Westwood Wind Quintet

George Perle (1915–2009) was an American composer and scholar, awarded a MacArthur Foundation Fellowship, a Pulitzer Prize (1986) for his Wind Quintet no. 4, and the Otto Kinkeldey Award (AMS) for his books on the operas of Alban Berg. Born in Bayonne, NJ, Perle discovered Alban Berg’s Lyric Suite when studying with Ernst Krenek in 1937 and went on to develop a compositional system called twelve-tone tonality from the implications of Berg’s score. Collaborative work with Paul Lansky expanded on the compositional possibilities of the system (1969) and led eventually to Perle’s mature style, exemplified by the two Piano Concerti (1990, 1992) and Transcendental Modulations for Orchestra (1993). Perle’s dual role as composer and scholar is reflected in his seventy-five compositions, ranging from solo to orchestral pieces, and seven books and numerous articles on analysis and theory issues related mostly to twentieth-century music.

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ANTON REICHA (1770–1836) WIND QUINTETS IN B FLAT MAJOR, OP. 88 N0. 5, AND C MAJOR, OP. 91 NO. 1 Michael Thompson Wind Quintet: Michael Thompson, horn; Jonathan Snowden, flute; Derek Wickens, oboe; Timothy Lines, clarinet; John Price, bassoon Naxo 8.554227, 2004; one disc, 63 minutes

Eighteenth Century Music ◽

10.1017/s1478570606320544 ◽

2006 ◽

Vol 3 (1) ◽

pp. 168-170

Author(s):

PETER LANDEY

Keyword(s):

Wind Quintet

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Some trends among younger composers

Tempo ◽

10.1017/s0040298200045940 ◽

1969 ◽

pp. 5-10

Author(s):

János Kárpáti

Keyword(s):

String Quartet ◽

16Th Century ◽

Wind Quintet ◽

Gyorgy Kurtag ◽

After Effect ◽

Voice And Piano ◽

Creative Effort ◽

Opposite Extreme

The composers in Hungary who have come to maturity after the mid-1950s have been more fortunate than their seniors in several respects. Not only are they farther out of the shadow of Bartók and Kodály, but their formative development has not been interrupted or impeded either by war or by the ideological problems that faced composers in the early 1950s. At the upper end of this group is György Kurtág (b. 1926), who after completing his studies in Budapest, and writing a number of successful prentice works, spent a year in Paris (1957–58), and put ‘Op. 1’ only to the string quartet which was the outcome of his experience there. Of autodidactic inclination, he was influenced less by particular major figures than by the general creative atmosphere around him, but became a disciple of Webern, not so much in technique as in his asceticism and self-discipline, his concentration on intensity of content and creative effort rather than on its extent. He has never been prolific, and his output since 1958 is remarkably slender—five works in ten years. Besides the string quartet these consist of a wind quintet, a series of piano pieces, a set of duos for violin and cimbalom, a piece for unaccompanied viola, and most recently an extended cantata for solo voice and piano, on texts by the 16th-century Hungarian writer Péter Bornemisza, which was performed at Darmstadt last year. This is a taxing virtuoso work for both performers, of exceptional range and force of expressive utterance. At the opposite extreme stand the delightful duos for violin and cimbalom, terse and unassuming, yet absorbing in content and distinctive in character, brilliantly exploring the possibilities of the unusual medium without any reliance on curiosity value or striving after effect.

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Swiss Music

Tempo ◽

10.1017/s0040298203290355 ◽

2003 ◽

Vol 57 (226) ◽

pp. 54-56

Author(s):

Peter Palmer

Keyword(s):

Royal Academy ◽

Symphony Orchestra ◽

Big Band ◽

Wind Quintet ◽

Piano Quartet ◽

Women's Choir ◽

Oboe D'amore ◽

Concert Choir ◽

Jazz Band ◽

Bohuslav Martinu

NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.

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