Scandinavian Wind Quintets

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Scandinavian Wind Quintets



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69 minutes


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Scandinavian Wind Quintets


Wind Quintet, Op. 59


Wind Quintet, Op. 34

3 Hymn Tunes, Op. 23b


Wind Quintet, Op. 43 (FS 100)

Oslo Wind Ensemble



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John Fernstrom: Wind Quintet, Op. 59

I. Allegro molto

II. Adagio

III. Scherzo

IV. Finale - Rondo: Vivace

Johan Kvandal: Wind Quintet, Op. 34

I. Preludium: Largo

II. Presto

III. Adagio ma non troppo

IV. Allegro assai

Johan Kvandal: 3 Hymn Tunes, Op. 23b

No. 1 Vor Gud er tro i liv og dod: Con moto

No. 2 Lover nu Herren: Maestoso

No. 3 Det koster mer end man forst betenker: Langsomt - poco lento

Carl Nielsen: Wind Quintet, Op. 43, FS 100

I. Allegro ben moderato

II. Menuett

III. Praeludium: Adagio

Carl Nielsen: Wind Quintet, Op. 43, FS 100 X

IV. Tema con variazioni


“The Oslo Wind Ensemble is an excellent outfit, playing all the works on this generous CD with skill and sympathy....An irresistible bargain.”

Gramophone Classical Music Guide


“This thoroughly entertaining CD combines three very different and unfamiliar works with what's probably the finest wind quintet ever penned. The major item here is the Nielsen: a glorious work which achieves the rare combination of seriousness of expression as well as being utterly relaxed in tone. The Oslo ensemble is a little slower than usual, but its measured tempos are most convincing; indeed, in the finale they highlight musical connections with Nielsen's Fifth and Sixth Symphonies in ways rarely heard. The Swede John Axel Fernström was undeniably a minor composer. If his music doesn't possess many visionary qualities it's certainly well crafted and his 1943 Quintet is an engaging concert opener. Johan Kvandal from Norway is a weightier proposition and better-known outside of his native country than is Fernström. Kvandal's Quintet, Op 34 (1971), was written for the Oslo ensemble and is serious and high-minded in tone, contrasting effectively with both the Fernström and Kvandal's own Sacred Folktunes of 1963. In the Quintet's fast second movement Kvandal adopts a rather Shostakovichian manner, even alluding to the Soviet master's 12th Symphony, though to what purpose is unexplained.
The idiomatic playing is reproduced in a slightly flat recording, although the Naxos sound has great immediacy.”

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