Abstract. The continuing development of the composing technique is associated with the
interpretation of timbre and other expressive possibilities of instruments and voices. At
the same time, the displacement of concert performances of symphony orchestras and the tradition of creating “classical” orchestration by the practice of chamber-ensemble musicmaking and electronic musical creativity become topical problems. The question arises: has the attitude to the orchestration of music of the 18th–19th centuries changed today? What compromises are permissible, and what goes beyond the designated type of creative work? Do the ethical requirements to the composer’s text interpretation decrease when referring to the works of little-known authors? And if correctness and responsibility to the creator of the composition and the audience are great, then the role of research and analytical analysis multiplied by the mastery of the orchestration technology and talent compensate for the need to adapt the score to the proposed conditions of the work’s performance.
Keywords: orchestration, symphony orchestra, choir, soloists, concert performance of an opera, E.-Th.-W.-A. Hoffmann, “Undine”, Beethoven’s Orchestra
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