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Antoine-Joseph Reicha (1770-1836) published this work, the sixth of his Six Quintuors Op. 91, with the House of Simrock in 1819-1820, the plate number being 1726. Nikolaus Simrock indicates that this is Quintet No. 12 in his series. The quintets themselves are entitled in Italian (Quintetto) within the parts, and in French (Quintuors) on the Frontispiece.

The instruments are given French names on the frontispiece: flûte, hautbois, clarinette,  cor and bassoon; but again, Italian pervades the actual parts: flauto (traverso), oboe, clarinetto, corno, and fagotto. No scores are supplied by Simrock for any of the Op. 91 quintets; in fact, it would have been quite unusual had this been the case. Like madrigals published in the 16th Century, we have‘part-book’ format in use for these works.

Clarinets in Bb and C are specified for this particular composition, while the hand-horn player will use both Eb and F crooks. I have supplied parts in Bb for the clarinet and in F for the horn, in order that modern players might avoid transposition at sight in such a complex work.

The Op. 91 Quintuors are set in the following keys which alternate major with minor works:

No. 1 (7) Ut majeur
No. 2 (8) Là mineur
No. 3 (9) Ré majeur
No. 4 (10) Sol mineur
No. 5 (11) La majeur
No. 6 (12) Ut mineur

In the preface, which is signed by the five members of the original group which played these quintets, it is made clear that these wind players sought, through performing Reicha’s works, to remedy the overwhelming interest awarded to string instruments in chamber music of the day, at the expense of wind ensembles.

The original quintet for which this work was composed consisted of the following members:

Joseph Guillou (1787-1853) flute
Gustave Vogt (1781-1870) oboe
Jacques-Jules Bouffil (1783-?) clarinet
Louis-François Dauprat (1781-1868) horn
One Monsieur Henry was the bassoonist in the ensemble.

First Movement
After a rather extensive and somber march introductory (ABA), a sonata form with dotted half note to the measure commences. There are two primary themes in its exposition. A very harmonically and contrapuntally rich Theme 1 in the tonic minor is laid out in three-measure phrases. The contrasting Theme 2 is a pastoral horn call set in the relative major, that is to say, a third above the tonic. Before moving on, Reicha lets us hear these two themes again. This area is followed by a host of six closing themes, each one more engaging than the preceding one. The first and third of these themes (2k1 and 2k3) are outstanding. In the midst of this closing material, and as a gesture indicating just what this movement is all about, the pastoral horn call (Theme 2) is played yet once more, followed by closing themes 2k1, 2k5 and 2k6.

The development, primarily based on Theme 2 and closing themes 2k1 and 2k3, begins with rather static harmonies, but this area is soon followed by rapid harmonic movement. This leads to (you guessed it) the outright playing of Theme 2 twice (first in II, then in III), capped by 2k3 and 2k1.

The recapitulation seems to come out of the ether, so cleverly is its appearance disguised. Reicha presents Theme 1 two times in a row; the ubiquitous Theme 2 is now missing. Closing materials begin (2k2, 2k4, 2k3), but soon Theme 2 returns once again, and in VI, a third below the tonic. A clever selection of the remaining closing themes from the exposition follows (2k2, 2k3, 2k1, 2k5, 2k6).

This is a very wonderful movement.

Second Movement
This Larghetto sounds so plain at first, especially as it follows right upon the harmonic richness of the first movement. Laid out as a calm and rather large ternary structure in the parallel major [Theme 1, Theme 1 || Theme 2, Theme 3 || Theme 1, Coda] it warms up in the two central sections which have the feel of trios. The first of these [Theme 2] in the subdominant, is given over to a horn solo originally conceived for Louis Dauprat, and is wide ranging, descending to pedal C. It is a self-contained rounded binary form. The second trio [Theme 3] is a self-contained rounded binary form too, but it is placed in the subdominant minor, and is quite agitated.

Following the return of the placid Theme 1 there is an extensive coda which appears to be a somewhat disguised variation of Theme 1. Reicha uses this spot as a showcase for the oboe, specifically for the eminent oboist, Gustave Vogt. For the first time in the Op. 91, the oboe gets a chance to soar up to high E3 in this unusual solo at movement’s end.

Third Movement
Beginning with an introductory passage on the dominant, this movement is yet another scherzo with a trio and da capo. The Trio is set in the relative major [Eb major]. Eight repetitions of an 8-measure ostinato, four on either side, frame a Ländler-like central section which is a self-contained rounded binary form in Bb Major. As befits the master, the Menuetto proper is infused with intricate counterpoint.

Fourth Movement
Reicha brings his Op. 91 to and end with this brilliant finale which he has entitled ‘Capriccio’. To be sure, vacillating between 4/4 Allegro assai (Theme 1 in i) and 3/8 Lento (Theme 2 in I) at the opening of both exposition and recapitulation might be considered a whim or caprice. But even more so, is the indecision as to key: will this finale be set in C minor or C major?

The exposition is laid out as follows: Themes 1a, 1b, 2, 3, 4, 4k1-4k3. There is no development in this sonata form, only a connecting passage between exposition and recapitulation built on the basic motive of Theme 1. The recapitulation procedes with Themes 1a, 2, 3, 1b, 2, an episode based on 1a and 4k1, Themes 4, 3, 4k1-4k5. Theme 4 is a self-contained march in rounded binary form.

This is a truly great movement, and it is here that Reicha, with differing meters and tempi for his themes, enters into his next phase which I call the Romantic Avant Garde.