Haydn and Mozart as Orchestrators

Abstract

The subject of orchestration is typically associated with the treatises of Hector Berlioz and Nikolai Rimsky-Korsakov, or the striking effects of Claude Debussy or Igor Stravinsky. This dissertation seeks to reframe this narrative, considering the expressive role of orchestration in the work of Joseph Haydn and Wolfgang Amadeus Mozart. It concludes that they used the orchestra in strikingly different manners in the symphony and piano concerto. Haydn’s orchestrational flair lay in the symphony, often exploiting the drama of sonic and timbral extremes; Mozart found unique inspiration in the piano concerto, whose inclusion of a non-orchestral instrument encouraged him to employ wind instruments in a truly novel way. This project thus highlights the importance of genre to the compositional process: two composers as similar as Haydn and Mozart can respond so differently to one genre’s demands. It suggests further research into genre-specific approaches to orchestration, especially considering different composers and time periods.