Because of the great amount of literature for woodwind quintet, it is difficult for a quintet to develop a working repertoire which will exploit the best qualities of the ensemble and at the same time be entertaining to a wide variety of audiences. Bibliographies such as Harry Peters' The Literature of the Woodwind Quintet and Miroslav Hosek's The Woodwind Quintet are excellent sources of literature and are very helpful in locating specific pieces. Peters' book has annotations on a few of the pieces and both books are organized into categories of Quintet alone and quintet with other instruments or voices. However, because of the limited availability of such bibliographies and the lack of descriptive reviews of every work published, it is still a difficult task to discern between marginal compositions and works that prove to be worthy of serious performance.
Another problem in building a repertoire is the difficulty in obtaining new works which have not been listed in bibliographies or which have not been published. These pieces are especially important to the growth of quintet literature since the "standard" pieces are soon exhausted and modern audiences demand a greater variety of styles. Many quintets have members who compose or arrange pieces for their group. These pieces are available from the composer if not already published.
Having been a member of an active quintet in recent years, I have come to greatly appreciate the pieces which have a positive effect on our audiences and patrons. When I began graduate studies at the University of Texas at El Paso, professor Richard Henderson suggested compiling a list of high quality program material for quintet. This would not be a list of standard works necessarily, but rather an up-to-date look into what is being performed today. We felt that directly contacting quintet throughout the United States by means of a survey would produce the most relevant listing. The survey was limited to "successful works" (the term being interpreted rather broadly, but leaning toward audience appeal) performed in the last two years. By limiting it to the last two years the chances of new works making the list would be increased. Duplications of pieces listed, of course were expected as well as special arrangements.
The works which were most frequently listed by the respondents were not the classic standards as might be expected. Although numerous quintets by Reicha and Danzi were mentioned, no single quintet by these composers came up more than a couple of times. By far, the greatest response was for Ligeti's Six Bagatelles with eleven entries. The Hindemith and Villa Lobos Quintets were both mentioned eight times. Barber's Summer Music, Dahl's Allegro and Arioso and the Francaix Quintet were mentioned six times, while Berio's Opus Zoo received several entries. The Harbison Quintet is the most modern work to have received so many entries (eight). Other pieces which received several entries include Fine's Partita, Bach's Concerto no. 2 After Vivaldi (arr. Rechtman), Milhaud's Le Cheminee du Roi Rene, Ibert's Trois Pieces Breves, Poulenc's Sextet, Nielsen's Quintet, Klughardt's Quintet op. 79, Taffanel's Quintet for Wind Instruments, and Schafer's Minneleider.
The popularity of these quintets is clearly evident by the number of responses. However, other quintets not so frequently mentioned received very positive and interesting comments from the respondents, and therefore bear special attention. Ravel's Le Tombeau de Couperin (arr. M. Jones) received very positive comments on every one of its entries, and in general, was considered one of the best pieces by those who perform it. One group mentioned performing it with harp. Jan Bach's Skizzen (1983) uses a slide presentation and was described as quite difficult, but witty and well worth the rehearsal time. Mathias' Quintet op. 22 (1976) is described as an exciting twentiethcentury work though not too complex or dissonant. Harbison's Quintet, a recent work, was found to be exciting and easy to listen to. Another especially interesting Quintet is Hidas' Quintet no. 2 whose jazz melodies are considered quite appealing.
Probably the most significant result of this survey was the
discovery of several unpublished
works which could add substantially to a repertoire. Some are
arrangements of existing
pieces, while others are composed for Quintet. A couple
of quintets from the University of
Georgia, John Corina's Quintet and William Davis' Quintet,
are available by writing the com
posers. John Reid's Three Renaissance Madrigals is available
from Washington University in
Pullman, Washington. Sabado for Wind Quintet by David Ott
may be obtained from the composer at Indiana State University,
Greencastle, Indiana. Another arrangement of Ravel's Le
Tombeau de Couperin by Gunther Schuller is recommended by
Ronald Roseman of Yale
University. Brahms' Quartet op. 25 for Piano and Strings
has been arranged for Quintet and piano by Samuel Baron
of the New York Woodwind Quintet. A transcription of Beethoven's
String Quartet op. 18 no. 5 is available from D. Durran
at Pennsylvania State University.
It is impossible to comment on every piece listed in the survey. In many cases only the title and composer were given. But the fact that a piece was mentioned as having been successful should give enough indication as to its programmability. It should be emphasized that this listing is only a reflection of what is being played currently and is intended as an aid in selecting pieces for programs in the near future. The eighty or so pieces that follow represent the total response of the thirty completed. They are listed alphabetically by composer, and the number of responses if more than one, is given in parentheses.
The following pieces are listed alphabetically with this information in order: composer, title, publisher, and responses in survey. Comments, if any, are with each piece.
1. Agay, Denis, Five Easy Dances, Presser (2).
2. Andriessen, Jurriaan, Sciarada Spagnuola, Peters; Donemus
(2).
3. Arnold, Malcom, Three Shanties, Carl Fischer.
4. Bach, Jan, Skizzen, Highgate Press (1983) (5). Uses
slides; the best piece to come along in a great while. Difficult
and witty; worth the rehearsal time.
5. Bach; arr. Rechtman, Little Fugue in G minor, Ms, Rep:
Israel Woodwind Quintet. Excellent Arrangement.
6. Bach: arr. Rechtman, Concerto no. 2 after Vivaldi, Belwin-Mills
(3). An excellent baroque transcription.
7. Barber, S., Summer Music, Schirmer; McGinnis and Marx
(6). A staple for this ensemble; may bore an audience.
8. Beethoven; arr. Andraud, Quintet op. 71, Southern Music
Co. From Andraud's 22 Woodwind Quintets.
9. Beethoven, L.V.; arr. Durran, String Quartet op. 18
no. 5, Contact arranger at Penn. State Univ., College of Arts
and Architecture, #225 Music Bldg., University Park, Penn., 16802.
10. Beethoven, L.V.; arr. Hills, Septet, Medici. Arranged
for Quintet. Not technically difficult except for flute
part. A challenge for endurance.
11. Beethoven; arr. Skowronek. Fourteen Pieces for Mechanical
Clock. McGinnis and Marx.
12. Bennett, Richard R., Concerto for Woodwind Quintet,
Novello (1984). Commissioned by the four societies: IDRS, Clar.,
Horn, Flute. difficult.
13. Berio, Luciano, Opus Zoo. Universal (5). Requires some
acting ability for the best effect. Players must speak as well
as play humorous and dramatic elements. Great audience appeal.
14. Bloch, Waldemar, Serenade, (1966). Doblinger Neo-classical;
not too difficult.
15. Blumer, Theodore, Serenade, Theme and Variations, Simrock.
16. Bobesch, Constantin, Paraphrase on "Hora Staccato",
Editura Muzicala a Uniunii Compozitorilor Bucaresti 1970 (Romania).
17. Bottje, Will Gay, Diversions, American Composer's Alliance.
For Quintet, narrator and piano; text by James Thurber.
18. Bozza, Eugene, Scherzo, op. 48, Leduc (1944) (2).
19. Brahms, J., Quartet op. 25 for Piano and Strings. Arranged
for woodwind Quintet, Samuel Baron, (New York Woodwind
Quintet).
20. Brahms; arr. Popkin, 24 Variations on a Theme by Handel.
21. Bujanovski, Vitali, Four Norwegian Folksongs. For Quintet
and soprano.
22. Cambini, F., Quintet no. 1 in Bb major, McGinnis and
Marx (2). Three movements; a large work in classical style.
23. Carter, Quartet, Schirmer; AMP (2). Minus horn; difficult,
but fantastic when it works.
24. Carter, Quintet, AMP.
25. Corina, John, Quintet. Unpublished, available from
composer. School of Music, University of Georgia, Athens, Georgia,
30602.
26. Dahl, Ingolf, Allegro and Arioso, McGinnis and Marx;
Boosey and Hawkes (6). Excellent work; audiences either love it
or hate it.
27. Damase, 17 Variations op. 22, (1951), Leduc.
28. Danzi, Franz, Quintet op. 56 no. 1, Leuckart.
29. Danzi, Franz, Quintet in F major op. 68 no. 2, McGinnis
and Marx.
30. Danzi, Franz, Quintet in G minor op. 56 no. 2, McGinnis
and Marx.
31. Davis, William, Quintet, (1985), unpublished. Available
from composer. School of music, University of Georgia, Athens,
Georgia, 30602.
32. Dubois, Pierre Max, Fantasia, Leduc (1956). Moderately
advanced; pleasant.
33. Etler, Alvin, Quintet no. 1, Associated (2).
34. Farkas, Ferenc, Antiche Danze Ungheresi, Edito Musica
Budapest (2). A great closing piece.
35. Farkas, Ferenc Regi Magyar Tancok a XVII, Zanamukiado,
Budapest 1959 (2). Five contrasting movements; not too difficult.
36. Fine, Irving, Partita, Boosey and Hawkes (4). Neo-classical;
difficult; five movements.
37. Francaix, Quintette, Schott (6). Good audience appeal.
38. Genzmer, Harald, BlaserQuintett, Litolff/Peters. Hindemith-style
German composition; some mistakes in parts.
39. Hall, Pauline, Quintet, Lyche (1952).
40. Harbison, John. Quintet. Composer Collaborates of New
York City; A significant work. Publisher address - P.O. Box 199,
Cambridge, Mass. 02238-0189.
41. Haydn, F.J.; arr. Andraud, Menuetto and Presto, Southern Music
Co.; From Andraud's 22 Woodwind Quintets.
42. Heiden, Bernard, Intrada in Bb major op. 56, Southern
Music Co.; For Quintet and alto saxophone.
43. Heiden, Bernard, Sinfonia, AMP (2).
44. Heiden, Bernard, Woodwind Quintet, AMP.
45. Hidas, Frigyes, Quintet no. 2, General Music Publishers.
Hungarian, jazz.
46. Hidas, Frigyes, Wind Quintet no. 3, Edito Musica, Budapest
1983.
47. Hindemith, Paul, Die Kleine Kammermusik, Schott (8).
A major 20th century work.
48. Ibert, J., Trois Pieces Bréves, Durand; Leduc
(3). Still a very popular work; a good opener.
49. Jacob, Gordon, Suite for Wind Quintet, unpublished.
50. Janacek, Mladi, (Youth) Statni (Prague). Sextet; includes
bass clarinet.
51. Jansons, Andrejs, Suite of Old Lettish Dances, Southern
Music Co.
52. Klughardt, August, Quintet op. 79, Belwin-Mills (3).
Lush romantic textures.
53. Lang, Istvan, Fuvosotos. Zenemukiado Vallalat, Budapest
(1956)
54. Ligeti, Gyorgy, Sechs Bagatellen, Schott (1973) (11).
Difficult, but very worth while. Popular with a variety of audiences.
55. Ligeti, Gyorgy, 10 Stücke, Schott (1969). Difficult;
contrasting movements can be done all or in parts.
56. Lipatti, Dinu, Aubade, Rongwen. For quartet (no horn);
an excellent work.
57. Lunde, Ivar Jr., Une Petite Suite pour Cinq, Shawnee.
58. Mathias, William, Quintet op. 22, Oxford (1976) (3).
A good 20th century piece; not too dissonant or rhythmically complex.
Somewhat difficult, but rewarding. Popular with audiences.
59. Milhaud, Darius, Le Cheminee du Roi Rene, Southern
Music Co. (3).
60. Mozart; arr. Meyer, Fantasies in F major, McGinnis
and Marx..
61. Mozart; arr. Popkin, 12 Variations, Elkan-Vogel.
62. Mozart, W.A., Quintet in Eb major for Oboe, Clar.,
Hom, Bsn., and Piano, International.
63. Mozart, W.A.; arr. Hills, Marriage of Figaro-Overture,
Medici. Clarinet parts in both Bb and A included.
64. Mozart, W.A., Piano Wind Quintet, Barenreiter.
65. Nielsen, Carl, Quintet, Hansen (4).
66. Oldfield, Alan, Solos for Woodwind Quintet, M.M. Cole,
Chicago; needs editing.
67. Ott, David, Sabado for Wind Quintet, Unpublished; Contact
composer at Indiana State University, Green Castle, Indiana.
68. Pierne, Paul, Suite Pittoresque, Leduc. Moderately
advanced; many errors in parts, but definitely a good piece.
69. Pilss, Carl, Serenade G dur, Doblinger (1942). Lush
and neo-romantic. In many ways similar to Richard Strauss.
70. Piston, Walter, Quintet, AMP (2).
71. Poulenc, Sextet, Chester; Hansen (4). Quintet
and piano.
72. Rameau; arr. Nakagawa, Gavotte with Six Doubles, AMP
(2).
73. Ravel, M.; arr. M. Jones, Le Tombeau de Couperin, Durand
(4). Considered the best piece by those who have performed it
recently.
74. Ravel; arr. Schuller, Le Tombeau de Couperin, Unpublished
(2). Contact Ronald Roseman, New York Woodwind Quintet.
75. Reicha, Anton, Quintet op. 91 no. 3, Kneusslin
(2).
76. Reicha, Anton, Quintet op. 88 no. 2, Leuckart.
77. Reicha, Anton, Wind Quintet in Eb major, Leuckart.
78. Reid, John, Three Renaissance Madrigals, unpublished.
Available from composer. Washington State University, Pullman,
Washington, 99164.
79. Riegger, Wallingford, Concerto op. 53 for Wind Quintet
and Piano, AMP (1956).
80. Schafer, Murray, Minnelieder, Berandel Music Ltd. (3).
Quintet with voice.
81. Shostakovich, Dimitri, Polka, Kendor Music.
82. Taffanel, Paul, Quintet for Wind Instruments, Southern Music
Co. (4).
83. Tomasi, Henri, Cinq Danses. Leduc. Advanced; difficult
bassoon part.
84. VaIjean, Paul, Dance Suite, Rep.; Wingra Wind Quintet.
Clever satire of dance types, all audiences like it.
85. Villa Lobos, Heitor, Quintet, Eschig (8). Very difficult,
especially for horn, but well worth the effort. Horn part is often
played by English horn.