In modern orchestration clarity and definition of sonorous image are usually the goal. There exists, however, another kind of orchestral magic dependent on a certain ambiguity of effect. Not to be able to identify immediately how a particular color combination is arrived at adds to its attractiveness. I like to be intrigued by unusual sounds that force me to exclaim: Now I wonder how the composer does that?

From what I have said about the art of orchestration you may have gained the notion that it is nothing more than a delightful game, played for the amusement of the composer. That is, of course, not true. Color in music, as in painting, is meaningful only when it serves the expressive idea; it is the expressive idea that dictates to the composer the choice of his orchestral scheme.

Part of the pleasure in being sensitive to the use of color in music is to note in what way a composer’s personality traits are revealed through his tonal color schemes. During the period of French impressionism, for example, the composers Debussy and Ravel were thought to be very similar in personality. An examination of their orchestral scores would have shown that Debussy, at his most characteristic, sought for a spray-like iridescence, a delicate and sensuous sonority such as had never before been heard, while Ravel, using a similar palette, sought a refinement and precision, a gemlike brilliance that reflects the more objective nature of his musical personality.

Color ideals change for composers as their personalities change. A striking example is again that of Igor Stravinsky, who, beginning with the stabbing reds and purples of his early ballet scores, has in the past decade arrived at an ascetic grayness of tone that positively chills the listener by its austerity. For contrast we may turn to a Richard Strauss orchestral score, masterfully handled in its own way, but overrich in the piling-on of sonorities, like a German meal that is too filling for comfort. The natural and easy handling of orchestral forces by a whole school of contemporary American composers would indicate some inborn affinity between American personality traits and symphonic language. No layman can hope to penetrate all the subtleties that go into an orchestral page of any complexity, but here again it is not necessary to be able to analyze the color spectrum of a score in order to bask in its effulgence.