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Updated: June 29, 2025
Then, in answer to the call from the oboe, the whole place grew filled with their din, discordant at first, but slowly coming into more and more perfect harmony, uniting upon the single note, breaking again into countless changing tones, only to yield once more to the single A, caught, dropped during an instant's pause, then caught again and held in long-drawn, jubilant sonority.
When at last, as a young man, I used to listen to the Zillmann Orchestra in the Grosser Garten almost every afternoon, one may imagine the rapturous thrill with which I drew in all the chaotic variety of sound that I heard as the orchestra tuned up: the long drawn A of the oboe, which seemed like a call from the dead to rouse the other instruments, never failed to raise all my nerves to a feverish pitch of tension, and when the swelling C in the overture to Freischutz told me that I had stepped, as it were with both feet, right into the magic realm of awe.
Opposite and at some distance across the roofs of lower buildings, the girls saw a tall edifice, the long upper story of which seemed to be a dancing hall. The windows of that were also open, and through them they heard the scream of the jiggered and tortured violin, and the pump, pump of the oboe, and saw the moving shapes of men and women in quick transition, and heard the prompter's drawl.
A phrase of quiet reflection, with which the horn concludes the episode as with an "envoi," is now constantly rung; it is wrought from the eerie tempest; like refined metal the melody is finally poured; out of its guise is the theme now of mournful dance. "Shyly" the tune of the waltz answers in softest oboe.
Though it grows out of the main theme, yet the change is clear in a return to the subject, now in true variation, where the saxophone has the longer notes and the clarinet and oboe sing in concert. There follows a pure interlude, vague in motive, full of dainty touches. The oboe has a kind of arioso phrase with trilling of flutes and clarinets, answered in trumpets and harp.
It has been played by the Boston Symphony, and consists of a brilliant Allegro; an Adagio of deep sincerity and beautifully varied color, a period wherein the brass choir, heavily scored, chants alone, and the division of the theme among the wood-wind over the rushing strings is especially effective; a very whimsical Andante with frequent changes of tempo, and soli for the English horn in antiphony with the first oboe; and a madcap Presto that whisks itself out in the first violins.
So William Herschel the oboe player started off alone to earn his living as best he might in the great world of England.
The syncopated pulsations are resumed in one-half the full number of strings muted, and continue to the end, as do the broken chords of the harp. The wood-wind generally sustain soft chords, clarinet, oboe, flute, and horn succeeding each other with the sighs from No. 12. Brangaene's voice on the watch-tower behind the scene enters at once in 3-2 rhythm against 3-4 in the orchestra.
There are also two smaller telescopes, of which one is twenty-two feet long and magnifies six thousand times. The king had two made for himself, of which each measures twelve Schuh. He gave him one thousand guineas for them. In his younger days Doctor Herschel was in the Prussian service as an oboe player. In the seven years' war he deserted with his brother and came to England.
In the second movement, which represents a ball, it signifies the entrance of the fair one. The third movement is called "In the Fields," and contains a duet between the two lovers in the guise of a shepherd and shepherdess. They are portrayed by an English horn and an oboe, the result being one of the great instrumental dialogues that are sometimes found in-works of the tone masters.
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