Quintet No. 19 in F Major, Op. 100, No. 1
Composed by Anton Reicha (1770-1836)
For Woodwind Quintet
Edited and revised by Don Stewart
Published by Trillenium Music Company
Flute, Oboe, Clarinet in Bb, Horn in F, and Bassoon
I have corrected many questions of articulation, and have adjusted (or in some cases, left in) divergences of detail between parts, always with a view toward preserving the composer's intentions. At the time the parts we worked from were engraved, the accent part and the diminuendo hairpin were new, and some confusion of use can easily be identified. Suffice to say that in this edition this confusion has been made more consistent and understandable! Within each movement, no tempo variances were indicated. Yet this music was written as the Romantic style was being articulated; the indications in this edition are derived from my experience and recent recordings, and should at least be tried. They are consistent with the (at that time) emerging concept of rubato. If gracefully executed, these go a long way toward eliminating the traditional complaint that Reicha wrote boring msuic. The Horn notation is consistently 'new'; that is, the Horn (in F) always sounds a fifth below where it is written; as usual in these quintets; the writing for the Horn is most brilliant.
The first movement presents a stately introduction and a quite classic form. There are many remaining expressive and interpretive details for good players to work out, and experienced performers might find additional nuance. The second movement is elegant and simple, displays Reicha's familiarity with operatic style, and offers much opportunity for individual expression. The third movement, one of Reicha's most brilliant, is mistitled “Minuetto”. It is surely not; at the tempo indicated it is more a “Scherzo molto”. The articulations are as given in the original parts, but each player and group will have to decide what is best and possible. The final movement is interesting and inventive. Reicha loved the whole concept of Stretto; phrases of unusual length abound. The phrasing (ties and slurring) are very inaccurate in the original parts, and what is indicated in this edition is in most cases a suggestion only, but possibly what the composer had in mind. The dotted slurs are additions, as are some of the dynamics, and meant to suggest appropriate performance possibilities.
If modern wind quintet players bring creative spirit, a sound technique, and enough preparation time to this work, they will be amply rewarded. Here, Reicha begins his summation.
– ds 2011
Parts can be found here.