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 enlarge | Author: Nikolay Rimsky-korsakov
Publisher: Dover Publications
Category: Book
List Price: $19.95
Buy New: $11.65
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Avg. Customer Rating:  18 reviews
Sales Rank: 105867
Media: Paperback
Number Of Items: 1
Pages: 489
Shipping Weight (lbs): 1.9
Dimensions (in): 9.1 x 6.5 x 1.1
ISBN: 0486212661
Dewey Decimal Number: 780
EAN: 9780486212661
ASIN: 0486212661
Publication Date: June 1, 1964
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Shipping: International shipping available
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| Customer Reviews:
 Excellent work but not for the dilletante December 18, 2005
17 out of 17 found this review helpful
I suppose it would be redundant for me to praise the work of Rimsky-Korsakov like so many have before, and besides it seems above me to judge such an authoritative book. I do wish, however, that Rimsky-Korsakov would have used examples that were not only from his own works.
The format of this book is difficult since all of the musical examples are located in the back--rebinding it into two volumes would be advisable.
Anyone who studies this book should be familiar with the works of Rimsky-Korsakov, as all of the examples come from his orchestral works. It is also advisable to have at least rudimentary skills in sight-reading scores and/or to have recordings readily available so you can listen to the examples he cites.
You will benefit most from this book if you are able to devote a significant amount of time to listening to the examples given for each concept and composing practice sketches based on the principles Rimsky-Korsakov outlines.
The writing is rather dense and requires time to understand; therefore I would not recommend it to someone for whom composition or arranging is simply a hobby.
quite good March 23, 2005
2 out of 7 found this review helpful
though quite indepth, Korsakov offers insightful tonal colors with great examples to follow.
A Classic in Orchestration February 2, 2003
31 out of 31 found this review helpful
I own some of the great books of orchestration, say, those by Pistons, Adler and Forsyth, but this book certainly is the best of the best. This is not a book about instrumentation (general information as range, articulations, characteristics, notation), rather it concentrates aspects such as resonance, register, doublings, combination of instrumental colors, as well as information about the chorus. These are the points that need to be considered in the course of orchestration. A well-organized book, with many orchestral excerpts drawn from Korsakov's own works. It is very useful for any orchestrators to understand the principles the author said.
Sound Like Rimsky-Korsakov...maybe October 5, 2001
9 out of 15 found this review helpful
Rimsky-Korsakov was probably the greatest orchestrator to have ever lived. His aptitude and knowledge is vast and is apparent in many of his students,most notably Ravel and Stravinsky. It is unfortunate that he was not quite as great at composition then he was orchestration. Though Stravinsky's works seem to be more colorful, one must keep in mind the differences in style and instruments...most importantly, Stravinksy was far superior in composition to Rimsky-Korsakov. It is fortunate to see that there are two masterpieces by Rimsky-Korsakov that exhibit the epitome of his orchestration genius: Scheherazade and Capricio Espanol. It must be noted that though there are several more modern books on orchestrations (most notably Forsyth and Piston), this book can be useful and entertaining...he was a great a teacher.
This Work Is An Instrumentation/Orchestration Classic! May 12, 2001
13 out of 14 found this review helpful
Rimsky-Korsakov worked upon this work for over 30 years.The examples are from his own works.He originally planned to include examples from Glinka,Tschaikovsky, Borodin,and Glazounov.He did not to avoid notational and stylistic peculiarities.This is not primarily a notational work.It deals more with subjects such as resonance,timbre,register,and instrumental combinations and their various effects.He died before the work was published and many of the examples were chosen from his works by the editor Max Steinberg.The Principles,however,listed prior to example,remain untouched...and still do barring instrumental developments.These Principles could have just as easily been exemplified by the above four or many others.This book is a classic on "Principles Of Orchestration" and most certainly not obsessed with "Examples Of Orchestration".The laws are laid out in the former case.To any serious composer that is as it ought be!
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