Description
Quintet No. 23 in a minor
Op. 100, No. 5
Composed by Anton Reicha
For Woodwind Quintet
Edited and revised by Don Stewart
Published by Trillenium Music Company
SCORE ONLY
Instrumentation:
Flute, Oboe, Clarinet in A, Horn in F, and Bassoon
Parts can be found here.
From the Preface:
In this new edition, I have dealt with inconsistencies of the 1850 parts to make possible an enjoyable teaching, rehearsal and performance experience. (In the first edition of parts that we worked from we found much careless placement or omission of dynamics.) The accent ( > ) and crescendo “haripin” which we now take for granted were at that time new, and in the original engraving inconsistently used. A very new performance practice had emerged, and I have edited the markings to conform with our present understanding of what we now might call romantic style. Although in this piece the articulations that were in the first edition are more complete than in the earlier quintets, I have made some changes and additions to conform with contemporary practice. Some of these are commented on in footnotes, and have been made consistent from part to part and within sections. The fast solo passages have mostly been left as presented in the first edition, and the modern player will want to adjust articulation to the needs of his or her technique and group's style. Reicha's tempos are quick, appropriate and effective, and should be respected. But some phrasing indications have been added. Ornaments have been notated as they appear in the edition we worked from. But the various ornaments have been numbered at their first instance; please see the page following for suggestions as to how these might be interpreted by today's players.
In this quintet the original part was for C Clarinet. Although such a part is most often thought of, now, as music for the Bb, in this piece the A Clarinet is easier and more effective. Reicha wrote this Horn part in D, but I have here given it in modern notation for F Horn. We have carefully arranged page turns, placed rehearsal numbers, and given par numbers in the parts.
-ds, 1996