Holst: Second Suite in F (arr. wind quintet)
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- เผยแพร่เมื่อ 13 มิ.ย. 2024
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Gustav Holst: Second Suite in F, Op 28, No 2
arranged for wind quintet by Natheniel Siu
NS-KW0006
0:00 - I. March
4:36 - II. Song Without Words - ‘I’ll love my love’
6:44 - III. Song of the Blacksmith
7:55 - IV. Fantasia on the ‘Dargason’
Instruments:
- Flute, Piccolo
- Oboe, Cor Anglais
- Clarinet in Bb
- Horn
- Bassoon
Performance time: ~11’ 30”
This faithful adaptation of the beloved Holst concert band suite extract the quintessence of the original and skilfully distribute into the five winds players. The beautiful euphonium solo in the March is given to the horn-the sometimes overlooked member of the ensemble. This arrangement chose the oboe as the solo instrument instead of the clarinet in the 2nd movement. However, it is easy to exchange the parts is the clarinet solo is preferred.
For more information (transposition needs, or custom arrangement requests), please contact info@notesetter.com . We are happy to be of service!
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This is a wonderful arrangement! The way you've arranged it makes it seem it as though this piece was meant for this instrumentation. Very well done!
I played this in 9th grade in the early 70's. I still remember much of it, and had several of the solos for the 1st trumpet. Thanks so much for this presentation! A very pleasant memory!
This masterpiece is full of the joys and sorrows of the human world
This is terrific! Love playing this in symphonic band, and would have loved this arrangement for the woodwind quintet I was in!
Wow, you make it sound like the real thing 👍
Nice!
Thank you! Cheers!
Good work on the orchestration. If you can make the new version sound like it could be the orginal setting, it's a success.
But … you've committed the same crime that _every_ orchestrator for WW quintet commits. You have the bassoon churning away without a break pumping out the bass part, trying to balance with four louder and higher instruments, then at letter K (it's _always_ at letter J or K), when your chops are saying "I could really use a four-bar rest right now", there's suddenly a high solo part - that can't be done well on tired chops. If this it the finale of a whole recital, it's not going to go well.
Clarinet players have similar troubles. Flute and oboe give each other resting time, horn is just too loud to have all the time. So clarinet plays non-stop, and never gets anything high because - what do you with the flute and oboe? In the same way bassoon isn't just a bass instrument, clarinet isn't just an alto instrument.
I'd recommend adding a bass clarinet, and a second horn. Quintets might have a longer pedigree, but septets are much easier for the players. With today's typesetting tools, it's really not too hard to re-orchestrate.
Mvt II bar 169, 4th beat: melody in the oboe should be an Eb quarter, not C Bb eighths.
Mvt IV bar326-7: I'd suggest putting bassoon down the octave for these two notes. Normally I'd argue to keep bassoon higher, but this is a case where it might sound better with a bigger space between the bassoon and horn. Maybe the two bars before that too, for a better line (although low D is usually a muffled note, so maybe not).
Again: rests for the bassoon. Bars 240-7 would work just as well on horn. Bars 352-60 have a lovely colour as you have it, but if the clarinet had the melody and the flute had the rising step (yes, in the lowest register - it will work because it wouldn't be swamped by higher sounds), that would give the bassoon a nice break.
bars 338--9 and 342-3: should the horn be playing B and G (concert E and C)?
Why the switch to the cor anglais? There's nothing that couldn't be played on oboe. If you think it might be too low for oboe to play quietly, but these chords can go up an octave and be revoiced, probably clarinet over oboe over horn. Remember it's about orchestrating for the tessitura of the instruments you're going _to_ , not the instrments you're coming from.
I don't mean to sound critical; orchestrating is my biggest joy in creating music, so I get a bit over excited about it. As for all the bassoon stuff; I've played soooo many quintets on bassoon. It's _always_ letter J or K.
What software did you use to write this piece
We use Sibelius Ultimate for our editions. The sound font is NotePerformer 3.
7:00
Why the video theme in chinese?
We localise our video title and descriptions in a number of languages. So if you are using Chinese as your system language, TH-cam will show you the Chinese localisation.
Solo un por Midi infinite?
Sorry we don’t understand your question.
@@notesetter comi?
Is the french horn a robot? It sounds like a saxophone 🤖
Yes, we are using NotePerformer to generate this demo.
The fact that you only noticed the horn sounding off shows how crazy well NotePerformer is able to replicate most instruments
This is actually one of the more inaccurate horn soundfonts I've heard. I find the horn in the default MuseScore soundfont to be much more realistic.
AGAIN a super recording…..and Again no name of the Quintet and the players. WHY???
I imagine because it’s a MIDI rendering
What the other guy said
It’s a computer playing the parts, man.
This is computer generated. If I’m not mistaken these are the sounds of NotePerformer 4.
Edit: May also be an older version of NotePerformer.
Woodwind quintet, but there's a horn instead of an alto sax. Weird.
This is actually the standard instrumentation for wind quintet!
@@EddieChung so why does it say woodwing quintet instead of wind quintet?
@@jetsettech8804 these two terms, at least for me, a woodwind player, are interchangeable
@@EddieChung woodwind quintet and wind quintet are not the same.
@@jetsettech8804 You're overthinking, the horn has always been a part of the woodwind quintet going all the way back to classical composers. Yes, we all know the french horn is a brass instrument but this has been the standard Woodwind Quintet instrumentation long before the saxophone was invented.