Page:The story of the flute (IA storyofflute1914fitz).djvu/174

 shaking successively on G, G♯, A, and B. This song gave rise to Rossini's sarcastic comment, "musique champetre." In the finale to Act I. we find the piccolo, viola, bassoons, and trombones united; in the Bohemian rondo (act iii.) we have the piccolo, flute, drum de basque, and triangle; also the piccolo, trumpet, drums, and horns. In the valse in L'Êtoile (ii.) we have the piccolo, bassoon, 'celli, and double-basses: and in the gallop in Le Prophéte the piccolo, flute, and triangle have a very important solo passage.

Meyerbeer's treatment of the flute is masterly. He uses it largely to brighten the strings; bringing out all its charm and sweetness, all its descriptive and dramatic powers. In the dream scene in Le Prophéte a mystical effect is produced by the low notes of the flute (right down to lowest C), accompanied by violins playing arpeggios, drum, and cymbals. In "L'Exorcisme" (iv.) two flutes and a piccolo are used along with violas, divided violins, and a cor anglais to create an ethereal effect at the words, "Que la sainte lumiére descende sur ton front." In the prelude to the song, "Quand je quittais la Normandie," in Robert le Diable, the flutes, in conjunction with the oboes and clarinets, are most delightfully handled, echoing and interlacing each other, as it were. In Les Huguenots the flute has many florid solo passages, and is given a long cadenza in the prelude to Act II. He frequently combines the flute with the harp, and in Dinorah (ii.) produces a peculiar effect by means of the flute and some harmonic sounds of the