Op 91 - The 24 Wind Quintets of Antoine Reicha

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The Opus 67 Wind Quintets of Franz Danzi

Scores and Parts Created from the Early 19th-Century Sources
Charles-David Lehrer, General Editor

Opus 67 - No. 2

Franz Danzi: Quintet in E Minor: Op. 67, No. 2
Flute, Oboe, Clarinet, Horn, and Bassoon

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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 keys:

No. 1 in Sol majeur
No. 2 in Mi mineur
No. 3 in Mi b majeur

In Quintetto No. 2, Danzi specifies the A clarinet, while the hand horn is crooked in E throughout. The flute part contains measure numbers every ten measures written in pencil. In addition, articulation and reminders of accidentals been added.

First Movement
Allegro vivo: dotted half note = 54

This marvelous Schubertian movement is set in sonata form; and, as such, its exposition contains two themes [Themes 1 and 2] followed by a series of four closing themes. Theme 2 is set in the relative major G, but in the recapitulation it is found in the parallel major E. The development, featuring material derived from Themes 1 and 2, is quite thorough; therefore Danzi does not include Theme 1 in the recapitulation. A surprise occurs at the start of the recapitulation: a new theme [Theme 3] is introduced in the tonic. In addition, the closing thematic material of the exposition and recapitulation features pyro-techniques, which are particularly difficult to execute.

Danzi is very at ease with relationships of the 3rd in this movement: they occur shortly before the introduction of Theme 2 in the exposition [Ab major: 3rd above the tonic e minor] and at the start of the development [Eb major: 3rd below the relative major G].

The horn, crooked in E, has no key signature in the original printed part; therefore, the three flats for the key of C Minor [sounding a minor 6th lower as E minor] were written in as accidentals. The same is true for the minuetto and finale.

Second Movement
Larghetto: quarter note = 69

Set in the parallel major, the rather solomn slow movement is laid out as a ternary form [ABA]. Two tonicizing closing themes are appended at the end. The central section is placed in C major, a third relationship with the outer sections in E major, and it begins in bel canto style; a substantial transition leads back to the A section. With the exception of the bel canto melody, the composition is quite cohesive, since a single 4-note motive permeates the greater part of it.

Third Movement
Minuetto. Allegretto: dotted half note = 66

This is a miniature composition, similar in shape to the minuetto in the first quintet of the Op. 67. In the movement at hand, Danzi utilizes binary form as the basic structure for both the minuetto proper and its trio. The latter is set in the parallel major; additional contrast is achieved through the use of Alberti bass in the clarinet part. The chromaticism in the minuetto proper is really quite wonderful!

Fourth Movement
Allegretto: half note = 66

As in the finale of the first quintet of the Op. 67, this movement is cast in sonata form minus a development section. There are two contrasting themes [Themes 1 & 2] and a set of three tonicizing closing themes. In the exposition, Theme 2 and its closing material are placed in the relative major, while in recapitulation this same material is heard in the parallel major. In addition, a short but ‘developmental’ transition connects Themes 1 and 2 in the recapitulation.

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