Combination in unison.
The combination of two different wood-wind instruments in unison yields the following tone qualities:
a) Flute + Oboe. A quality fuller than that of the flute, sweeter than that of the oboe. Played softly, the flute will predominate in the low, the oboe in the upper register. Example: [No. 52.] Snegourotchka 113.
b) Flute + Clarinet. A quality fuller than that of the flute, duller than that of the clarinet. The flute will predominate in the lower, the clarinet in the higher register. Examples: [No. 53.] Legend of Kitesh 330; also 339 and 342.
c) Oboe + Clarinet. A fuller quality than that of either instrument heard separately. The dark, nasal tone of the oboe will prevail in the low register, the bright, "chest" quality of the clarinet in the high compass. Examples: Snegourotchka 19; [No. 54.] Snegourotchka 115. Cf. also Legend of Kitesh 68, 70, 84—2 Ob. + 3 Cl. ([Ex. 199]-[201]).
d) Flute + Oboe + Clarinet. Very full in quality. The flute predominates in the low register, the oboe in the middle, and the clarinet in the high compass. Examples: Mlada, Act I 1; * Sadko 58 (2 Fl. + 2 Ob. + Small Cl.).
e) Bassoon + Clarinet. Very full quality. The gloomy character of the clarinet prevails in the lower register, the sickly quality of the bassoon in the higher. Example: Mlada, Act II, after 49.
f) Bassoon + Oboe, and
g) Bassoon + Flute.
The combinations f and g, as well as Bassoon + Clarinet + Oboe, and Bassoon + Clarinet + Flute are very seldom found except in certain orchestral tutti, where they produce increased resonance without creating a fresh atmosphere. But in such combinations, the range of which is practically restricted to the limits of the third octave, the low notes of the flute will predominate in the lower third of this register, and the high notes of the bassoon in the middle third. The clarinet, weak in the middle compass will not stand out prominently in this particular combination.
h) Bassoon + Clarinet + Oboe + Flute. This combination is equally rare. The colour is rich, and difficult to define in words. The tone of each instrument will be separated from the others more or less in the manner detailed above. Examples: Russian Easter Fête, the beginning; [No. 55.] Snegourotchka 301; The May Night, Act III Qqq.
The process of combining two or more qualities of tone in unison, while endowing the music with greater resonance, sweetness and power, possesses the disadvantage of restricting the variety of colour and expression. Individual timbres lose their characteristics when associated with others. Hence such combinations should be handled with extreme care. Phrases or melodies demanding diversity of expression alone should be entrusted to solo instruments of simple timbres. The same applies to the coupling of two instruments of the same kind, such as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone will lose nothing of its individuality, and will gain in power, but its capacity for expression will be diminished accordingly. An instrument enjoys greater independence and freedom when used as a solo than when it is doubled. The use of doubling and mixed timbres is naturally more frequent in loud passages than in soft ones, also where expression and colour is broad rather than individual or intimate in character.
I cannot refrain from mentioning how greatly I dislike the method of duplicating all the wood-wind, in order to balance a group of strings, reinforced out of all reason, to suit the ever-growing dimensions of concert halls. I am convinced that, artistically speaking, a limit should be set to the size of both concert room and orchestra. The music performed at these super-concerts must be specially composed on a plan of its own—a subject which cannot be considered here.