opera had to wait until he saw the staging, so that he could judge how heavily or lightly to orchestrate each part of the music. For his large-scale orchestral pieces, which often employed very large forces, Sullivan added a second oboe part, sometimes double bassoon and bass clarinet, more horns, trumpets, tuba, and occasionally an organ and/or a harp. One of the most recognisable features in Sullivan's orchestration is his woodwind scoring. Hughes especially notes Sullivan's clarinet writing, exploiting all registers and colours of the instrument, and his particular fondness for oboe solos. For instance, the Irish Symphony contains two long solo oboe passages in succession, and in the Savoy operas there are many shorter examples. In the operas, and also in concert works, another characteristic Sullivan touch is his fondness for pizzicato passages for the string sections. Hughes instances "Kind Sir, You Cannot Have the Heart" (The Gondoliers), "Free From his Fetters Grim" (The Yeomen of the Guard) and "In Vain to Us You Plead" (Iolanthe). Musical quotations and parodies Throughout the Savoy operas, and occasionally in other works, Sullivan quotes or imitates well-known themes or parodies the styles of famous composers. On occasion he may have echoed his predecessors unconsciously: Hughes cites a Handelian influence in "Hereupon We're Both Agreed" (The Yeomen of the Guard), and Rodney Milnes called "Sighing Softly" in The Pirates of Penzance "a song plainly inspired by – and indeed worthy of – Sullivan's hero, Schubert". Edward Greenfield found a theme in the slow movement of the Irish Symphony "an outrageous crib" from Schubert's Unfinished Symphony. In early pieces, Sullivan drew on Mendelssohn's style in his music for The Tempest, Auber's in his Henry VIII music and Gounod's in The Light of the World. The influence of Mendelssohn pervades the fairy music in Iolanthe. The Golden Legend shows the influence of Liszt and Wagner. Sullivan adopted traditional musical forms, such as madrigals in The Mikado, Ruddigore and The Yeomen of the Guard and glees in H.M.S. Pinafore and The Mikado, and the Venetian barcarolle in The Gondoliers. He made use of dance styles to enhance the sense of time or place in various scenes: gavottes in Ruddigore and The Gondoliers; a country dance in The Sorcerer; a nautical hornpipe in Ruddigore; and the Spanish cachucha and Italian saltarello and tarantella in The Gondoliers. Occasionally he drew on influences from further afield. In The Mikado,