitches that are depressed at the same time the pedal is put into
action. It is most useful for pedal points, for one can depress a pitch
and at the same time the sostenuto pedal, thereby sustaining that
pitch only, while playing other passages over it. Other pedals may
be used at will without affecting the pedal-point note. Unfortu-
nately, many European pianos and a great majority of uprights do
not have this pedal, so it is a risk to write for it. Nevertheless, orches-
tral pianos are usually nine-foot grands and would most certainly
have all three pedals.
Often, because of the rather novel nature of the middle pedal and
its infrequent use, the right pedal has been called sostenuto; how-
ever, that is not correct; the names given above are the ones to be
366 The Study of Orchestration
used. However, in English, if one refers to the sustaining pedal, one
usually means the right or damper pedal, simply describing its
action. This term is acceptable.
The contemporary composer often extends the techniques of the
piano such as:
1. Prepared piano is indicated, meaning that the strings are pre-
pared with various objects either on top of them or stuck between
them.
2. The piano strings are struck with various beaters or brushes to
sound like mallet percussion or dulcimers.
3. The piano strings are plucked either seeco or let vibrate.
4. Roaring bass tremolos, which simulate a whole battery of bass
drums, can be performed by depressing the sustaining pedal and
playing a tremolo with both hands on the lowest strings.
5. Some composers (Le., Bernstein in The Age of Anxiety, Copland
in Billy the Kid) ask for upright pianos to suggest the "local color"
of the barroom or music hall.
6. Toy pianos have been employed for special effects.
Before illustrating some successful uses of the piano in its various
functions as an orchestral instrument, it is important to call attention
to some extraordinary works where multiple pianos and percussion
take the place of an entire orchestra. Two of the most important of
these are Stravinksy's Les Noees and Orff's Catulli earmina.
Orchestral Uses of the Piano
Piano as a doubling instrument:
Example XIII-2. Stravinsky, Petrushka,
"Danse russe,"
mm.1-9
Keyboard Instruments
Example XIII-3. Shostakovich, Symphony NO.1, second
movement, mm. 113-18
367
See also Copland Symph N 3 d
' any o. ,secon movement, mm. 115-20.
Incidental solos:
Example XIII-4. Stravinsky, Petrushka, second tableau, mm. 19-32
~ ~ ~ AlI.,O . .I.7.
I --.--- Ii
- - ~
368
The Study of Orchestration
See also Berg, Lulu Suite, "Ostinato," mm. 37-45.
As an accompanying instrument:
Example XIII-5. Bernstein, On the Town, "Times Square," mm. 1-5
Fl.
CI.
Cl. Blo
B. GI.
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2
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AllreQro( J .88)
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-

I J J J J I.J .J J J I J J J J I
J J J J .L
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Keyboard Instruments
See also: Stravinsky, Petrushka, second tableau, mm. 62-67
Stravinsky, Oedipus Rex, C!:QJ, mm. 1-11
CELESTA
Celesta (Fr.)
Example XIII-6. Range (sounds one octave higher than written)
Sua --l
369
The celesta is a steel-bar piano, looking like a miniature version of
that instrument and sounding very much like a glockenspiel. The
mechanism of the celesta works in the following manner: felt ham-
mers strike steel bars, which lie across a small wooden resonator
box. The tone is soft and delicate, and even though it has quite a bit
of penetrating power because of its high frequencies, it is by no
means as piercing as the glockenspiel. The instrument has a damper
pedal, and the notes do not sustain too long; but since they are pro-
duced by striking metal bars over a resonator, there is no true short
staccato. Melodic lines, chords, and arpeggios are all most effective
on the celesta, which is usually played by the pianist of the orchestra
or a percussionist who happens to play the piano. Besides solo
celesta passages, some of the most exciting pages of music for this
instrument occur when it doubles the strings, the harp, the piano,
soft woodwinds, and gives a "silver lining" to the overall sound.
The celesta is probably used more frequently in the orchestra than
any other keyboard instrument.
THE PIANO AS ORCHESTRAL MEMBER:
VARIOUS APPROACHES IN
NON-CONCERTO COMPOSITIONS
by
EUN HUR
Submitted to the graduate faculty of the School
of Music in partial fulfillment of the
requirements for the degree,
Doctor of Music,
Indiana University
October, 1994
5
Chapter I. Introduction
Historical overview
Music history has reacted to many factors: the political and national
histories of Europe, commercial conditions such as music printing, the
publishing trade, the enterprise of concert-giving institutions, the taste and
tendencies of society and the public in various countries, patronage of the
musical art, and the various systems of music education that have been in
vogue. Progress in the art and technique of musical composition brings about
development in the history of music. Various factors interact with each
other, making for progress in the field of music. The same tendencies can be
applied to the area of orchestration, as well.
In the beginning stage of orchestral development, the harpsichord,
piano or other keyboard instuments in general were used in the orchestra to
supply harmony, and played from the figured-bass. This feature, which has
been called the basso-continuo tradition, was characteristic of orchestral
writing from the earliest attempts until the coming of Haydn and Mozart's
classical orchestra.
At that time the basso-continuo tradition had died out and the string
part assumed the responsibility of supplying the main harmony. On top of
that, the development of various musical forms and improvements in the
piano as an instrument enabled the piano to take a prominent solo function
throughout the Romantic period. The concept of the piano concerto also
6
intensified with the rise of the virtuoso, who responded to huge audiences
and large concert halls; and the solo concerto is naturally suited to those
needs. Many Romantic composers thus produced piano concertos in the
nineteenth century.
At the turn of the century, Western Music had reached an
unprecedented degree of harmonic complexity and technical development,
particularly with respect to orchestration. Composers were becoming more
and more skillful in mastering and experimenting with new and unusual
combinations of instruments, and with sounds and techniques not previously
associated with traditional instruments. Instruments not commonly
associated with the orchestra like the keyboad group which are the piano, the
celesta
1
, the organ
2
, and the harpsichord
3
were used for their regular and
IThe celesta may be considered a kind of keyed glockenspiel, in that its
tone is produced by hammers striking steel slabs. Each steel bar rested upon a
tuned resonating wooden box, this feature giving the celesta a softness and
delicacy that distinguish it from the glockenspiel.
2It was not until the late nineteenth century that organ parts appeared
in symphonic scores (Saint-Saens, Symphony No.3). The organ has been
associated with the orchestra for certasin special purposes. Works for chorus
and orchestra frequently include the organ (Honneger, Le Roi David). The
organ also has been employed in symphonic works of the grandioso type
(Mahler, Symphony No.8).
3 Modern composers have shown interst in this baroque instrument
and have written for it in combination with the small orchestra. The
followings are some modern works employing the harpsichord; Falla, El
Retablo de Maese Pedro, Martin, Petite Symphonic Concertante, Strauss,
Dance Suite after Couperin.
7
non-traditional sounds. Among these instruments, the plano which' had
been treated as a prominent solo instrument was employed as an orchestral
instrument by many composers.
The first composer to treat the piano as an orchestral instrument was
Hector Berlioz, in the first half of the 19th century. He wrote for two pianos
in his Lelio Symphony. Berlioz has long been recognized for his exceptional
orchestral skills, and this quality is illustrated in "La Tempete," with its
innovative use of the piano as an orchestral instrument. He was one of the
first to comment on the dual nature of the piano.
The pianoforte at the point of perfection to which our skillful
manufacturers have brought it now-a days may be considered in a
double point of view: as an orchestral instrument, or as forming a
complete small orchestra in itself. On only one occasion has it been
deemed well to employ the pianoforte in the orchestra under the same
class as other instruments; that is to say, letting it bring to the aggregate
its own peculiar resources, which nothing can replace (Berlioz, Treatise,
p.73)4.
But Berlioz's innovative and progressive ideas in the area of orchestral
effect exerted little influence on the art of that era due to his sporadic success.
4David A. Day, "A Historical and Critical Study of Hector Berlioz's Lelio
ou Ie retour a la vie," M.M. dissertation, Brigham Young University, Dec.
1981, p.8S.
8
common within orchestral composition excluding solo concertos. Affected by
Paganini, who carried the Romantic concept of virtuosity to new heights,
Liszt composed Totentanz, a symphonic poem for piano and orchestra. In a
parallel conservative movement, Brahms wrote his first piano concerto,
which was originally conceived as a type of symphony
At the end of the Romantic era, the size of the orchestra was expanded,
and new treatment of rarely used instruments like the keyboard group was
invigorated. Among the keyboard instrumental group, the piano is very
suitable for the purpose of adding color to an orchestra, rendering many
special effects to orchestral compositions. Many pieces were composed from
1890 to 1950 employing the piano as a major instrument, but still as an
orchestral member. Ultimately, the piano became a common orchestral
instrument during the early twentieth century.
The following five categories of piano within orchestral compositions
can be proposed:
(1) The eighteenth century continuo practice of incorporating a
keyboard to play along with the orchestra to provide support for
compositions. This practice died out in the nineteenth century, but
witnessed a vigorous revival in the neo-classical movement starting in
the early twentieth century and continuing up to the current day in the
works of conservative composers.
(2) The rise of the piano concerto from the eighteenth century to the
9
present. Beginning with Mozart and following through Beethoven
and all of the major Romantic composers, the piano became an
outstanding vehicle for virtuosic display and musical presentation.
(3) Compositions for piano and orchestra or "almost-concerto" where
the solo piano retains a prominent position while the orchestra is
trea ted as an equal partner.
(4) In the twentieth century, the plano as a regular orchestral
instrument became a common choice for composers of large orchestral
works like symphonies and tone poems.
(5) The piano in the small chamber-like orchestra became popular
throughout the twentieth century.
I will discuss the third, fourth, and fifth categories above in relation to
the piano as orchestral member.
10
Limitations
There are many orchestral pieces such as symphonies and tone poems
that are not clearly solo piano concertos, but which have major piano parts. I
have searched, discussed, and listened to these types of compositions, and
narrowed them down to four categories where the piano plays a part within
orchestral pieces.
(1) The piano in Symphonies, such as Leonard Bernstein's Symphony
No.3, Kaddish, Charles Ives' Symphony No.4, Aaron Copland's
Symphony No.3, Sergei Prokofiev's Symphony No.5, Edward Elgar's
Symphony No.3, Igor Stravinsky's Symphony of Psalms, and Bohuslav
Martinu's Symphony No.4, where the piano takes a part as one of the
orchestral instuments. In the twentieth century, the piano is a
common orchestral instrument and also its use varies within
symphonic works.
(2) The piano in symphonic poems or tone poems, such as Vincent
d'Indy's Symphony on a French Mountain Song, Cesar Franck's Les
Djiins, Alexander Scriabin's Prometheus, and Ottorini Respighi's Pini
di Roma, where the piano is used as a vehicle for special effects to give
more vivid messages and for a wide variety of expression.
(3) Works for piano and orchestra, such as Manual de Falla's Nights zn
the Gardens of Spain, Igor Stravinsky's Capriccio, Gabriel Faure's
Ballade, Karol Szymanowski's Symphonie Concertante, George
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Gershwin's Rhapsody in Blue, Alfredo Casella's Partita for Piano and
Orchestra, Riccardo Pick-Mangiacalli's Sortilegi, and William Walton's
Sinfonia Concertante for Orchestra with Piano. In those works, the
piano is more absorbed in the orchestra, as opposed to being the soloist
in a concerto, and the orchestra has equal importance with the piano.
(4) The piano in a small orchestra, such as Bella Bartok's Dance Suite,
Darius Milhaud's La Creation du Monde, Alban Berg's Lulu Suite,
Aaron Copland's Music for the Theatre, Olivier Messiaen's Sept Haikai,
and Steve Reich's Variations for Winds, Strings and Keyboard. With
the trend in the twentieth century toward a wide choice in
orchestration, the piano in a small group more closely interacts with
other instruments as in an ensemble.
(5) The piano in orchestral pieces like Igor Stravinsky's Petrushka, and
Firebird, Constant Lambert's Rio Grande, and Aaron Copland's
Apalachian Spring. The piano has been effectively and idiomatically
used to make a special addition to these orchestral pieces.
Based on my musical score search, this document presents six selected
representative works by recognized composers reflecting a variety of
nationalities and compositional approaches. These are: Alexander Scriabin,
Prometheus (1908-1910), a symphonic tone poem employing a piano part;
Igor Stravinsky, Petrushka (1910-1911), an orchestral piece where the piano
takes part; Charles Ives, Symphony no. 4 (1909-1919), which is an example of
12
use of the plano within the symphony; Darius Milhaud, La Creation du
Monde (1922), a piece for small orcheatra having a piano as an ensemble
member; Karol Szymanowski, Symphonie Concertante (1932), an "almost-
concerto" where the orchestra and piano are treated equally; and Olivier
Messiaen, Turangalila Symphony (1946-1948), a mixture of all of the above
categories. The six works are arranged in Chapter II. by their compositional
years which helps to trace the historical trend of piano use in orchestral
works.
First, I analyze the actual compositions in general, pointing out the
overall form, style, and charateristics, including a brief description of musical
materials and parameters. After this, I determine the specific role of the piano
within the orchestra. How was the piano used? Does the piano play
throughout? Is the piano merely a doubling instrument? Is the piano a
soloistic instrument? Does it have an alternate function? How does the
compositional writing affect the expansion of the piano's possibilities as an
orchestral instrument. With these historical and stylistic analyses,
conclusions is made about the how the piano's function has been expanded
beyond its former limitations through the evolution of musical composition.