This page lists for convenience the principal scores of other composers cited by Berlioz in his Treatise on Orchestration. The references have been divided in two groups, first the purely instrumental citations, where those from Beethoven’s symphonies are the most numerous, second those which include voices as well, which are more numerous and varied; in this group citations from Gluck are the most frequent. A selection of extracts from the Treatise is available on this site.
Orchestral
and instrumental scoresThe instrument named in brackets refers to the chapter in the Treatise where the citation occurs; links are provided to the relevant section
An *asterisk indicates that the passage is included in the scores reproduced on this site
*Symphony 3, *3rd movement, Trio, bars 166-260 (horn); *4th movement, bars 348-372 [354-378 in this transcription] (oboe)
*Symphony 4, *2nd movement, bars 26-34 (violin), 96-104 (timpani)
*Symphony 5, *1st movement, bars 398-423 (violin); *2nd movement, bars 1-11 (viola); *3rd movement, bars 281-302 (bassoon), 302-316 (violin pizzicato), 317-373 and bars 1-4 of 4th movement (timpani)
*Symphony 6, *3rd movement, bars 87-122 (oboe); *4th movement [storm], bars 45-70 (double bass), 93-108 (piccolo)
*Symphony 7, *1st movement, bars 300-310 (oboe); *2nd movement, bars 147-183 (trumpet); *3rd movement, bars 181-208 (horn)
*Piano concerto 5, 2nd movement, bars 64-82 (piano)
*Alceste, Act I (flute)
*Iphigénie en Tauride, Act I Prelude (trumpet; piccolo)
*Iphigénie en Tauride, Act I Ballet (triangle)
*Orphée, Act II Ballet 2 (Pantomime) (flute)
*La Juive, Act IV (cor anglais)
*Robert le Diable, Act III (gong)
*Robert le Diable, Act III (bassoon)
*Der Freischütz overture, bars 87-129 (clarinet)
*Oberon overture, bars 14-22 (cello)
Vocal
scoresThe instrument named in brackets refers to the chapter in the Treatise where the citation occurs
Fidelio, Act II ‘Nur hurtig fort, nur frisch gegraben’ (double-bass)
Fidelio, Act II ‘Und spür’ich nicht linde’ (oboe)
Alceste, Act I ‘Apollon est sensible à nos gémissements’ (violin tremolo)
Alceste, Act I ‘Divinités du Styx’ (trombone)
Alceste, Act II ‘Caron t’appelle’ (horn)
Alceste italienne, Act II ‘Chi mi parla!’ (violin, con sordino)
Armide, Act III ‘Venez, venez, haine implacable’ (oboe)
Armide, Act III ‘Suis l’amour puisque tu le veux’ (voices)
Iphigénie en Aulide, Act I ‘Peuvent-ils ordonner qu’un père’ (oboe)
Iphigénie en Aulide, Act II ‘Vengeons et la nature’ (trombone)
Iphigénie en Tauride, Act I ‘O songe affreux’ (voices)
Iphigénie en Tauride, Act I ‘Les dieux apaisent leur courroux’ (cymbals)
Iphigénie en Tauride, Act II ‘Le calme rentre dans mon cœur’ (viola)
Iphigénie en Tauride, Act IV ‘Chaste fille de Latone’ (voices)
Orphée, Act II ‘Que la peur, la terreur’ (double-bass)
Phrosine et Mélidore ‘Jules, tu seras mon vengeur’ (horn)
Les Huguenots, Act I ‘Ah, quel spectacle enchanteur’ (viola d’amore solo)
Les Huguenots, Act II ‘Jeunes beautés sous ce feuillage’ (bassoon)
Les Huguenots, Act IV ‘Tu l’as dit’ (cor anglais)
Les Huguenots, Act IV ‘Entends tu ces sons funèbres’ (bells)
*Les Huguenots, Act V ‘Savez vous qu’en joignant vos mains’ (bass clarinet)
Robert le Diable, Act V ‘O mon fils’ (cornet)
Don Giovanni, Act II ‘Deh vieni alla finestra’ (mandolin)
Magic Flute, Act II ‘O Isis und Osiris’ (trombone)
Magic Flute, Act II ‘Das klinget so herrlich’ (glockenspiel)
Ave verum ‘Ave verum corpus’ (voices)
Guillaume Tell, Act III ‘Sois immobile’ (voices)
Guillaume Tell, Act III ‘A nos chants viens mêler’ (voices)
*La Vestale, Act II ‘Toi que j’implore avec effroi’ (voices)
La Vestale, Act III ‘Périsse la Vestale impie’ (trombone)
Der Freischütz Act II ‘Leise, leise, fromme Weise’ (cello)
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