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Quintet for winds no. 1 for flute, oboe, clarinet, horn and bassoon

Author: David Maslanka
Publisher: New York : Carl Fischer, [2004] ©2004
Series: Carl Fischer chamber music edition.
Edition/Format:   Musical score : No Linguistic Content : Score [and parts]View all editions and formats
Summary:
Note from composer, David Maslanka: "Quintet no. 1 for Winds was composed in New York City in 1984. It was first performed by the Aspen Wind Quintet in a concert of my works at Symphony space. Although Quintet no. 1 for Winds has its fierce and demanding aspects it is overall a work of contemplation. City nature and country nature come together here. The first movement opens with a simple whole-step motif in the  Read more...
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Details

Genre/Form: Chamber music
Parts (Music)
Scores
Scores and parts
Document Type: Musical Score
All Authors / Contributors: David Maslanka
ISBN: 0825856639 9780825856631 0825854504 9780825854507
OCLC Number: 57427030
Notes: "Score in C"--Caption.
Duration: approximately 20:00.
Includes program notes by the composer.
Description: 1 score (63 pages) + 5 parts ; 31 cm
Medium of Performance: flute
oboe
clarinet
horn
bassoon
Series Title: Carl Fischer chamber music edition.
Other Titles: Quintets,
Responsibility: David Maslanka.

Abstract:

Note from composer, David Maslanka: "Quintet no. 1 for Winds was composed in New York City in 1984. It was first performed by the Aspen Wind Quintet in a concert of my works at Symphony space. Although Quintet no. 1 for Winds has its fierce and demanding aspects it is overall a work of contemplation. City nature and country nature come together here. The first movement opens with a simple whole-step motif in the horn. This is an extended reflection of the call of the black-capped chickadee. The chickadee's plaintive two-note call has followed me seemingly everywhere and has entered my composing in a profusion of variants. It is in some way a "soul signature." The second movement comes directly from the New York City subway system. The A-train station at 200th Street is a holding area for subway cars not in use. Each morning as I stood on the platform I would listen to a symphony of air compressors with pitches and resultant chords going through a slow kaleidoscope of changes. I have captured some of this as closely as possible, making it the point of departure for this portion of the quintet. The third movement is a "Brooklyn Bridge" piece. For me, as for many others, the Brooklyn Bridge has a strong mystical character. For years I traveled to and from Brooklyn on the D-train and watched the entire spectacle of the Brooklyn Bridge as the D-train rose out of the ground and crossed the East River by way of the Manhattan Bridge. Once by sheer coincidence I was reading Walt Whitman's Crossing Brooklyn Ferry just at the moment the D-train began its climb out into the air. In the poem Whitman speculates that 100 years from his time another person will cross to Brooklyn at this point and remember him. The incident made a profound impression on me. The opening statement of the third movement is derived entirely from variants of the "musical" letters in the name Brooklyn Bridge: B, D, G, E. The last two chords of this movement-two B-minor chords- are a final "mystical signature' for the bridge and for the piece."

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