After an orchestral prelude, one of these performers has a solo in a section titled The Summer Wind’s Wild Hunt. A technique for these performers was pioneered in Engelbert Humperdinck’s Königskinder. That technique for these performers was historically notated by placing a small cross (-5[1])on the note stems, (15[1]-5[1])or by omitting (-5[1])noteheads altogether. (15[1])The Rosé Quartet was unusually joined by one of these performers to premiere a (*) serialist composer’s second string quartet. One of these performers is accompanied (10[1])by eight cellos in the fifth Bachianas Brasileiras. Along with a namesake (-5[1])“ensemble” of five instruments, one of these performers in Pierrot Lunaire loosely plays pitches (-5[1])without sustaining in a style known as Sprechstimme. For 10 points, name these performers employed by the Second Viennese school to recite poetry. ■END■ (10[5]0[1])