Webern's dynamics, orchestration, and timbre are given so as to produce a fragile, intimate, and often novel sound, despite distinctly recalling Mahler, not infrequently bordering on silence at a typical ppp. In some cases, Webern's choice of instrument in particular functions to represent or to allude to a female voice (e.g., the use of solo violin), to inward or outward luminosity or darkness (e.g., the use of the entire range of register within the ensemble; registral compression and expansion; the use of celesta, harp, and glockenspiel; the use of harmonics and sul ponticello), or to angels and heaven (e.g., the use of harp and trumpet in the circling ostinati of Op. 6, No. 5, and winding to conclusion at the very end of Op. 15, No. 5).[91]