One of the most astounding features in Tschaikowsky's scoring is the extreme modern effect secured from virtually the same orchestra of moderate size that Beethoven employed. To the uninitiated auditor, the wealth and variety of tone-color produced would appear to require a mighty aggregation of instruments; but the "Symphonie pathétique," for example, makes requisition for no more instruments than those used in Beethoven's grandest symphonies, excepting the addition of a bass-tuba.[103] As for an increased number of strings, the increase remains in force for modern performances of the classics as well. In regard to obtaining what has been called "a gloomy eloquence of instrumentation," this is effected by drawing upon the deeper accents of the orchestra.[104] Tschaikowsky employed such combinations as horns and bassoons alone; English horn, bassoons and violas; the lower tones of flutes and clarinets also accompanied by violas; the unison of English horn with low strings as in the _cantabile_ of the overture-fantasy, "Hamlet,"--a combination to which Henderson calls attention in his admirable little book on the orchestra. (This work, by the way, is skilfully written for the delectation of cultivated amateurs.) Other important contributors to Tschaikowsky's subdued coloring are the clarinets in their lower range and the bassoons in their upper range.[105] The best exemplification of orchestration essentially mournful in character is discovered in his last great work--the "Symphonie pathétique" already referred to. On the other hand, a magnificent specimen of forceful writing is presented in the final movement of particularly the C major symphony. [Footnote 103: Ex. 85.] [Footnote 104: Ex. 84, 88.] [Footnote 105: Ex. 87.] Recent development in Russia of orchestral resources is bearing delectable fruit; but without Tschaikowsky to point the way, this would not have been possible. He still reigns supreme as the greatest interpreter of Slavonic ideals. Tschaikowsky in Greater Russia, Grieg in Scandinavia, Dvo[vr]ák in Bohemia, Saint-Saëns in France, Wagner and Richard Strauss in Germany,--these are the men of the nineteenth century who have caused the art of orchestration to acquire distinctively national characteristics suited to the needs of differentiated national music. In return, composers of all countries are seizing upon every possible device introduced by these innovators, and the twentieth century gives promise of results cosmopolitan in nature and superb beyond description. ENGLAND AND AMERICA. X. =England.= Although the recent growth of Russian music is of vast significance, neither have the Anglo-Saxons been idle. England can also point to a long series of sterling composers belonging to the nineteenth century. Among the representative musicians who have helped to develop a native style of composition and orchestration should be mentioned Balfe, Macfarren, Bennett, Barnby, Sullivan, Bridge, Mackenzie, Parry, Cowen, Stanford.