to drink. Then he tells her that they are both condemned to die. Before she dies, Luisa has time to tell Rodolfo the truth about the letter (Duet: Ah piangi; il tuo dolore / "Weep; your sorrow is more justified"). Miller returns and comforts his dying daughter; together the three say their prayers and farewells (Trio, Luisa: Padre, ricevi l'estremo addio / "Father, receive my last farewell"; Rodolfo: Ah! tu perdona il fallo mio / "Oh, forgive my sin"; Miller: O figlia, o vita del cor paterno / "Oh, child, life of your father's heart"). As Luisa dies, the peasants enter with Count Walter and Wurm. Rodolfo runs his sword through Wurm's breast, declaring to his father La pena tua mira / "Look on your punishment" before he dies. Orchestration Luisa Miller is scored for piccolo, two flutes, two oboes, 2 clarinets, two bassoons, four horns, four offstage horns, two trumpets, three trombones, one cimbasso, one harp, timpani, a bell representing a church bell, a bell representing the castle clock, bass drum and cymbals, organ and strings. Music Julian Budden provides a summary of the strengths of this opera and demonstrates how it takes on many new dimensions based on several things: the relatively longer time-frame for completing the piece, the fact that Verdi did make sketches of some of the music in advance, the opportunity "to allow the newly-acquired Parisian elements to become assimilated into his Italian style" – resulting in "the best of it set[ting] a new standard in Verdian opera." He demonstrates how in act 3, "the sensitive scoring, the flexibility of the musical forms, the growing importance of the role which Verdi assigned to the orchestra ... permits him to write two lengthy dialogue recitatives (Luisa and Miller; Luisa and Rodolfo). Of these two duets, David Kimball notes that they "best illustrate Verdi's habit of fashioning the musical forms to match the dramatic purpose", although Parker slightly qualifies this by stating that he sees the opera's importance amongst those written pre-Rigoletto as being not so much "for its formal experiments as for its control of conventional musical forms, especially the grand duet." In that regard, he sees it as resembling Il trovatore. As to the overall importance of Luisa, Baldini goes as far as to state that: in terms of artistic value the opera is comparable only to Nabucco, Ernani, and Macbeth. It is, in short,