wood-wind

• “The musical connoisseur likes to trace the recurrence of a theme in a symphony, its deviations and disappearances, its distribution in the various choirs of wood-wind, brass, and strings, its interweaving with other themes, its resilient, surprising, and apposite emergences, its pervasive penetration of the total scheme.”

  Human Traits and their Social Significance

• “The love-motive is heard in the wood-wind like a long dying breath as, breathing the word "Isolde," he expires.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “The culminating point is reached at the strongly alliterative words, _ "Weh 'nun wächst bleich und bang mir des Tages wilder Drang," _ when for the moment there is quite a maze of real parts in wood-wind and strings.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “As he lies in a swoon the wood-wind in turns continue the malediction.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “A cantabile strain in the bass wood-wind continued in the violoncelli with a broken triplet accompaniment in the strings seems to tell of the expected meeting.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “The despair which he feels now as his end approaches is expressed in the motive No. 18, in unison in the wood-wind.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “The wood-wind generally sustain soft chords, clarinet, oboe, flute, and horn succeeding each other with the sighs from No. 12.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “The fanfare is taken up by wood-wind (K.A. 85'2 (1)), and at last melts into a new sound, with clarinets in 6-8 time against muted violins and violas in 8-8, beautifully suggestive of the rustling of leaves.”

  Wagner's "Tristan und Isolde"; an essay on the Wagnerian drama

• “Translated into music, it was the call of the wood-wind, something wild and unhuman flowing across the silver triumph of the horns.”

  The Nest Builder

• “We have fortunately not yet been reduced to eating our wood-wind instruments; but we think we should need a double-bass to wash them down.”

  Punch, or the London Charivari, Volume 156, January 22, 1919

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