I’ve not been able
to trace an earlier release of this
coupling, which was recorded nine years
ago; if it has appeared before it has
slipped through my net. It’s certainly
the case that the Michael Thompson Wind
Quintet has given us other Reicha Quintets
and on Naxos (their coupling of the
C minor Op.91 no.6 and Op. 88 No.6 is
on 8.554228
for instance).
Here we have more examples
of idiomatic writing, and suitably nonchalant
enjoyment of Reicha’s rich harmonies
by a crack quintet. The earlier work
is fluent and full of elegance once
past the slow introduction. At over
thirteen minutes this is an extensively
worked over movement and one can see
Spohr’s point when he ticked off Reicha
for his squandering of prodigal ideas.
Though against that there is development
in profusion and a witty Mozartian pay-off
to end the movement. Reicha tends to
greater elegance than expression in
his slow movements and so it proves
here but the finale is a chatty conversation
piece in which the agile bassoon makes
its presence felt throughout.
The Op.91 No.1 Quintet
– Reicha wrote twenty-five by the way
– is somewhat more compressed though
it still lasts half an hour. Ironically
one feels the weight of Spohr’s criticism
even more in the Allegro moderato where
Reicha picks up and drops themes with
the prodigality of a Victorian novelist.
Most composers of the period would have
killed for his gift for melody but Reicha
seems supremely indifferent to considerations
of this kind. The Minuet is the most
clever and powerful movement here –
complete with consecutive held note
entries for the instruments, a wonderfully
inventive touch.
The recorded sound
in St Paul’s Church, Rusthall is sympathetic
and not too spread; textures are quite
clear. The notes are also good; as I
said I’ve no idea where these performances
have been hiding other than in the vaults.
I wouldn’t say they’re essential purchases
but for the wind quintet maven these
are two of the Reicha 25 well
worth tracking down.
Jonathan Woolf
see also review
by Paul Shoemaker