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Updated: June 29, 2025
On either side hung wood engravings of Luther and Melanchton, in fur-trimmed cloaks; along the borders, close to the ceiling, ran highly illuminated Bible texts, embellished with flowers and heavenly trumpets and bassoons. At the front of the room, above the speaker's platform, hung an oleograph representing the Good Shepherd.
The orchestra consisted of four violins, one tenor, one violoncello, one double-bass, two hautboys, two bassoons, two French horns, two flageolets, one flute, and one trumpet. The king soon recognized the author of the music, and his resentment against Handel began to soften.
A noisy orchestra of frogs, with, as Jack said, fiddles and bassoons in their throats, ceased as I came, and pitched headlong off the broad green floats. Only one old fellow, with a great bass voice, and secure on the bank, protested loudly at intervals, like the owl in Mr. Gray's noble poem, which my Jack loved to repeat.
But once more the rock was covered by the tide: the waves dashed over it, and tore his soul away from its hold upon it: it was borne headlong and dashed by the foam. And Christophe struggled in delirium, babbling strangely, conducting and playing an imaginary orchestra: trombones, horns, cymbals, timbals, bassoons, double-bass,... he scraped, blew, beat the drum, frantically.
Cathy begged that he might be liberated then, as Isabella Linton had no partner: her entreaties were vain, and I was appointed to supply the deficiency. We got rid of all gloom in the excitement of the exercise, and our pleasure was increased by the arrival of the Gimmerton band, mustering fifteen strong: a trumpet, a trombone, clarionets, bassoons, French horns, and a bass viol, besides singers.
The last spark had died out of the paper in the grate and left only black tinder; the table was left bare, the golden plates and richly embroidered napkins, and the garlands were transformed again into old handkerchiefs, scraps of red and white paper, and discarded artificial flowers all scattered on the floor; the minstrels in the minstrel gallery had stolen away, and the viols and bassoons were still.
We can imagine, therefore, the stupefaction and horror when a young man, just out of school, demanded fifty violins, twenty violas, twenty violoncellos, eighteen contrabasses, four flutes, four oboes, four clarinets, eight bassoons, twelve horns, and a chorus of two hundred voices as a minimum. And that is not all.
Blow, bagpipes, a storm of harmony! become trumpets, trombones, ophicleides, fiddles, and bassoons! Fire, guns sound, tocsins! Shout, people! Louder, shriller and sweeter than all, sing thou, ravishing heroine!
To the impressiveness of this prayer the orchestra contributes as potent a factor as the stately melody or the solemn harmonies. All the bright-voiced instruments are excluded, and the music assigned to three groups of sombre color, composed, respectively, of divided violas and violoncellos; of three trombones, and of two basset horns and two bassoons.
Balancing this group is an expressive melody of different sentiment. In its answer we have again the weird touch of neo-barbarism in a strain of the reed, with dancing overtones of violins and harp, and strumming chords on lower strings. Or is there a hint of ancient Highland in the drone of alternating horns and bassoons?
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