Quintet in g minor

Paul Taffanel (1844-1908) was one of the most respected musicians of the late 19th Century and has been chiefly remembered both as conductor of the Paris Grand Opera and the Paris Conservatory Orchestra Concert Series, and as a brilliant flutist and teacher who helped raise the status of the flute to that of a legitimate solo instrument on a par with violin or cello. Through the efforts of his friend, Theobald Boehm, the flute was being improved technically (as were all wind instruments) during the late 19th century thereby allowing composers to expand the technical and expressive ranges of orchestral, chamber, and solo wind music. To capitalize on these improvements and to address his passion for promoting wind ensemble performance Taffanel founded the “Society of Chamber Music for Wind Instruments” in 1879 and many wonderful works by his contemporaries, including Saint-Saëns, were given their premiere by this group. 

The multi-talented Taffanel was less well known as a composer; he was, however, inspired to write a wind quintet probably for having studied with a pupil of Anton Reicha, who wrote extensively for the wind quintet during Beethoven’s lifetime and legitimized the wind quintet as an ensemble among chamber groups. Though the g minor is the only wind quintet Taffanel composed it has become a staple of the quintet repertoire and sparkles with brilliant writing, incorporating effervescent scales and technical passages for all the winds. The first movement extensively utilizes a dotted rhythmic motive emphasizing its more dramatic character while the more somber middle movement allows the horn a moment in the spotlight as the winds accompany the melody with undulating syncopations. The last movement goes by quite quickly and reminds one of an Italian tarantella; so you better hang on to your hats for this one!

Quintette No. 2

Jean Francaix (1912-97) began composing at the age of 6 and didn't stop until his death. He became a student of the famous French composition teacher Nadia Boulanger before age 10. She considered him of of her best students (if not the best). Both of his parents were musicians, and Maurice Ravel encouraged them to nurture the young man's obvious gifts. Francaix was also an accomplished pianist from an early age, winning the First Prize at the Paris Conservatory (his only formal musical qualification). As a pianist, he was sought after as an accompanist as well as a soloist. He performed the Poulenc Double Piano concerto with Poulenc himself on several occasions. He was a well-known conductor and arranger, orchestrating works by Mozart, Schubert, and Chopin, among others. Self-described as "always composing," he continued that practice until his death, composing over 200 works in a wide variety of styles and instrumental combinations, including opera, symphony, theatre, ballet, film and chamber music. He especially admired the music of Stravinsky, Ravel and Poulenc and said his goal as a composer was to "give pleasure" using his style of lightness and wit to that end. He composed the Quintette No. 2 in 1987, some 39 years after his Quintette No. 1 was written in 1948.