What instruments are included in a pop orchestra? Great Jazz Orchestras

In Ancient Greece, an orchestra ( orchestra ) was the name of the place in front of the stage where the choir was placed during the performance of tragedies.

Much later, during the heyday of musical art in Europe, large ensembles of musicians who jointly performed instrumental pieces of music began to be called an orchestra. A variety of instruments participated in these ensembles.

The composition of the orchestra was not constant for a long time. As a rule, rich nobles had orchestras. The number of musicians and the choice of instruments depended on the wealth and tastes of the owner.

Gradually, certain types of orchestra emerged in musical practice. The most complete and perfect sounding among them is Symphony Orchestra . You heard, of course, and wind And pop orchestras, orchestras of Russian folk instruments .

Nowadays, it is perhaps difficult to find a person who has never heard the sound of a symphony orchestra. A symphony orchestra performs symphonies and suites, symphonic poems and fantasies, sometimes accompanies the action in a film, participates in the performance of operas and oratorios, and competes with soloists in instrumental concerts.

Many different instruments make up a symphony orchestra. Some are played with a bow, moving it along a string. Others need to be blown to make sound. There are tools that need to be hit. So the main groups were determined into which all instruments are divided: bowed strings, wind instruments - wood and brass, and percussion. Sometimes the orchestra includes a harp, piano, and organ.

If you look at a photograph or diagram of a symphony orchestra, you will understand that the orchestra members sit not as anyone wants, but in a strictly defined order. Previously, in all the orchestras of the world, the performers sat the same way: on the left in front are the first violins (the most important instruments in the orchestra, performing beautiful, expressive melodies, they are located in the “main place”), on the right - the second, behind the second violins - violas, in the center - cellos, behind them are woodwinds. Now there are several options for seating an orchestra, depending on the will of the conductor and the characteristics of the piece being performed. But one thing remains unchanged: the instruments are arranged in groups - all brass instruments (horns, trumpets, trombones and tubas) next to each other, all wood instruments (flutes, oboes, clarinets, bassoons) together, bowed strings (violins, violas, cellos and double basses) are also grouped separately.

There are many string instruments in the orchestra. There are from ten to eighteen first violins, from eight to sixteen second violins, from six to fourteen violas, from six to twelve cellos, and from four to eight double basses. This can be explained simply: the sound of string instruments is the weakest. Compare, for example, the sound of a violin and a trombone: if they play simultaneously, the violin will not be heard at all, no matter how loudly the violinist tries to play. To balance sonority, a large string group is needed in an orchestra. That is why the strings are always located closer than all other instruments to the conductor, to the listeners.

With wind instruments the situation is different. There are two or three main wooden instruments in an orchestra, or one additional one, which is called a type (depending on this, the composition of the orchestra is called double or triple): this is a piccolo flute (small flute), a type of oboe - English horn, bass clarinet and contrabassoon. Of the brass instruments in the orchestra, there are usually four horns, two trumpets, three trombones and one tuba. However, the number of brass instruments may be greater.

The drum group in the orchestra does not have a permanent composition. In each case, it includes those instruments that appear in the score of the work being performed. Only timpani are an indispensable part of every concert.

Brass bands are not primarily intended for indoor concerts. They accompany processions, marches, and during festive festivities they sound on stages located in the open air - in squares, gardens and parks. Their sonority is especially powerful and bright. The main instruments of a brass band are brass: cornets, trumpets, horns, trombones. There are also woodwinds - flutes and clarinets, and in large orchestras there are also oboes and bassoons, as well as percussion - drums, timpani, cymbals.

Layout of the brass band:
1 - clarinets; 2 - flutes; 3 - oboes; 4 - bassoons; 5 - basset hounds; 6 - saxophones; 7 - horns; 8 - clarinets; 9 - violas;
10 - tenors; 11 - baritones; 12 - bass; 13 - pipes; 14 - trombones; 15 - double basses; 16 - timpani; 17 - drums

There are works written specifically for a brass band, but they often perform symphonic works re-orchestrated for a brass ensemble. There are also works in which, along with a symphony orchestra, the participation of wind instruments is provided, as, for example, in Tchaikovsky’s “1812” overture.

P. I. Tchaikovsky. Solemn overture "1812"

Performed by the Berlin Philharmonic Orchestra (conducted by Herbert von Karajan)
and the Don Cossack Choir under the direction of Sergei Zharov.
Recording from 1967.

A special type of brass band, the so-called "banda" (Italian word banda means squad). This is an ensemble of brass, wind and percussion instruments, which is sometimes introduced in addition to the symphony orchestra in opera performances. He appears on stage when some kind of ceremony is taking place or a procession is moving.

In 1887, the famous musician, enthusiast of studying Russian folk art and folk instruments V.V. Andreev organized the “Circle of Balalaika Lovers”. The first concert of this circle took place in 1888. Soon gaining European fame, the ensemble began to expand. In addition to balalaikas, it included domras, gusli and other ancient Russian instruments. The “Great Russian Orchestra” arose - that’s how it began to be called. After the Great October Socialist Revolution it was renamed Orchestra of Russian Folk Instruments named after V. V. Andreev , many other similar groups appeared. The main role in them is played by plucked string instruments (read about them in the story “String Instruments”), there are button accordions, flutes and other wind instruments, and a large group of percussion.

Layout of the orchestra of Russian folk instruments:
1 - domra alto; 2 - domra bass; 3 - balalaikas; 4 - balalaika bass; 5 - flutes; 6 - clarinets;
7 - horns; 8 - button accordions; 9 - timpani; 10 - xylophone; 11 - tambourine; 12 - drums; 13 - gusli

Soviet composers wrote music for these orchestras. They also play transcriptions of classical works and adaptations of folk songs. Nowadays, folk instrument orchestras exist in many union republics and countries. Of course, they are very different: in Ukraine they include banduras, in Lithuania they include ancient kankles, in Caucasian orchestras they play zurns...

Variety orchestras are most diverse in their composition and size - from large ones, similar to symphonies, such as, for example, the orchestras of the All-Union and Leningrad Radio and Television, to very small ones, more like ensembles. Pop orchestras often include saxophones, ukuleles, and a lot of drums.

An orchestra is a large number of musicians who simultaneously play different musical instruments. An orchestra differs from an ensemble by the presence of entire groups of individual types of musical instruments. Quite often in an orchestra, one part is performed by several musicians at once. The number of people in the orchestra may vary, the minimum number of performers is fifteen, the maximum number of performers is not limited. If you want to listen to a live orchestra in Moscow, you can order tickets for the concert on the website biletluxury.ru.

There are several types of orchestras: symphony, chamber, pop, military and folk orchestra. They all differ from each other in the composition of their musical instruments.

A symphony orchestra must have strings, winds and percussion instruments. Also in a symphony orchestra there may be other types of musical instruments that are necessary for the performance of a certain piece. A symphony orchestra can be large or small, it all depends on the number of musicians.

In a chamber orchestra, musicians play wind and string instruments. This orchestra can perform musical works even while moving.

In addition to the instruments used in a symphony orchestra, the variety orchestra includes electronic musical instruments. For example, synthesizer, rhythm section, etc.

A jazz orchestra uses wind and string instruments, as well as special rhythm sections that perform only jazz compositions.

The folk music orchestra uses ethnic musical instruments. Russian groups use the balalaika, button accordion, zhaleika, domra, etc.

The military orchestra includes performers who play percussion, as well as wind musical instruments, namely brass and wood. For example, on trumpets, trombones, serpents, clarinets, oboes, flutes, bassoons and others.

Music is, first of all, sounds. They can be loud and quiet, fast and slow, rhythmic and not very...

But each of them, each sounding note, in some certain way affects the consciousness of the person listening to the music, his state of mind. And if this is orchestral music, then it certainly cannot leave anyone indifferent!

Orchestra. Types of orchestras

An orchestra is a group of musicians who play music on musical instruments that are designed specifically for these instruments.

And depending on what this composition is, the orchestra has different musical capabilities: in timbre, dynamics, expressiveness.

What types of orchestras are there? The main ones are:

• symphonic;
• instrumental;
• folk instrument orchestra;
• wind;
• jazz;
• pop.

There is also a military orchestra (performing military songs), a school orchestra (comprising schoolchildren), and so on.

Symphony Orchestra

This type of orchestra contains strings, wind and percussion instruments.

There is a small symphony orchestra and a large one.

Maly is the one who plays the music of composers of the late 18th - early 19th centuries. There may also be modern variations in his repertoire. A large symphony orchestra differs from a small one by adding more instruments to its composition.

The small one must include:

• violins;
• alto;
• cellos;
• double basses;
• bassoons;
• horns;
• pipes;
• timpani;
• flutes;
• clarinet;
• oboe.

The large one includes the following tools:

• flutes;
• oboes;
• clarinets;
• contrabassoons.

By the way, it can contain up to 5 instruments from each family. And also in the large orchestra there are:

• horns;
• trumpets (bass, snare, alto);
• trombones (tenor, tenorbass);
• tuba

And, of course, percussion instruments:

• timpani;
• bells;
• snare and bass drum;
• triangle;
• plate;
• Indian tom-tom;
• harp;
• piano;
• harpsichord.

The peculiarity of a small orchestra is that there are about 20 string instruments in it, while in a large orchestra there are about 60.

The conductor leads the symphony orchestra. He artistically interprets a work performed by an orchestra using a score - a complete musical notation of all parts of each instrument of the orchestra.

Instrumental orchestra

This type of orchestra differs in its form in that it does not have a clear number of musical instruments of certain groups. And he can also perform any music (unlike a symphony orchestra, which performs exclusively classical music).

There are no specific types of instrumental orchestras, but conditionally they can include a pop orchestra, as well as an orchestra performing classics in modern arrangements.

According to historical information, instrumental music began to actively develop in Russia only under Peter the Great. She, of course, had Western influence, but she was no longer under such a ban as in earlier times. And before it got to the point where they banned not only playing, but also burning musical instruments. The Church believed that they had neither soul nor heart, and therefore they could not glorify God. And therefore instrumental music developed mainly among the common people.

They play in an instrumental orchestra the flute, lyre, cithara, pipe, trumpet, oboe, tambourine, trombone, pipe, nozzle and other musical instruments.

The most popular instrumental orchestra of the 20th century is the Paul Mauriat orchestra.

He was its conductor, leader, arranger. His orchestra played a lot of popular music of the 20th century, as well as his own compositions.

Folk Orchestra

In such an orchestra, the main instruments are folk ones.

For example, the most typical for a Russian folk orchestra are: domras, balalaikas, gusli, button accordions, harmonicas, zhaleikas, pipes, Vladimir horns, tambourines. Also additional musical instruments for such an orchestra are the flute and oboe.

The folk orchestra first appeared at the end of the 19th century, organized by V.V. Andreev. This orchestra toured a lot and gained wide popularity in Russia and abroad. And at the beginning of the 20th century, folk orchestras began to appear everywhere: in clubs, at palaces of culture, and so on.

Brass band

This type of orchestra assumes that it includes various wind and percussion instruments. It comes in small, medium and large.

Jazz orchestra

This type of orchestra was also called a jazz band.

It includes the following musical instruments: saxophone, piano, banjo, guitar, drums, trumpets, trombones, double bass, clarinets.

In general, jazz is a direction in music that was formed under the influence of African rhythms and folklore, as well as European harmony.

Jazz first appeared in the southern United States at the beginning of the 20th century. And soon it spread to all countries of the world. At home, this musical direction developed and was supplemented by new characteristic features that appeared in one or another region.

At one time in America, the terms “jazz” and “popular music” had the same meaning.

Jazz orchestras began to actively form already in the 1920s. And they remained so until the 40s.

Participants, as a rule, joined these musical groups in their teens, performing their specific part - memorized or from notes.

The 1930s are considered the pinnacle of glory for jazz orchestras. The leaders of the most famous jazz orchestras at that time were: Artie Shaw, Glenn Miller, and others. Their musical works were heard everywhere at that time: on the radio, in dance clubs and so on.

Currently, jazz orchestras and melodies written in the jazz style are also very popular.

And although there are more types of musical orchestras, the article discusses the main ones.

Material from Wikipedia - the free encyclopedia

Historical sketch

The very idea of ​​a group of instrumental performers simultaneously playing music goes back to ancient times: back in Ancient Egypt, small groups of musicians played together at various holidays and funerals. An early example of orchestration is the score of Monteverdi's Orpheus, written for forty instruments: that is how many musicians served at the court of the Duke of Mantan. During the 17th century, ensembles consisted, as a rule, of related instruments, and only in exceptional cases was the combination of dissimilar instruments practiced. By the beginning of the 18th century, an orchestra based on string instruments had developed: first and second violins, violas, cellos and double basses. This composition of strings made it possible to use full-voiced four-voice harmony with octave doubling of the bass. The leader of the orchestra simultaneously performed the part of the general bass on the harpsichord (in secular music playing) or on the organ (in church music). Later, the orchestra included oboes, flutes and bassoons, and often the same performers played the flutes and oboes, and these instruments could not sound at the same time. In the second half of the 18th century, clarinets, trumpets and percussion instruments (drums or timpani) joined the orchestra.

The word “orchestra” (“orchestra”) comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave its name to the group of musicians housed in it.

Symphony Orchestra

A symphonic orchestra is an orchestra made up of several different groups of instruments - a family of strings, winds and percussion. The principle of such unification developed in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, to which were attached a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish small And big Symphony Orchestra. A small symphony orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th centuries or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses). The Big Symphony Orchestra (BSO) includes trombones and tubas in the brass group and can have any composition. The number of woodwind instruments (flutes, oboes, clarinets and bassoons) can reach up to 5 instruments of each family (sometimes there are more clarinets) and include their varieties (small and alto flutes, oboe d'amore and English horn, small, alto and bass clarinets, contrabassoon). The brass group can include up to 8 horns (including Wagner (horn) tubas), 5 trumpets (including snare, alto, bass), 3-5 trombones (tenor and bass) and tuba. Sometimes saxophones are used (all 4 types, see jazz orchestra). The string group reaches 60 or more instruments. A huge variety of percussion instruments is possible (the basis of the percussion group is timpani, snare and bass drums, cymbals, triangle, tom-tom and bells). Harp, piano, harpsichord, and organ are often used.
The large symphony orchestra has about a hundred musicians.

Brass band

A brass band is an orchestra consisting exclusively of wind and percussion instruments. The basis of the brass band is made up of brass instruments, the leading role in the brass band among the brass instruments is played by the wide-bore brass instruments of the flugelhorn group - soprano-flugelhorns, cornets, altohorns, tenorhorns, baritone euphoniums, bass and double bass tubas, (note in the symphony orchestra only one double bass tuba is used). Parts of narrow-bore brass instruments trumpets, horns, and trombones are superimposed on their basis. Woodwind instruments are also used in brass bands: flutes, clarinets, saxophones, and in larger ensembles - oboes and bassoons. In large brass bands, wooden instruments are repeatedly doubled (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes double bass clarinet and contrabassoon, alto flute and amour oboe are used quite rarely). The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (bright-sounding single-reed instruments - there are slightly more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of horns, trumpets and trombones is often divided into ensembles; trumpets (small trumpets, rarely alto and bass) and trombones (bass) are used. In such orchestras there is a large group of percussion, the basis of which is the same timpani and the “Janissary group”: small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tom-toms. Possible keyboard instruments are piano, harpsichord, synthesizer (or organ) and harps. A large brass band can play not only marches and waltzes, but also overtures, concertos, opera arias and even symphonies. The gigantic combined brass bands in parades are actually based on doubling all the instruments and their composition is very poor. These are just multiply enlarged small brass bands without oboes, bassoons and with a small number of saxophones. The brass band is distinguished by its powerful, bright sonority and therefore is often used not in closed spaces, but in the open air (for example, accompanying a procession). It is typical for a brass band to perform military music, as well as popular dances of European origin (so-called garden music) - waltzes, polkas, mazurkas. Recently, garden music brass bands have been changing their composition, merging with orchestras of other genres. So, when performing Creole dances - tango, foxtrot, blues jive, rumba, salsa, elements of jazz are used: instead of a Janissary drum group, a jazz drum set (1 performer) and a number of Afro-Creole instruments (see jazz orchestra). In such cases, keyboard instruments (piano, organ) and harp are increasingly used.

String orchestra

A string orchestra is essentially a group of bowed string instruments in a symphony orchestra. The string orchestra consists of two groups of violins ( first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.

Folk Instruments Orchestra

In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other ensembles and original compositions. As an example, we can name an orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as gusli, accordion, zhaleika, rattles, whistles and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally includes instruments that are actually not folk instruments: flutes, oboes, various bells and many percussion instruments.

Variety orchestra

A pop orchestra is a group of musicians performing pop and jazz music. A pop orchestra consists of strings, winds (including saxophones, which are usually not represented in the wind groups of symphony orchestras), keyboards, percussion and electric musical instruments.

A pop symphony orchestra is a large instrumental composition capable of combining the performing principles of various types of musical art. The variety part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of trumpets, trombones and saxophones); symphonic - a large group of string instruments, a group of woodwinds, timpani, harp and others.

The predecessor of the pop symphony orchestra was symphonic jazz, which arose in the USA in the 20s. and created the concert style of popular-entertainment and dance-jazz music. In line with symphonic jazz, the domestic orchestras of L. Ya. Teplitsky (“Concert Jazz Band”, 1927) and the State Jazz Orchestra under the direction of V. Knushevitsky (1937) performed. The term “Variety Symphony Orchestra” appeared in 1954. This became the name of the Variety Orchestra of the All-Union Radio and Television under the direction of Y. Silantyev, created in 1945. In 1983, after the death of Silantyev, it was led by A. A. Petukhov, then M. M. Kazhlaev. The variety and symphony orchestras also included the orchestras of the Moscow Hermitage Theater, the Moscow and Leningrad Variety Theatres, the Blue Screen Orchestra (director B. Karamyshev), the Leningrad Concert Orchestra (director A. Badchen), the State Variety Orchestra of the Latvian SSR under the direction of Raymond Pauls, State Pop Symphony Orchestra of Ukraine, Presidential Orchestra of Ukraine, etc.

Most often, pop symphony orchestras are used during song gala performances, television competitions, and less often for the performance of instrumental music. Studio work (recording music for radio and cinema, on sound media, creating phonograms) prevails over concert work. Pop symphony orchestras have become a kind of laboratory for domestic, light and jazz music.

Jazz orchestra

A jazz orchestra is one of the most interesting and unique phenomena of modern music. Having emerged later than all other orchestras, it began to influence other forms of music - chamber, symphonic, and brass band music. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.

The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments - the rhythm section. A jazz orchestra has one more feature - the predominant role of jazz improvisation leads to noticeable variability in its composition. However, there are several types of jazz orchestras (about 7-8): chamber combo (although this is the area of ​​the ensemble, it must be indicated, since it is the essence of the rhythm section), Dixieland chamber ensemble, small jazz orchestra - small big band , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.

The rhythm section of all types of jazz orchestras usually includes drums, plucked strings, and keyboards. This is a jazz drum kit (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and a special type of bass drum of African origin - the "Ethiopian (Kenyan) kick drum "(its sound is much softer than the Turkish bass drum). In many styles of southern jazz and Latin American music (rumba, salsa, tango, samba, cha-cha-cha, etc.) additional drums are used: a set of congo-bongo drums, maracas (chocalos, cabasas), bells, wooden boxes, Senegalese bells (agogo), clave, etc. Other instruments of the rhythm section that already hold the melodic-harmonic pulse: piano, guitar or banjo (a special type of North African guitar), acoustic bass guitar or double bass (played only by plucking). In large orchestras, sometimes there are several guitars, a guitar along with a banjo, both types of bass. The rarely used tuba is the rhythm section's wind bass instrument. In large orchestras (big bands of all 3 types and symphonic jazz) they often use vibraphone, marimba, flexatone, ukulele, blues guitar (both of the latter are slightly electrified, along with bass), but these instruments are no longer part of the rhythm section.

Other jazz orchestra groups depend on its type. The combo usually has 1-2 soloists (saxophone, trumpet or bow soloist: violin or viola). Examples: ModernJazzQuartet, JazzMessenjers.

A small big band may have 3 trumpets, 1-2 trombones, 3-4 saxophones (soprano = tenor, alto, baritone, everyone also plays clarinets), 3-4 violins, sometimes a cello. Examples: Ellington's first orchestra 1929-1935 (USA), Bratislava Hot Serenaders (Slovakia).

In a large big band there are usually 4 trumpets (1-2 play high soprano parts at the level of small ones with special mouthpieces), 3-4 trombones (4 trombone tenor-double bass or tenor bass, sometimes 3), 5 saxophones (2 altos, 2 tenors = soprano, baritone).

An extended big band can have up to 5 trumpets (with individual trumpets), up to 5 trombones, additional saxophones and clarinets (5-7 general saxophones and clarinets), bowed strings (no more than 4-6 violins, 2 violas, 3 cellos) , sometimes horn, flute, small flute (only in the USSR). Similar experiments in jazz were carried out in the USA by Duke Ellington, Artie Shaw, Glenn Miller, Stanley Kenton, Count Basie, in Cuba - Paquito d'Rivera, Arturo Sandoval, in the USSR - Eddie Rosner, Leonid Utyosov.

A symphonic jazz orchestra includes a large string group (40-60 performers), and bowed double basses are possible (in a big band there can only be bowed cellos, the double bass is a member of the rhythm section). But the main thing is the use of flutes, rare for jazz (in all types from small to bass), oboes (all 3-4 types), horns and bassoons (and contrabassoon), which are not at all typical for jazz. Clarinets are complemented by bass, viola, and small clarinet. Such an orchestra can perform symphonies and concerts specially written for it, and participate in operas (George Gershwin). Its peculiarity is a pronounced rhythmic pulse, which is not found in a regular symphony orchestra. What should be distinguished from a symphonic jazz orchestra is its complete aesthetic opposite - a pop orchestra, based not on jazz, but on beat music.

Special types of jazz orchestras are the brass jazz band (a brass band with a jazz rhythm section, including a guitar group and with a reduced role of flugelhorns), a church jazz band ( currently exists only in Latin American countries, includes an organ, choir, church bells, the entire rhythm section, drums without bells and agogos, saxophones, clarinets, trumpets, trombones, bowed strings), a jazz-rock ensemble (the Miles Davis group, from the Soviet and Russian "Arsenal" and etc.).

Military band

There are uniform military bands, consisting of brass and percussion instruments, and mixed ones, which also include a group of woodwind instruments. The leadership of a military orchestra is carried out by a military conductor. The use of musical instruments (wind and percussion) in war was already known to the ancient peoples. The use of instruments in the Russian troops is already indicated in the chronicles of the 14th century: “and the many voices of the military trumpets began to blow, and the jew's harps teput (sound), and the warriors roared without wolf."

Some princes had 140 trumpets and a tambourine with thirty banners or regiments. Old Russian military instruments include timpani, which were used under Tsar Alexei Mikhailovich in the Reitar cavalry regiments, and nakrys, currently known as tambourines. In the old days, tambourines were small copper bowls covered with leather on top, which were struck with sticks. They were tied in front of the rider at the saddle. Sometimes the tambourines reached extraordinary sizes; they were carried by several horses, eight people hit them [ source not specified 31 days] . These same tambourines were known to our ancestors as timpani.

In the XIV century. Alarm bells, that is, drums, are already known. In the old days, surna, or antimony, was also used.

In the West, the establishment of more or less organized military bands dates back to the 17th century. Under Louis XIV, the orchestra consisted of pipes, oboes, bassoons, trumpets, timpani, and drums. All these instruments were divided into three groups, rarely combined

In the 18th century, the clarinet was introduced into the military orchestra, and military music acquired a melodic meaning. Until the beginning of the 19th century, military bands in both France and Germany included, in addition to the above-mentioned instruments, horns, serpents, trombones and Turkish music, that is, bass drum, cymbals, triangle. The invention of pistons for brass instruments (1816) had a great influence on the development of the military orchestra: trumpets, cornets, bugelhorns, ophicleides with pistons, tubas, and saxophones appeared. It is also worth mentioning the orchestra, consisting only of brass instruments (fanfare). Such an orchestra is used in cavalry regiments. The new organization of military bands moved from the West to Russia.

History of military music

Peter I cared about improving military music; Knowledgeable people were sent from Germany to train the soldiers who played from 11 to 12 o'clock in the afternoon on the Admiralty Tower. During the reign of Anna Ioannovna and later, at operatic court performances, the orchestra was reinforced by the best musicians from the guards regiments.

Military music should also include choirs of regimental songbooks.

When writing this article, material was used from the Encyclopedic Dictionary of Brockhaus and Efron (1890-1907)

School orchestra

A group of musicians consisting of school students, led, as a rule, by a teacher of primary music education. For musicians it is often the starting point of their future musical career.

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Excerpt characterizing the Orchestra

The next day the field marshal had dinner and a ball, which the sovereign honored with his presence. Kutuzov was awarded George 1st degree; the sovereign showed him the highest honors; but the sovereign’s displeasure against the field marshal was known to everyone. Decency was observed, and the sovereign showed the first example of this; but everyone knew that the old man was guilty and no good. When, at the ball, Kutuzov, according to Catherine’s old habit, upon the Emperor’s entrance into the ballroom, ordered the taken banners to be laid down at his feet, the Emperor frowned unpleasantly and uttered words in which some heard: “old comedian.”
The sovereign's displeasure against Kutuzov intensified in Vilna, especially because Kutuzov obviously did not want or could not understand the significance of the upcoming campaign.
When the next morning the sovereign said to the officers gathered at his place: “You saved more than just Russia; you saved Europe,” everyone already understood that the war was not over.
Only Kutuzov did not want to understand this and openly expressed his opinion that a new war could not improve the situation and increase the glory of Russia, but could only worsen its position and reduce the highest degree of glory on which, in his opinion, Russia now stood. He tried to prove to the sovereign the impossibility of recruiting new troops; spoke about the difficult situation of the population, the possibility of failure, etc.
In such a mood, the field marshal, naturally, seemed to be only a hindrance and a brake on the upcoming war.
To avoid clashes with the old man, a way out was found by itself, which consisted in, as at Austerlitz and as at the beginning of the campaign under Barclay, to remove from under the commander-in-chief, without disturbing him, without announcing to him that the ground of power on which he stood , and transfer it to the sovereign himself.
For this purpose, the headquarters was gradually reorganized, and all the significant strength of Kutuzov’s headquarters was destroyed and transferred to the sovereign. Tol, Konovnitsyn, Ermolov - received other appointments. Everyone said loudly that the field marshal had become very weak and was upset about his health.
He had to be in poor health in order to transfer his place to the one who took his place. And indeed, his health was poor.
Just as naturally, and simply, and gradually, Kutuzov came from Turkey to the treasury chamber of St. Petersburg to collect the militia and then into the army, precisely when he was needed, just as naturally, gradually and simply now, when Kutuzov’s role was played, to take his place a new, needed figure appeared.
The war of 1812, in addition to its national significance dear to the Russian heart, should have had another – European one.
The movement of peoples from West to East was to be followed by the movement of peoples from East to West, and for this new war a new figure was needed, with different properties and views than Kutuzov, driven by different motives.
Alexander the First was as necessary for the movement of peoples from east to west and for the restoration of the borders of peoples as Kutuzov was necessary for the salvation and glory of Russia.
Kutuzov did not understand what Europe, balance, Napoleon meant. He couldn't understand it. The representative of the Russian people, after the enemy was destroyed, Russia was liberated and placed at the highest level of its glory, the Russian person, as a Russian, had nothing more to do. The representative of the people's war had no choice but death. And he died.

Pierre, as most often happens, felt the full weight of the physical deprivations and stresses experienced in captivity only when these stresses and deprivations ended. After his release from captivity, he came to Orel and on the third day of his arrival, while he was going to Kyiv, he fell ill and lay sick in Orel for three months; As the doctors said, he suffered from bilious fever. Despite the fact that the doctors treated him, bled him and gave him medicine to drink, he still recovered.
Everything that happened to Pierre from the time of his liberation until his illness left almost no impression on him. He remembered only grey, gloomy, sometimes rainy, sometimes snowy weather, internal physical melancholy, pain in his legs, in his side; remembered the general impression of misfortune and suffering of people; he remembered the curiosity that disturbed him from the officers and generals who questioned him, his efforts to find a carriage and horses, and, most importantly, he remembered his inability to think and feel at that time. On the day of his release, he saw the corpse of Petya Rostov. On the same day, he learned that Prince Andrei had been alive for more than a month after the Battle of Borodino and had only recently died in Yaroslavl, in the Rostov house. And on the same day, Denisov, who reported this news to Pierre, between conversations mentioned Helen’s death, suggesting that Pierre had known this for a long time. All this seemed strange to Pierre at the time. He felt that he could not understand the meaning of all this news. He was only in a hurry then, as quickly as possible, to leave these places where people were killing each other, to some quiet refuge and there to come to his senses, rest and think about all the strange and new things that he had learned during this time. But as soon as he arrived in Orel, he fell ill. Waking up from his illness, Pierre saw around him his two people who had arrived from Moscow - Terenty and Vaska, and the eldest princess, who, living in Yelets, on Pierre's estate, and having learned about his release and illness, came to him to visit behind him.
During his recovery, Pierre only gradually unaccustomed himself to the impressions of the last months that had become familiar to him and got used to the fact that no one would drive him anywhere tomorrow, that no one would take his warm bed away, and that he would probably have lunch, tea, and dinner. But in his dreams, for a long time he saw himself in the same conditions of captivity. Pierre also gradually understood the news that he learned after his release from captivity: the death of Prince Andrei, the death of his wife, the destruction of the French.
A joyful feeling of freedom - that complete, inalienable, inherent freedom of man, the consciousness of which he first experienced at his first rest stop, when leaving Moscow, filled Pierre's soul during his recovery. He was surprised that this internal freedom, independent of external circumstances, now seemed to be abundantly, luxuriously furnished with external freedom. He was alone in a strange city, without acquaintances. Nobody demanded anything from him; they didn’t send him anywhere. He had everything he wanted; The thought of his wife that had always tormented him before was no longer there, since she no longer existed.
- Oh, how good! How nice! - he said to himself when they brought him a cleanly set table with fragrant broth, or when he lay down on a soft, clean bed at night, or when he remembered that his wife and the French were no more. - Oh, how good, how nice! - And out of old habit, he asked himself: well, then what? What will i do? And immediately he answered himself: nothing. I will live. Oh, how nice!
The very thing that tormented him before, what he was constantly looking for, the purpose of life, now did not exist for him. It was no coincidence that this sought-after goal of life did not exist for him at the present moment, but he felt that it did not and could not exist. And it was this lack of purpose that gave him that complete, joyful consciousness of freedom, which at that time constituted his happiness.
He could not have a goal, because he now had faith - not faith in some rules, or words, or thoughts, but faith in a living, always felt God. Previously, he sought it for the purposes that he set for himself. This search for a goal was only a search for God; and suddenly he learned in his captivity, not in words, not by reasoning, but by direct feeling, what his nanny had told him long ago: that God is here, here, everywhere. In captivity, he learned that God in Karataev is greater, infinite and incomprehensible than in the Architect of the universe recognized by the Freemasons. He experienced the feeling of a man who had found what he was looking for under his feet, while he strained his eyesight, looking far away from himself. All his life he had been looking somewhere, over the heads of the people around him, but he should have not strained his eyes, but only looked in front of him.
He had not been able to see before the great, incomprehensible and infinite in anything. He just felt that it must be somewhere and looked for it. In everything close and understandable, he saw something limited, petty, everyday, meaningless. He armed himself with a mental telescope and looked into the distance, to where this small, everyday thing, hiding in the fog of the distance, seemed great and endless to him only because it was not clearly visible. This is how he imagined European life, politics, Freemasonry, philosophy, philanthropy. But even then, in those moments that he considered his weakness, his mind penetrated into this distance, and there he saw the same petty, everyday, meaningless things. Now he had learned to see the great, the eternal and the infinite in everything, and therefore naturally, in order to see it, to enjoy its contemplation, he threw down the pipe into which he had been looking until now through the heads of people, and joyfully contemplated the ever-changing, ever-great world around him. , incomprehensible and endless life. And the closer he looked, the more calm and happy he was. Previously, the terrible question that destroyed all his mental structures was: why? did not exist for him now. Now to this question - why? a simple answer was always ready in his soul: because there is a God, that God, without whose will a hair will not fall from a man’s head.

Pierre has hardly changed in his external techniques. He looked exactly the same as he had been before. Just as before, he was distracted and seemed preoccupied not with what was in front of his eyes, but with something special of his own. The difference between his previous and present state was that before, when he forgot what was in front of him, what was said to him, he, wrinkling his forehead in pain, seemed to be trying and could not see something far away from him . Now he also forgot what was said to him and what was in front of him; but now, with a barely noticeable, seemingly mocking, smile, he peered at what was in front of him, listened to what was being said to him, although obviously he saw and heard something completely different. Before, although he seemed to be a kind person, he was unhappy; and therefore people involuntarily moved away from him. Now a smile of the joy of life constantly played around his mouth, and his eyes shone with concern for people - the question: are they as happy as he is? And people were pleased in his presence.
Before, he talked a lot, got excited when he spoke, and listened little; Now he rarely got carried away in conversation and knew how to listen so that people willingly told him their most intimate secrets.
The princess, who had never loved Pierre and had a particularly hostile feeling towards him since, after the death of the old count, she felt obliged to Pierre, to her chagrin and surprise, after a short stay in Orel, where she came with the intention of proving to Pierre that, Despite his ingratitude, she considers it her duty to follow him; the princess soon felt that she loved him. Pierre did nothing to ingratiate himself with the princess. He just looked at her with curiosity. Previously, the princess felt that in his gaze at her there was indifference and mockery, and she, as before other people, shrank before him and showed only her fighting side of life; now, on the contrary, she felt that he seemed to be digging into the most intimate aspects of her life; and she, at first with distrust, and then with gratitude, showed him the hidden good sides of her character.
The most cunning person could not have more skillfully insinuated himself into the princess’s confidence, evoking her memories of the best time of her youth and showing sympathy for them. Meanwhile, Pierre’s whole cunning consisted only in the fact that he sought his own pleasure, evoking human feelings in the embittered, dry and proud princess.
“Yes, he is a very, very kind person when he is under the influence not of bad people, but of people like me,” the princess said to herself.
The change that took place in Pierre was noticed in their own way by his servants, Terenty and Vaska. They found that he had slept a lot. Terenty often, having undressed the master, with boots and dress in his hand, wishing him good night, hesitated to leave, waiting to see if the master would enter into conversation. And for the most part Pierre stopped Terenty, noticing that he wanted to talk.
- Well, tell me... how did you get food for yourself? - he asked. And Terenty began a story about the Moscow ruin, about the late count, and stood for a long time with his dress, telling, and sometimes listening to, Pierre’s stories, and, with a pleasant consciousness of the master’s closeness to him and friendliness towards him, he went into the hallway.
The doctor who treated Pierre and visited him every day, despite the fact that, according to the duties of doctors, he considered it his duty to look like a man whose every minute is precious for suffering humanity, sat for hours with Pierre, telling his favorite stories and observations on the morals of patients in general and especially ladies.

Historical sketch

The very idea of ​​a group of instrumental performers simultaneously playing music goes back to ancient times: back in Ancient Egypt, small groups of musicians played together at various holidays and funerals.

The word “orchestra” (“orchestra”) comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave its name to the group of musicians housed in it.

Symphony Orchestra

Symphony orchestra and choir

A symphonic orchestra is an orchestra made up of several different groups of instruments - a family of strings, winds and percussion. The principle of such unification developed in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwinds and brass instruments, to which were attached a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish small And big Symphony Orchestra. A small symphony orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th centuries, or modern stylizations). It consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses). The Big Symphony Orchestra (BSO) includes obligatory trombones in the brass group and can have any composition. Often wooden instruments (flutes, oboes, clarinets and bassoons) reach up to 5 instruments of each family (sometimes there are more clarinets) and include varieties (small and alto flutes, Cupid oboe and English oboe, small, alto and bass clarinets, contrabassoon). The brass group can include up to 8 horns (including special Wagner tubas), 5 trumpets (including snare, alto, bass), 3-5 trombones (tenor and tenorbass) and tuba. Saxophones are used very often (all 4 types, see jazz orchestra). The string group reaches 60 or more instruments. There are numerous percussion instruments (although timpani, bells, small and large drums, triangle, cymbals and the Indian tom-tom form their backbone), the harp, piano, and harpsichord are often used.

Brass band

A brass band is an orchestra consisting exclusively of wind and percussion instruments. The basis of the brass band is made up of brass instruments, the leading role in the brass band among the brass instruments is played by the wide-bore brass instruments of the flugelhorn group - soprano-flugelhorns, cornets, altohorns, tenorhorns, baritone euphoniums, bass and double bass tubas, (note in the symphony orchestra only one double bass tuba is used). Parts of narrow-bore brass instruments trumpets, horns, and trombones are superimposed on their basis. Woodwind instruments are also used in brass bands: flutes, clarinets, saxophones, and in larger ensembles - oboes and bassoons. In large brass bands, wooden instruments are repeatedly doubled (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes double bass clarinet and contrabassoon, alto flute and amour oboe are used quite rarely). The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (bright-sounding single-reed instruments - there are slightly more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of horns, trumpets and trombones is often divided into ensembles; trumpets (small trumpets, rarely alto and bass) and trombones (bass) are used. In such orchestras there is a large group of percussion, the basis of which is the same timpani and the “Janissary group”: small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tom-toms. Possible keyboard instruments are piano, harpsichord, synthesizer (or organ) and harps. A large brass band can play not only marches and waltzes, but also overtures, concertos, opera arias and even symphonies. The gigantic combined brass bands in parades are actually based on doubling all the instruments and their composition is very poor. These are just multiply enlarged small brass bands without oboes, bassoons and with a small number of saxophones. The brass band is distinguished by its powerful, bright sonority and therefore is often used not in closed spaces, but in the open air (for example, accompanying a procession). It is typical for a brass band to perform military music, as well as popular dances of European origin (so-called garden music) - waltzes, polkas, mazurkas. Recently, garden music brass bands have been changing their composition, merging with orchestras of other genres. So, when performing Creole dances - tango, foxtrot, blues jive, rumba, salsa, elements of jazz are used: instead of a Janissary drum group, a jazz drum set (1 performer) and a number of Afro-Creole instruments (see jazz orchestra). In such cases, keyboard instruments (piano, organ) and harp are increasingly used.

String orchestra

A string orchestra is essentially a group of bowed string instruments in a symphony orchestra. The string orchestra consists of two groups of violins ( first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.

Folk Instruments Orchestra

In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other ensembles and original compositions. As an example, we can name an orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as gusli, accordion, zhaleika, rattles, whistles and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In some cases, such an orchestra additionally includes instruments that are actually not folk instruments: flutes, oboes, various bells and many percussion instruments.

Variety orchestra

A pop orchestra is a group of musicians performing pop and jazz music. A pop orchestra consists of strings, winds (including saxophones, which are usually not represented in the wind groups of symphony orchestras), keyboards, percussion and electric musical instruments.

A pop symphony orchestra is a large instrumental composition capable of combining the performing principles of various types of musical art. The variety part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of trumpets, trombones and saxophones); symphonic - a large group of string instruments, a group of woodwinds, timpani, harp and others.

The predecessor of the pop symphony orchestra was symphonic jazz, which arose in the USA in the 20s. and created the concert style of popular-entertainment and dance-jazz music. In line with symphonic jazz, the domestic orchestras of L. Teplitsky (“Concert Jazz Band”, 1927) and the State Jazz Orchestra under the direction of V. Knushevitsky (1937) performed. The term “Variety Symphony Orchestra” appeared in 1954. This became the name of the Variety Orchestra of the All-Union Radio and Television under the direction of Y. Silantyev, created in 1945. In 1983, after the death of Silantyev, it was led by A. Petukhov, then M. Kazhlaev. The variety and symphony orchestras also included the orchestras of the Moscow Hermitage Theater, the Moscow and Leningrad Variety Theatres, the Blue Screen Orchestra (director B. Karamyshev), the Leningrad Concert Orchestra (director A. Badchen), the State Variety Orchestra of the Latvian SSR under the direction of Raymond Pauls, State Pop Symphony Orchestra of Ukraine, Presidential Orchestra of Ukraine, etc.

Most often, pop symphony orchestras are used during song gala performances, television competitions, and less often for the performance of instrumental music. Studio work (recording music for radio and cinema, on sound media, creating phonograms) prevails over concert work. Pop symphony orchestras have become a kind of laboratory for domestic, light and jazz music.

Jazz orchestra

A jazz orchestra is one of the most interesting and unique phenomena of modern music. Having emerged later than all other orchestras, it began to influence other forms of music - chamber, symphonic, and brass band music. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.

The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments - the rhythm section. A jazz orchestra has one more feature - the predominant role of jazz improvisation leads to noticeable variability in its composition. However, there are several types of jazz orchestras (about 7-8): chamber combo (although this is the area of ​​the ensemble, it must be indicated, since it is the essence of the rhythm section), Dixieland chamber ensemble, small jazz orchestra - small big band , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.

The rhythm section of all types of jazz orchestras usually includes drums, plucked strings, and keyboards. This is a jazz drum kit (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and a special type of bass drum of African origin - the "Ethiopian (Kenyan) kick drum "(its sound is much softer than the Turkish bass drum). In many styles of southern jazz and Latin American music (rumba, salsa, tango, samba, cha-cha-cha, etc.), additional drums are used: a set of congo-bongo drums, maracas (chocalos, cabasas), bells, wooden boxes, Senegalese bells (agogo), clave, etc. Other instruments of the rhythm section that already hold the melodic-harmonic pulse: piano, guitar or banjo (a special type of North African guitar), acoustic bass guitar or double bass (played only by plucking). In large orchestras, sometimes there are several guitars, a guitar along with a banjo, both types of bass. The rarely used tuba is the rhythm section's wind bass instrument. In large orchestras (big bands of all 3 types and symphonic jazz) they often use vibraphone, marimba, flexatone, ukulele, blues guitar (both of the latter are slightly electrified, along with bass), but these instruments are no longer part of the rhythm section.

Other jazz orchestra groups depend on its type. The combo usually has 1-2 soloists (saxophone, trumpet or bow soloist: violin or viola). Examples: ModernJazzQuartet, JazzMessenjers.

Dixieland has 1-2 trumpets, 1 trombone, clarinet or soprano saxophone, sometimes alto or tenor saxophone, 1-2 violins. The Dixieland rhythm section uses the banjo more often than the guitar. Examples: Armstrong ensemble (USA), Tsfasman ensemble (USSR).

A small big band may have 3 trumpets, 1-2 trombones, 3-4 saxophones (soprano = tenor, alto, baritone, everyone also plays clarinets), 3-4 violins, sometimes a cello. Examples: Ellington's First Orchestra 29-35 (USA), Bratislava Hot Serenaders (Slovakia).

In a large big band there are usually 4 trumpets (1-2 play high soprano parts at the level of small ones with special mouthpieces), 3-4 trombones (4 trombone tenor-double bass or tenor bass, sometimes 3), 5 saxophones (2 altos, 2 tenors = soprano, baritone).

An extended big band can have up to 5 trumpets (with individual trumpets), up to 5 trombones, additional saxophones and clarinets (5-7 general saxophones and clarinets), bowed strings (no more than 4 - 6 violins, 2 violas, 3 cellos) , sometimes horn, flute, small flute (only in the USSR). Similar experiments in jazz were carried out in the USA by Duke Ellington, Artie Shaw, Glenn Miller, Stanley Kenton, Count Basie, in Cuba - Paquito d'Rivera, Arturo Sandoval, in the USSR - Eddie Rosner, Leonid Utyosov.

A symphonic jazz orchestra includes a large string group (40-60 performers), and bowed double basses are possible (in a big band there can only be bowed cellos, the double bass is a member of the rhythm section). But the main thing is the use of flutes, rare for jazz (in all types from small to bass), oboes (all 3-4 types), horns and bassoons (and contrabassoon), which are not at all typical for jazz. Clarinets are complemented by bass, viola, and small clarinet. Such an orchestra can perform symphonies and concerts specially written for it, and participate in operas (Gershwin). Its peculiarity is a pronounced rhythmic pulse, which is not found in a regular symphony orchestra. What should be distinguished from a symphonic jazz orchestra is its complete aesthetic opposite - a pop orchestra, based not on jazz, but on beat music.

Special types of jazz orchestras are the brass jazz band (a brass band with a jazz rhythm section, including a guitar group and with a reduced role of flugelhorns), a church jazz band ( currently exists only in Latin American countries, includes an organ, choir, church bells, the entire rhythm section, drums without bells and agogos, saxophones, clarinets, trumpets, trombones, bowed strings), a jazz-rock ensemble (the Miles Davis group, from the Soviets - “Arsenal”, etc. .).

Military band

Military band, brass band, which is a regular unit of a military unit.

School orchestra

A group of musicians consisting of school students, led, as a rule, by a teacher of primary music education. For musicians it is often the starting point of their future musical career.

Notes

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• Personality type
• Verges, Paul

See what “Orchestra” is in other dictionaries:

ORCHESTRA- (Greek orchestra). 1) everything is connected. several instruments together. 2) a place in the theater where the musicians are located. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ORCHESTRA Greek. orchestra. a) The composition of the choir of musicians... Dictionary of foreign words of the Russian language