wind quintet flute oboe clarinet bassoon horn QUINTETO SINFONICO Miguel del Aguila WindSync

Описание: https://migueldelaguila.com
for sheet music: [email protected]

wind quintet for flute oboe clarinet horn bassoon
Bläserquintett quinteto de vientos quintette à vent,
QINTETO SINFONICO
music: Miguel del Aguila (BMI)
publisher: Miguel del Aguila
©Copyright 2019 by Miguel del Aguila All Rights Reserved for All Countries

From album:
WINDSYNC plays MIGUEL DEL AGUILA Music for Winds
Azica Records - https://azica.com. (Available on all streaming platforms)
WindSync Wind Quintet: Garrett Hudson, flute - Emily Tsai, oboe
Graeme Steele Johnson, clarinet - Anni Hochhalter, horn - Kara LaMoure, bassoon
https://www.windsync.org
Recorded at Abbey Road Studios, London, UK November 19-20, 2022
Producer: Charles Mueller Engineer: Andrew Dudman

Quinteto Sinfónico, Op. 122 for wind quintet
written in 2019 and premiered that year by Pentaèdre at the Conservatoire de musique de Montréal. As its title suggests, the work resembles a symphony in miniature, set in three movements tied together by shared thematic relationships. Del Aguila often draws orchestral proportions out of the quintet by emphasizing musical discourse and harmonic textures over individual colors.

Movement I. Giocoso
The first movement, Giocoso, begins quietly with a slow, humorous Latin dance that builds in tempo and intensity. The musicians trade themes and continue each other’s phrases as if improvising, while dancing with each other through quick tempos and shifting irregular rhythms. The movement ends with a boisterous new theme, offering a foretaste of material from the movements ahead. Del Aguila explains, “My inspiration for this movement was a technique often used by Andean folk ensembles where wind instruments share and continue each other’s melodies, making them sound as if played by only one performer. Often for these ensembles cooperation and the sound of togetherness is more important than showcasing the talent of each individual. This turns the music into a spontaneous dialogue as each performer must react to what the others played and be ready to play any voice at any given moment.”

Movement II. Misterioso
In the dreamy middle movement, , the musical atmosphere conjures a balmy summer night as
the oboe croons a slow, peaceful, somewhat exotic tune, with chromatic decorations in the flute above droning lower voices. Soon other instruments join the oboe and a mysterious dialogue ensues, punctuated by extended solo passages. Finally, the oboe and flute reprise the theme first heard at the end of the first movement, this time counterpointed with a relaxed Latin beat. The melody becomes more and more fragmented and ultimately dissolves in a long chord.

Movement III. Luminous
A brisk, fanfare provides the finale and sees the clarinet, bassoon and horn imitate trumpets
playing the melodic line, while fluttering flute and oboe parts lay a busy backdrop. After a series of dissonant climaxes and hectic chases, the movement closes Quinteto Sinfónico exuberantly with a tour through the work’s many now-familiar themes.

MIGUEL DEL AGUILA Three-time Grammy nominated American composer Miguel del Aguila creates distinctive, innovative modern classical music highly influenced by his Latin American roots. A prominent voice in 20th- and 21st-century music, he remains a vital influence in contemporary classical music, with 140 compositions that infuse a new musical diversity into the modern chamber music and orchestral repertoire. His creative, rhythm-driven works blend tradition with modernity with drama and nostalgic nods to his South American heritage. His music, recorded in over 60 CD albums, enjoys hundreds of live performances yearly, earning him acclaim like “brilliant and witty” (The New York Times), “sonically dazzling” (Los Angeles Times), “disarmingly genial” (San Francisco Sentinel) and “expressive and dramatic” (American Record Guide). Thousands of soloists, ensembles and orchestras have commissioned and performed his music worldwide. Besides three Grammy nominations, he received a Kennedy Center Friedheim Award for his Wind Quintet No. 2 (also recorded by WindSync), New Music USA’s Music Alive and Magnum Opus, Copland Foundation awards and many others. After studies in his native Montevideo, he graduated from the San Francisco Conservatory of Music and continued studies at Vienna’s Universität für Musik und Darstellende Kunst. Early premieres in the Musikverein and Konzerthaus were followed by his 1986 Carnegie Recital Hall debut and by Lukas Foss/Brooklyn Philharmonic concerts

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