▁alto ▁fl utes ▁in ▁G , ▁and ▁two ▁bass ▁fl utes ▁in ▁C ) ▁and ▁eight ▁French ▁horn s . ▁No ▁use ▁is ▁made ▁of ▁further ▁wind ▁instruments ▁or ▁per cussion . ▁ ▁In ▁his ▁ 2 0 0 2 ▁book ▁A ▁Heart ▁at ▁Fire ' s ▁Center : ▁The ▁Life ▁and ▁Music ▁of ▁Bernard ▁Her rm ann , ▁Stephen ▁C . ▁Smith ▁writes : ▁ ▁" Y et ▁Her rm ann ▁was ▁perfect ▁for ▁Cape ▁F ear ▁... ▁Her rm ann ' s ▁score ▁rein for ces ▁Cape ▁F ear ' s ▁sav ag ery . ▁Main ly ▁a ▁synth esis ▁of ▁past ▁devices , ▁its ▁power ▁comes ▁from ▁their ▁imag in ative ▁application ▁and ▁another ▁ingen ious ▁orch estr ation ▁... ▁a ▁re he ars al ▁for ▁his ▁similar ▁orch estr ation ▁on ▁H itch cock ' s ▁T orn ▁Cur tain ▁in ▁ 1 9 6 6 . ▁Like ▁similar ▁" ps ych ological " ▁Her rm ann ▁scores , ▁dis son ant ▁string ▁combinations ▁suggest ▁the ▁work ings ▁of ▁a ▁k iller ' s ▁mind ▁( most ▁start ling ly ▁in ▁a ▁que asy ▁device ▁for ▁c ello ▁and ▁bass ▁vi ols ▁as ▁C ade y ▁prepar es ▁to ▁attack ▁the ▁prost itute ). ▁Hermann ' s ▁pre l ude ▁se aring ly ▁establish es ▁the ▁dram atic ▁conflict : ▁desc ending ▁and ▁asc ending ▁chrom atic ▁voices ▁move ▁slowly ▁towards ▁each ▁other ▁from ▁their ▁opposite ▁registers , ▁finally ▁crossing – just ▁as ▁Bod ens ▁and ▁C ade y