Reicha: Wind Quintet in D major, Op. 91, No. 3

Wind Quintet in D major, Op. 91, No. 3 (for flute, oboe, clarinet, horn and bassoon) Published in 1819, when Reicha [Rejcha] was around 49 years of age.  Reicha's output during his Vienna years was prolific and included large semi-didactic cycles of works such as 36 Fugues for piano (in a "new method of fugal writing" which attracted the scorn of Beethoven and anger of Cherubini at the Conservatoire), L'art de varier (a set of 57 variations on an original theme), and exercises for the treatise Practische Beispiele (Practical Examples). During the later Paris period, however, he focused his attention mostly on theory and produced a number of treatises on composition. Works of this period include 25 crucially important wind quintets which are considered the locus classicus of that genre and are his best-known compositions. None of the advanced ideas he advocated in the most radical of his music and writings (not used in the 25 great wind quintets), including polyrhythm, polytonality and microtonal music, were accepted or employed by nineteenth-century composers. Due to Reicha's unwillingness to have his music published (like Michael Haydn before him), he fell into obscurity soon after his death and his life and work have yet to be intensively studied.

 PHOTO [right] Anton Reicha's gravestone at Père Lachaise, Paris

  WIKIPEDIA



 VIDEO: Anton Reicha Quintet in D Major - Op 91 No.3 Movement 1 EDQ Flute: Jasper Goh Clarinet: Benjamin Wong Oboe: Veda Lin Bassoon: Emerald Chee Horn: Alan Kartik Esplanade Recital Studio 7 AUG 2013 

Westwood Wind Quintet

Peter Christ, Oboe John Barcellone, Flute Patricia Nelson, Bassoon William Helmers, Clarinet John Cox, Horn The Westwood Wind Quintet (of Los Angeles) was founded in 1959 and has performed and recorded actively for 55 years, during which time it has given over 2000 concerts and recorded more than 20 albums. In the mid-1980s, Daniel Carriaga, music critic with the Los Angeles Times, wrote "An Accumulation of instrumental polish and important repertoire over a long period has resulted in a treasurable sense of ensemble and musical solidity." Upon hearing the Quintet in a concert, Robert Shaw, former music director of the Atlanta Symphony, wrote “One listens to this ensemble as one listens to the finest of string quartets. It is a complete and completely satisfying musical experience.”

 

REICHA Quintet in G Minor, opus 91

Anton Reicha, bio
 This post lists compositions by Anton Reicha an 18th-century composer. At present there exists no definitive catalogue of the composer's works and his music, for the most part, is yet to be studied by scholars. Two principal work lists exist: one by Olga Šotolová in her book Antonín Rejcha: A Biography and Thematic Catalogue and another by Peter Eliot Stone in his article for the Grove Dictionary of Music and Musicians. The former list contains a number of errors; these were corrected by Stone in his list. The present article contains two overlapping lists derived from Stone, several editions of Reicha's music and a number of library catalogues listed in the References and Notes section. The first list presents only works that were published and assigned opus numbers by Reicha's publishers. These numbers, as is usual, follow the order in which the works were published, rather than the order in which they were composed.
 The second list is organized by genre. Compositions are sorted chronologically; those with composition and publication dates unknown are listed last. Not included in either lists are works currently considered lost, fragments, and works for which details other than title are unknown. Dates of publication and/or composition are given in parentheses where known. Find lists at:. WIKIPEDIA List



VIDEO: Opus 91: Six Wind Quintets (C major, A minor, D major, G minor, A major, C minor) (Paris, c. 1817-19) by Anton Reicha (1770-1836): Quintet in c minor - Opus 91, No. 6  finale, performed by the New England Sound Wind Quintet 

Clare Hammond plays Etudes


‘An étude is a piece written expressly to develop the technical capacity of a performer and, as such, seems rather a dry proposition,’ writes Clare Hammond in the sleeve notes of her recording of etudes by Lyapunov, Chin, Szymanowski and Kapustin released on BIS recordings. She goes on to say: ‘At its best [though], the étude combines the visceral excitement of technical display with expressive, coloristic and compositional ingenuity.’ Lyapunov's ‘Térek’ from his 12 Études d’exécution transcendante is a piece that demonstrates this. Named after a large river that flows from Georgia into Russia, it is not only technically demanding but also captures the water’s powerful, swirling current in a series of dramatic, rumbling semi-quaver passages. [Playing on LIVE365 Internet radio via 'Music For a Small Room]. Sergey Lyaponov was a Russian composer, pianist and conductor, born in Yaroslavl in 1859. He studied at Moscow Conservatoire in time to attend Tchaikovsky’s composition classes there and he dedicated a large part of his work to folk-song research with Anatoly Lyadov and Mily Balakirev.

 

VIDEO: An interview with pianist Clare Hammond made to promote the Future Classics tour, in association with the Park Lane Group, of St George's Bristol, Queen's Hall Edinburgh and the Wigmore Hall London in 2012. Official website at www.clarehammond.com
 

Drottningholm Court Baroque Ensemble

The Drottningholm Court Baroque Ensemble was founded in 1971 by Lars Brolin using players from within the Stockholm Royal Opera Orchestra. The band takes its name from the Drottningholm Slottstheater, built on the island of Mälaren located directly opposite the city of Stockholm by King Gustaf III in 1766. The theater, built primarily for opera performances, was later incorporated into the Royal Palace complex, also built by Gustaf III and not completed until 1782. In 1792 Gustaf III was assassinated in the Drottningholm Slottstheater during a masquerade ball, an event that was later incorporated into an opera, Giuseppe Verdi's Un ballo in maschera. Gustaf's successor threatened to tear the Slottstheater down, but ultimately the building was simply locked up, encapsulating its original theatrical machinery, curtains, and interiors in an unchanged form for the next century and a half. Theatrical stagings were revived at the Slottstheater staring in the early '20s, and the theater's unique eighteenth century ambiance has been utilized as a setting for Ingmar Bergman's 1976 film of Mozart's The Magic Flute.

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VIDEO: Live from concert in Stockholm, April 2010. Johann Ludvig Bach - Ouverture and Adagio from E-major violin concerto by JS Bach, soloist Nils-Erik Sparf ...

The Suk Chamber Orchestra (Czech: Sukův komorní orchestr) is a classical chamber orchestra named after the composer Josef Suk.

It was founded by the violinist Josef Suk in 1974, on the centenary of his grandfather, the composer Josef Suk. The orchestra currently serves as resident orchestra at the W.A. Mozart Festival. It has appeared at other festivals, including the Prague Spring Festival. It is also winner of the Antonín Dvořák World Award for its promotion of Czech music.
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VIDEO: Raffaele Trevisani - Flute Martin Kos - Conductor and Solo Violin Suk Chamber Orchestra...

The Melos Ensemble is a group of musicians who started in 1950 in London

Melos Ensemble plays chamber music in mixed instrumentation of string instruments, wind instruments and others. The ensemble's reputation for excellence has encouraged composers to write music exploring these resources. Benjamin Britten composed the chamber music for his War Requiem for the Melos Ensemble and conducted the group in the first performance in Coventry. They should not be confused with two other chamber groups of similar name, the Melos Quartet or the Melos Art Ensemble (an Italian group).

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VIDEO:  Requiem di Mozart eseguito dal coro Melos Ensemble diretto dal M° Filippo Manci - Auditorium Serphicum 13 marzo 2010