Quintet for Winds No. 1 | 2012
I. Allegro
II. Moderato
III. Finale, allegro
ca.13'
Woodwind quintet (flute, oboe, clarinet in Bb, French horn, bassoon)
The first movement of Quintet for Winds, No. 1 divides into three easily distinguishable sections. The first section, fairly light-hearted, opens with a sprightly theme that will return at the conclusion of the movement. The rest of the section takes inspiration from this opening motif, but flows from light-heartedness to a hopeful yet mysterious close. The second section has the form of a passacaglia with more somber tones – not sad or mournful, but reflective. However, the third section remains even more light-hearted and playful than the first, resurrected from the second with energy and life. Ideas from the first become subject to expansion and transformation with this new-found felicity.
The second movement consists of two sections, each beginning with a fog of imitation. In the first, the imitation gives way to nostalgic melodies; in the second, chaos. This chaos is echoed by a coherent restatement of its theme, followed by a flute cadenza. The melody then makes its final appearance, this time pacified by the flute.
The third movement is slightly harder to explain due to its abstract nature. Chromaticism and harmony play a very important role in this movement, in contrast to the pronounced linear motion of the previous two. This movement is much more homophonic in texture; however, when the five instruments are not working together, the solo voice is usually accompanied by a bed of sifting chromatic texture. To conclude the piece, all come together once again to try and find a resolution to the chromaticism.
II. Moderato
III. Finale, allegro
ca.13'
Woodwind quintet (flute, oboe, clarinet in Bb, French horn, bassoon)
The first movement of Quintet for Winds, No. 1 divides into three easily distinguishable sections. The first section, fairly light-hearted, opens with a sprightly theme that will return at the conclusion of the movement. The rest of the section takes inspiration from this opening motif, but flows from light-heartedness to a hopeful yet mysterious close. The second section has the form of a passacaglia with more somber tones – not sad or mournful, but reflective. However, the third section remains even more light-hearted and playful than the first, resurrected from the second with energy and life. Ideas from the first become subject to expansion and transformation with this new-found felicity.
The second movement consists of two sections, each beginning with a fog of imitation. In the first, the imitation gives way to nostalgic melodies; in the second, chaos. This chaos is echoed by a coherent restatement of its theme, followed by a flute cadenza. The melody then makes its final appearance, this time pacified by the flute.
The third movement is slightly harder to explain due to its abstract nature. Chromaticism and harmony play a very important role in this movement, in contrast to the pronounced linear motion of the previous two. This movement is much more homophonic in texture; however, when the five instruments are not working together, the solo voice is usually accompanied by a bed of sifting chromatic texture. To conclude the piece, all come together once again to try and find a resolution to the chromaticism.