t these composers do not _know how_ to orchestrate? Many among them
have had greater knowledge of the subject than the mere colourist. Was
Brahms ignorant of orchestration? And yet, nowhere in his works do we
find evidence of brilliant tone or picturesque fancy. The truth is
that his thoughts did not turn towards colour; his mind did not exact
it.

The power of subtle orchestration is a secret impossible to transmit,
and the composer who possesses this secret should value it highly, and
never debase it to the level of a mere collection of formulae learned
by heart.

Here I may mention the case of works scored by others from the
composer's rough directions. He who undertakes such work should enter
as deeply as he may into the spirit of the composer, try to realise
his intentions, and develop them in all their essential features.

Though one's own personality be subordinate to that of another, such
orchestration is nevertheless creative work. But on the other hand, to
score a composition never intended for the orchestra, is an
undesirable practice. Many musicians have made this mistake and
persist in it.[4] In any case this is the lowest form of
instrumentation, akin to colour photography, though of course the
process may be well or badly done.

[Footnote 4: In the margin of the MS. a question mark is added here.
(Editor's note.)]

As regards orchestration it has been my good fortune to belong to a
first-rate school, and I have acquired the most varied experience. In
the first place I have had the opportunity of hearing all my works
performed by the excellent orchestra of the St. Petersburgh Opera.
Secondly, having experienced leanings towards different directions, I
have scored for orchestras of different sizes, beginning with simple
combinations (my opera _The May Night_ is written for natural horns
and trumpets), and ending with the most advanced. In the third place,
I conducted the choir of the Military Marine for several years and was
therefore able to study wind-instruments. Finally I formed an
orchestra of very young pupils, and succeeded in teaching them to
play, quite competently, the works of Beethoven, Mendelssohn, Glinka,
etc. All this has enabled me to present this work to the public as the
result of long experience.

As a starting-point I lay down the following fundamental axioms:

I. _In the orchestra there is no such thing as ugly quality of tone._

II. _Orchestral writing should be easy to play_