The Opus 67 Wind Quintets
of Franz Danzi
Scores and Parts Created from the
Early 19th-Century Sources
Charles-David Lehrer, General Editor
Franz Danzi: Quintet in G Major:
Op. 67, No. 1
Flute, Oboe, Clarinet, Horn, and
The parts used to create this
new edition of Franz Danzi’s Trois Quintetti,
Op. 67, were published by the house of Johann André in Offenbach am
Main around the year 1824. They all carry the plate number 4751. These parts
were provided in photocopy to the International Double Reed Society by the
Bayerische Staatsbibliothek in Munich. They originally belonged to the Bibliotheca
Regia Monacensis. The frontispiece for each part is written in French, while
the parts themselves maintain the Italian language. Metronome indications
are provided for all movements.
The three quintets comprising the Op. 67 were composed in the following
No. 1 in Sol majeur
No. 2 in Mi mineur
No. 3 in Mi b majeur
In Quintetto No. 1, Danzi specifies the A clarinet, while the hand horn
is crooked in D throughout.
Allegretto: dotted quarter note = 96 [80 is more realistic]
After a short in-tempo introduction, the sonata form proper gets underway
with two contrasting themes and a set of tonicizing closing themes. The introduction
and exposition repeat as a unit, after which an engaging development of motives
taken from the introduction and exposition ensues. When the recapitulation
is reached, Theme 1 is presented in the subdominant. This is followed by Theme
2 and its closing themes in the expected key of the tonic. A short coda brings
this very sweet and charming movement to an end. In a word, Danzi’s construction
here is exquisite, and his harmonic idiom is reminiscent of what will later
become the musical language of Johannes Brahms.
The horn, crooked in D, has no key signature in this movement; therefore,
the single flat for the key of F Major [sounding a minor 7th lower as G major]
was written in as an accidental in the original part. The same is true for
the minuetto and finale.
Andante con moto: eighth note = 100
Set in the dominant, D major, the slow movement is laid out in a most interesting
sonata form. After an exposition of two contrasting themes [Themes 1 &
2] and the usual tonicizing closing material in the dominant, a transition
based on Theme 1 leads to the recapitulation. Surprisingly, the latter begins
with Theme 2 in a third relationship with the tonic, in this case a third
below in Bb major. But Theme 2 has a modulating characteristic, and just as
it moved from the tonic to the dominant in the exposition, it modulates from
Bb major back to the tonic here in the recapitulation. Closing themes follow
in the tonic, and these include fragments of Theme 1, but the complete version
of the very solemn Theme 1 is never heard from again.
Minuetto. Allegretto: dotted half note = 66
The third movement is comprised of a miniature minuetto and trio. The minuetto
proper is set in rounded binary form, while the trio, placed in the dominant,
maintains pure binary form.
Allegretto moderato: half note = 76 [96 is better]
Set in sonata form without a development section, the finale is a fitting
conclusion for this gentle work. As in the first movement, there are two contrasting
themes and tonicizing closing material in both exposition and recapitulation.
The transitional material placed between the two themes in the recapitulation
is somewhat developmental. In addition, one hears a bit of Reicha here: Theme
1 is clearly influenced by folk music, while Theme 2 is of the ‘alma mater’
variety. Both ideas are found in Reicha’s Op. 99 which had been published
two years before Danzi’s Op. 67.
An interesting aspect of the flute part in this movement, is the addition
of articulation in what appears to be pencil!
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