Since its composition in 1922, Carl Nielsen's Wind Quintet in A major, Op. 43, has become one of the most beloved pieces in the woodwind repertoire. Nielsen's Quintet is particularly ingratiating not only for its expressive accessibility, but for its conversational quality. In a medium characterized by the interactivity of contrasting timbres, Nielsen's Op. 43 excels for its ability to convey a distinct and vivid character in each of its voices while maintaining an overall sense of expressive cohesion. In this regard compositional virtuosity was no doubt enhanced by personal acquaintance: Nielsen knew each of the original performers of the piece personally, and colored their respective parts with his perceptions of their personalities, musical and otherwise.

The Wind Quintet, Op. 43, is cast in three movements, beginning with a pastoral scene marked Allegro ben moderato. The solo bassoon is the first to present the main theme, with its downward arpeggio, scalar ascent, and descending sequence. Much of the rest of the movement's melodic developments and accompanimental gestures can be traced back to this opening line, lending the various episodes and contrasting textures a strong sense of continuity. The second movement, a graceful Menuet, features a pair of duets, first between the clarinet and bassoon, then the flute and oboe (with occasional subtle underpinnings from the horn); these complement the instrumental density of the contrapuntal Trio. The final movement begins with a somber "Praeludium," but then strikes a brighter note with a hymn-like theme followed by 11 variations of ever-changing texture and character—including a nimbly scurrying flute solo, a clownishly mysterioso duet between the clarinet and bassoon, and pensive solo soliloquies by the bassoon, English horn, and French horn. The work's conclusion, which returns to the chorale-style hymn theme, employs a subtle bit of extended technique: to underpin the last cadence with an added sense of resolution, Nielsen instructs the bassoonist to lengthen the instrument by adding an attachment to the bell, in order to drop down to a low, sonorous A on the final chord.

© All Music Guide