Wind Alone
flute, chiefly with strings; much of which is mere "mechanical" music. Modern writers have tried almost every possible combination of instruments, one of the finest examples is the striking and original Sextett (op. 6) for wind and pianoforte by L. Tuille, a Tyrolese composer. Many interesting works have been written for wind alone. The effectFor Wind
Alone produced is peculiar, and differs much—especially in homogeneity and "closeness," as it were—from that produced by strings alone. Each of the wind-instruments has a distinct tone-colour and individuality which cannot be obliterated, whereas with the strings the exact contrary is the case. Each forms a separate entity; and the ensemble, even in the hands of the most skilful performers, never attains the perfection and flexibility that is possible with strings. But a much greater variety is obtainable, and there is a certain attractive quaintness in well-written dialogue passages between the various "winds" not met with in strings. Works for wind alone pall quickly on the ears of the listeners; they fail to satisfy somehow. A critic has remarked concerning a concert entirely composed of wind pieces, "At first I sat in pleasurable thraldom, and then a sense of weariness overcame me. I was conscious of a monotonous iteration of tonal effects, and I found myself gradually succumbing to a gentle melancholy and thinking of life-insurance and wills, wondering whether I should be much missed." Reicha (Beethoven's colleague in the Bonn orchestra) composed twenty-four quintetts for flute, oboe, clarinet,
Alone produced is peculiar, and differs much—especially in homogeneity and "closeness," as it were—from that produced by strings alone. Each of the wind-instruments has a distinct tone-colour and individuality which cannot be obliterated, whereas with the strings the exact contrary is the case. Each forms a separate entity; and the ensemble, even in the hands of the most skilful performers, never attains the perfection and flexibility that is possible with strings. But a much greater variety is obtainable, and there is a certain attractive quaintness in well-written dialogue passages between the various "winds" not met with in strings. Works for wind alone pall quickly on the ears of the listeners; they fail to satisfy somehow. A critic has remarked concerning a concert entirely composed of wind pieces, "At first I sat in pleasurable thraldom, and then a sense of weariness overcame me. I was conscious of a monotonous iteration of tonal effects, and I found myself gradually succumbing to a gentle melancholy and thinking of life-insurance and wills, wondering whether I should be much missed." Reicha (Beethoven's colleague in the Bonn orchestra) composed twenty-four quintetts for flute, oboe, clarinet,
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