David Maslanka

Woodwind Quintet. I.|II.|III.
Written for flute, oboe, clarinet, horn and bassoon, this contemporary work incorporates the composer's interest in the chorales of J.S. Bach and integrates several melodies throughout the work. A work in three movements, Quintet for Winds No. 3 challenges the ensemble to play with lyricism as well as with precision and attack. A truly dynamic and demanding work that is a perfect addition to any concert program!
Written for flute, oboe, clarinet, horn and bassoon, this contemporary work incorporates the composer’s interest in the chorales of J.S. Bach and integrates several melodies throughout the work. A work in three movements, Quintet for Winds No. 3 challenges the ensemble to play with lyricism as well as with precision and attack. A truly dynamic and demanding work that is a perfect addition to any concert program!
In recent years I have developed an abiding interest in the Bach chorales,singing and playing them daily as a warm-up for my composingtime, and making my own four-part settings in the old style. The choralesnow regularly find their way into my music, and have become asignificant “leaping off” point for me.The first movement of Quintet for Winds No. 3 from 1999 opens withthe chorale Ihr Gestirn, ihr hohlen Lufte (Your stars, your cavernous sky).The movement is a “continuous play” kind of piece. After the choralethere is a sharply contrasting first theme that works its way over timeinto a second theme, and this becomes the subject of a short andvery pushy set of variations. There is a restatement of the first theme,and the movement ends with the blunt presentation of a new choraleChrist, der du bist Tag und Licht (Christ, you are day and light).In the second movement, the chorale Ermuntre dich, mein schwacherGeist (Take courage, my weak spirit) serves as a backdrop for an impassionedflute soliloquy. This is an intimate and personal music. Themovement closes with a simple and uninterrupted statement of thechorale.The third movement is exceptionally demanding for the performersbecause of its speed and length. It is something of a sonata form.However, the second theme, which sounds like a chorale melody,becomes the subject of a set of variations. The movement finishes witha partial recapitulation and a coda.Quintet for Winds No. 3 was commissioned by the Missouri Quintetwith a grant from the University of Missouri Research Board. Thepremiere performance was given on March 14, 2000 in Columbia,Missouri.

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