Page:The story of the flute (IA storyofflute1914fitz).djvu/196

 the top C′′′′♮, as in the Walküre, where he also gives the whole three flutes an A′′′ in altissimo. He occasionally employs the low register (Siegfried and Meistersinger), , Meistersinger, ii. and in one instance we find the three flutes playing in harmony on their lowest notes in order to produce a specially mournful effect. His flute parts, while often tiring and exacting on the player, do not present any great technical difficulties, and as a rule they are well written, though Mr. Chorley complains of his placing the group of flutes above the tenor voice in Tannhäuser. (Mod. Ger. Mus., p. 367).

Wagner seems fonder of the piccolo than of the flute, and often gives it little ascending runs with good effect. He writes for it right up to the top G′′′ and uses it very freely (sometimes without the flute), especially in Siegfried and the Rheingold. He is fond of combining it with the violins, as in the Götterdämmerung, and in the Walküre; and in the magic fire music in the latter opera (iii.) he makes remarkable use of the middle notes on the piccolo. He introduces this instrument into practically