. Orchestration . ument seems to havealmost more personality than any other in the orchestra. The finest 1 This is generally supposed to be due to the bell at the end of the pipe. THE EXGLISH-HORN 223 example of this is the long unaccompanied Solo at the beginning ofAct III. of Tristan. The passage is, however, too well known andtoo often played to need quotation. In its place we may cite thebeautiful largo melody from Dvoraks New World Symphony. Theaccompaniment is for a rich deep ensemble of muted Strings. TheDouble-Bass part, of course, sounds an octave below the written Ab entry
. Orchestration . ument seems to havealmost more personality than any other in the orchestra. The finest 1 This is generally supposed to be due to the bell at the end of the pipe. THE EXGLISH-HORN 223 example of this is the long unaccompanied Solo at the beginning ofAct III. of Tristan. The passage is, however, too well known andtoo often played to need quotation. In its place we may cite thebeautiful largo melody from Dvoraks New World Symphony. Theaccompaniment is for a rich deep ensemble of muted Strings. TheDouble-Bass part, of course, sounds an octave below the written Ab entry in bar nine, therefore, sounds a perfect fifth above thelow Cello D?. The student should notice the curiously empty and sadeffect produced by the tenths between the English-Horn and the twoClarinets in bars 5 to 9. EXAMPLE 140. Dvorak. New World Symphony. English Horn 2 Clarinets in Bk [sounding a majorsecond lower.] I & II. Cellos and Double-Basses. (of which the latter sound an octave lower.). Cello. JOpj) 224 ORCHESTRATION The above is an instance of the English-Horn used chiefly in itsupper register. As an example of its middle and lower registers thelovely tune from Tschaikowskys Fantasy-Overture Romeo and Julietmay be quoted. Here we have a melody which is doubled in theunison by the muted Violas. The English-Horn is accompanied byquiet syncopated chords for the three French-Horns. The effect isvery happy—what one may call the entente cordiale in empty bar at the end of the English-Horn part is simply due tothe fact that the last note of the tune is out of the instrumentscompass. Unless doubled it could not have been assigned to theinstrument. In this tune the muted Violas stand out more pro-minently than the English Horn. The two tone-colours are verysimilar, but the one stave represents one player and the other staveperhaps a dozen. This is the fate of almost all -Wood-Wind instru-ments when doubling a String-melody in the unison. Tha
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