Page:The story of the flute (IA storyofflute1914fitz).djvu/187

 also found in Mendelssohn and Wagner (in Verdi's Requiem the flute plays below the clarinet). Noufflard, referring to the allegro in part two of the Fantastique Symphony, speaks of "le cri eperdu que jette une flute de son timbre strident." Berlioz uses the piccolo very frequently, employing it up to the top A′′′, and even B′′′♭, in the Funeral Symphony. In the "Apotheose" he combines two , Requiem, No. 2. piccolos and bassoons in a striking triplet passage. He allots the piccolo a very important passage along with the oboe in the Serenade in his Harold Symphony. In his "Pandemonium" (Damn. de Faust) we naturally have two piccolos, whilst in his "Heaven" we find three flutes and harps. He even uses the piccolo in the accompaniment to songse.g., The Danish Huntsman, "Meditation," in Cleopatra (where two are used), and the choral ballad, Sara the Bather.

Dvořák uses both the flute and piccolo with great skill. In his Third Rhapsody, and in the Second, Fourth, and Fifth Symphonies we find remarkable solos for the flute, whilst one of the most effective flute parts ever written is to be found in his lovely