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.
Combination in octaves.
When the melody is entrusted to two wood-wind instruments in octaves, the usual arrangement producing natural resonance is:
| 8 | [ | Fl. Ob. | Fl. Cl. | Fl. Fag. | Ob. Cl. | Ob. Fag. | Cl. Fag. | >[ | 8 |
The combination of flute and bassoon in octaves is rare on account of the widely separated registers of the two instruments. Deviation from the natural order, such as placing the bassoon above the clarinet or oboe, the clarinet above the oboe or flute etc., creates an unnatural resonance occasioned by the confusion of registers, the instrument of lower compass playing in its high register and vice versa. The lack of proper relationship between the different tone qualities then becomes apparent.
Examples:
[No. 56.] Spanish Capriccio O—
| Fl. Ob. | >[ | 8. |
[No. 57.] Snegourotchka 254—
| Fl. Eng. horn | >[ | 8. |