PDF Quintet Op.43 - Flute

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Edition: 1774

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Wind Quintet (Nielsen)

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Carl Nielsen: Wind Quintet, Op. 43

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  1. Carl Nielsen: Wind Quintet Op.43?
  2. Quintet Op 43 (Score & Parts)-WW5 - TrevCo-Varner Music.
  3. Quintet Op - Flute scored for Wind Quintet.
  4. Nielsen's Woodwind Quintet, Op. 43 – clarinerd.
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Wind Quintet, Op (Nielsen, Carl) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

So if you find a current lower price from an online retailer on an identical, in-stock product, tell us and we'll match it. See more details at Online Price Match. Email address. Please enter a valid email address. In the quieter passages, in compensation, his flute sound is less brilliant and more subtle.

Though by the nature of the piece, this is not the place for the flute to charm or seduce. By the end, you're left feeling that Nielsen has wrenched the instrument out of Pan's hands and subjected it to some pretty tough treatment, which it's survived admirably. That is the strength Pahud born of Swiss and French parents in , he was principal flautist with the Berlin Philharmonic under Abbado until brings out. Meanwhile the Clarinet Concerto presents other and very real challenges: the clarinet part is notoriously difficult its dedicatee, Aage Oxenvad apparently complimented Nielsen on the standard of his own clarinet virtuosity if such was the kind of composition he produced for the instrument and accounts for a diminished uptake in the repertoire.

Carl Nielsen

Nielsen seems to have had an ambiguous and slightly frustrated? In particular "troll like"… mercurial, changeable, not to say inconsistent in delivering beauty and coarseness in quick succession. And this pervades the concerto; there is a Nielsen standby, the snare-drum; there is bravado; impishness; a hint of melancholy perhaps borne of Nielsen's perception that such qualities are present with such a usually otherwise elegant instrument. And indeed it is kind of resignation, submissive melancholy that pervades the closing passages — and one's overall perception — of the concerto.

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Wind Quintet, FS 100 (Op. 43)

Sabine Meyer who was born in and was notably the first female member of the Berlin Philharmonic is well up to conveying what Nielsen surely intended; she produces, under Rattle and the Berlin Philharmonic, a performance that satisfies and stimulates. The clarinet concerto is more discursive, less direct in thematic development and generally more speculative than that for the flute.

These are strengths of Meyer's, although in places two to three minutes into the third movement, for example her somewhat gentle clarinet tone seems hard put to distinguish itself above the orchestral sound. This is a nice little collection representative of Nielsen's love of the woodwind family in chamber and orchestral contexts indeed there are passages in the quintet's last movement that sound almost orchestral.


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  • It's a good foray by Rattle into a repertoire that should enrich his appeal simply because the palette and world of Nielsen are so self-contained, self-confident and in the nicest way self-referential. The liner notes are simple and it's Pahud and Meyer who are illustrated on the CD's cover.