From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature an address David gave on matters of tempo and dynamics from a masterclass given at Illinois State University.
Maslanka Weekly highlights excellent performances of David Maslanka’s music from around the web. This week, we feature three new performances of chamber works: Quintet for Winds No. 3, Song Book for Alto Saxophone and Marimba, and Sonata for Bassoon and Piano.
Maslanka Weekly highlights excellent performances of David Maslanka’s music from around the web. This week, we feature three new performances of chamber works: Quintet for Winds No. 3, Quintet for Winds No. 1, and Sonata for Oboe and Piano.
Maslanka Weekly highlights excellent performances of David Maslanka’s music from around the web. This week, phenomenal performances of Quintet for Winds No. 3, Movement I, Quintet for Winds No. 1, Movement 1, and the entirety of Quintet for Winds No. 2.
Elisa Moles’ thesis on David’s third Quintet for Winds focuses specifically on his use of Bach chorales. Her thorough analysis of the quintet displays David’s use of chorales as an integral part of the composition. Through her research, she explains David’s incorporation of thematic, harmonic, and formal chorale elements as a catalyst for his original composition, using the old form to create something entirely new.
Introduction:
Numbering over eighty works, the wind music of American composer David Maslanka has become increasingly popular over the last thirty years. His Quintet for Winds No. 3 for Flute, Oboe, Clarinet, Horn, and Bassoon (1999) is a remarkable piece that has not been previously researched in depth. What drew me to investigate this piece was Maslanka’s interesting referencing of the melody and text of Johann Sebastian Bach’s chorales. A defining feature of this woodwind quintet, Maslanka incorporates Bach chorales as major melodic, harmonic, and structural aspects of the work. The reference to the original text of each chorale also provides extra-musical meaning to the piece. In addition to analyzing the use of the Bach chorales in this quintet, I intend to offer some suggestions for performing. Before discussing these matters, however, it will be necessary to provide some historical background. The compositional technique of borrowing raises several issues that, upon further investigation, will yield a clearer understanding of the piece to the performers. The three main issues […]