New York Woodwind Quintet
New York Woodwind Quintet
Nielsen Quintet, Op 43
Villa-Lobos Quintette & Duette
Connoisseur Series
Concert-Disc CS-254
1965
From the back cover: The woodwind quintet, as an instrumental body, presents some unique musical possibilities, as far as sonority is concerned. Paul Revitt has spoken about this uniqueness in the following way: "One basic difference between string quartet writing and woodwind ensemble writing is that, in wind ensemble writing, there has never been a predominantly enforced delineation in registers. Because the normal operating ranges of the flute, oboe and clarinet overlap to an astonishing extent, the parts are interchangeable, and because they are diverse in tonal color, lend themselves graciously to deliberately designed effects in sonority. Just as the success of a string quartet depends on blend and unity, so the wind ensemble is judged by variety and contrast; the composer of the string quartet is limited to one sound and the composer of the woodwind ensemble has several at his command"Carl Nielsen (1865-1931) was Denmark's most famous composer. Although he is known mostly for his symphonic works, there is a wealth of chamber music, including four string quartets, two piano sonatas, and this QUINTET. The QUINTET is in three movements, and the sonorous textures seem more designed towards the blend of the string quartet than towards the contrast of the woodwind ensemble.
Nielsen Quintet, Op 43
Villa-Lobos Quintette & Duette
Connoisseur Series
Concert-Disc CS-254
1965
From the back cover: The woodwind quintet, as an instrumental body, presents some unique musical possibilities, as far as sonority is concerned. Paul Revitt has spoken about this uniqueness in the following way: "One basic difference between string quartet writing and woodwind ensemble writing is that, in wind ensemble writing, there has never been a predominantly enforced delineation in registers. Because the normal operating ranges of the flute, oboe and clarinet overlap to an astonishing extent, the parts are interchangeable, and because they are diverse in tonal color, lend themselves graciously to deliberately designed effects in sonority. Just as the success of a string quartet depends on blend and unity, so the wind ensemble is judged by variety and contrast; the composer of the string quartet is limited to one sound and the composer of the woodwind ensemble has several at his command"Carl Nielsen (1865-1931) was Denmark's most famous composer. Although he is known mostly for his symphonic works, there is a wealth of chamber music, including four string quartets, two piano sonatas, and this QUINTET. The QUINTET is in three movements, and the sonorous textures seem more designed towards the blend of the string quartet than towards the contrast of the woodwind ensemble.
The first movement is in the ABA design, the development (B) section primarily developing the motifs of the exposition imitatively. The recapitulation begins with the main theme in the flute and oboe, rather than in the bassoon, as in the exposition. There is further development in the recapitulation, and greater use is made of the second theme than in the exposition. The Coda begins with the bassoon bringing back the main theme, reminiscent of the beginning of the piece.
The second movement is a Menuet, with a Mahler-like theme. The first section utilizes the clarinet and bassoon predominantly, while the second emphasizes the flute and oboe, then the whole ensemble. There is the usual Trio, repeated Menuet, and Coda.
The third movement begins with a recitative style Prelude, with solo passages from the flute, English horn (which substitutes for the oboe until the second Variation), horn, and clarinet. There is then a Chorale, which becomes the main theme for a set of eleven Variations. The Variations are clearly articulated, and retain the structural outlines of the Theme. All the instruments are featured one time or another during the Variations, either soloistically or in duets. The movement closes with the recapitulation of the Chorale.
Hietor Villa-Lobos was born in 1887, in Brazil, and became that country's first Nationalistic composer. He was a participant in the Movement of Modern Art, in Brazil, a movement which introduced modernism in all the arts into Brazil. His total output as a composer was immense - over 2000 works! - and he is best known for his BACHIANAS BRASILEIRAS and many CHOROS'. It is interesting to note that his approach to woodwind ensemble in his QUINTETTE is fundamentally different than Nielsen's; namely, he is more concerned with the aspects of contrast, thereby using more extreme registers in his instruments, and in virtuosity in solo writing.
The QUINTETTE is in one movement, written in a kind of form which is based on the gradual emergence of motifs, rather than the traditional methods of repetition and variations. Solo sections are interspersed with accompanied melodies, and the dance rhythm, first heard at the very beginning of the piece in a kind of primordal state, reaches full bloom at the end of the piece, when it is finally coupled with the folk tune which has permeated the com- position.
Villa-Lobos' two great musicological passions where Bach and the collecting of Brazilian folk music. These become evident, even more strongly than in the QUINTETTE, in the two DUETTES. They are cast in very simple designs - the flute accompanies the bassoon, and vice-versa... even more simply, the principle of alter- nation reigns supreme.
The first DUETTE is in two sections, the flute accompanying the bassoon melody, a folk-like tune, with motifs treated sequentially as one would expect in a work by Bach; these roles are re- versed, and the procedure is repeated, in an abbreviated form.
The second DUETTE is more rhythmic than the first, with greater emphasis also placed on the virtuosity of the two instruments. However, the principle of alternation is still the main structural device, and the work closes on a cadential Coda, which gathers the momentum of the movement into a final resolution. – Edward Applebaum
With three lengthy international tours to its credit (two of them under A.N.T.A. sponsorship) the New York Woodwind Quintet is con- stantly adding to its stature as one of the main showcases for American chamber music.
An impressive list of high-fidelity recordings on Everest as well as Concert Disc has brought the work of the New York Woodwind Quintet to the attention of record lovers.
DAVID GLAZER, clarinet, is known as a "specialist" in chamber music. His participation in the Casals Festival in Prades in 1953 brought him wide recognition as a recitalist. He has appeared as a guest artist with leading string quartets and trios and as a soloist with major symphony orchestras.
SAMUEL BARON, flute, is a featured performer with the New York Chamber Soloists and the Galliard players, in addition to his work with the New York Woodwind Quintet. He is considered one of the foremost American flutists today.
ABOUT THE ARTISTS... RONALD ROSEMAN, oboe, is a composer as well as a performer, and his works have been presented both here and abroad. He has played with the Symphony of the Air, the Little Orchestra and the New York Philharmonic. Besides his work with the New York Woodwind Quintet, Mr. Roseman is a member of the New York Pro Musica.
RALPH FROELICH, horn, is the newest member of the Quintet. His studies at Juilliard were interrupted by a period of army service abroad, but upon his return to New York he joined the New Art Wind Quintet. He also became first horn of the Little Orchestra Society and the Symphony of the Air.
ARTHUR WEISBERG, bassoon, has been a solo player with the Cleveland, Houston and Baltimore Symphony Orchestras and has gained acclaim for his conducting as well. He is permanent conductor and musical director of the Contemporary Chamber Ensemble and is also on the faculty of Juilliard School of Music.
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