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Quintet For Winds No. 3

for Flute, Oboe, Clarinet, Horn and Bassoon

By David Maslanka

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Chamber Bassoon, Clarinet, Flute, Horn, Oboe
For Flute, Oboe, Clarinet, Horn and Bassoon. Composed by David Maslanka. SWS+Inserts. Set of Score and Parts. With Standard notation. Composed July 16 1999. 88+15+15+16+16+11 pages. Duration 27:00. Carl Fischer Music #WE4. Published by Carl Fischer Music (CF.WE4).

Item Number: CF.WE4

ISBN 9780825859243. 9 X 12 inches. Key: F minor.

Written for flute, oboe, clarinet, horn and bassoon, this contemporary work incorporates the composer's interest in the chorales of J.S. Bach and integrates several melodies throughout the work. A work in three movements, Quintet for Winds No. 3 challenges the ensemble to play with lyricism as well as with precision and attack. A truly dynamic and demanding work that is a perfect addition to any concert program!.
In recent years I have developed an abiding interest in the Bach chorales, singing and playing them daily as a warm-up for my composing time, and making my own four-part settings in the old style. The chorales now regularly find their way into my music, and have become a significant "leaping off" point for me. The first movement of Quintet for Winds No. 3 from 1999 opens with the chorale Ihr Gestirn, ihr hohlen Lufte (Your stars, your cavernous sky). The movement is a "continuous play" kind of piece. After the chorale there is a sharply contrasting first theme that works its way over time into a second theme, and this becomes the subject of a short and very pushy set of variations. There is a restatement of the first theme, and the movement ends with the blunt presentation of a new chorale Christ, der du bist Tag und Licht (Christ, you are day and light). In the second movement, the chorale Ermuntre dich, mein schwacher Geist (Take courage, my weak spirit) serves as a backdrop for an impassioned flute soliloquy. This is an intimate and personal music. The movement closes with a simple and uninterrupted statement of the chorale. The third movement is exceptionally demanding for the performers because of its speed and length. It is something of a sonata form. However, the second theme, which sounds like a chorale melody, becomes the subject of a set of variations. The movement finishes with a partial recapitulation and a coda. Quintet for Winds No. 3 was commissioned by the Missouri Quintet with a grant from the University of Missouri Research Board. The premiere performance was given on March 14, 2000 in Columbia, Missouri.

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