Presents

Eugene Walckiers

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Quintet or Sextet in A Major, Op.49

For Flute, 2 Violins, Viola, Cello and Bass

Eugène Walckiers (1793-1866) was born in the Belgian town of Avesnes-sur-Helpe. His first teacher was Heinrich Wilhelm Marchand, a pupil of Leopold Mozart. Subsequently, he moved to Paris studied flute privately with the then famous flute virtuoso Jean-Louis Tulou and composition with Anton Reicha, then the most famouse teacher of composition living in Paris. Most of Walckiers' compositions included the flute. He wrote a great deal of chamber music, including trios with flute and cello, flute quartets, piano quintets with flute and so forth. These compositions were admired by Rossini, Meyerbeer and other prominent contemporaries of Walckiers and were much in demand during his lifetime. Toward the end of his life, he also wrote chamber music which did not include the flute such as piano trios and string quintets. His gift for melody and creating dramatic episodes, bordering on the operatic, was almost unrivaled.

The Op.49 work for Flute and Strings which dates from 1834. For some reason, the publisher chose to call the work a Quintet for Flute and Strings and yet there are six parts. While the work can be played without the bass, doing so, it loses some depth of tone. The bass part is not an ad libitum part or a mere  doubling of the cello. Of its type, this work is nothing short of a masterpiece. It seamlessly compines beautiful lyrical melodies with thrilling and dramatic operatic or theatrical passages. The opening movement, Allegro ma non troppo, begins in a genial, almost playful style. Soon, a Rossini-esque theme is presented, of the sort one hears in his operatic overtures. The second movement, Andante con moto, though not so marked is a fetching theme and set of variations. The Scherzo, allegro molto, which comes next, immediately captures the listener's attention by its unisono, four drum-like beats of pizzicato which leads to a march-like main section. The finale begins with a very lengthy, Andante religioso, introduction in which the solo cello alternates with the rest of the ensemble. The music is sad, almost funereal, but not particularly religious sounding. The main part of the movement begins quietly in a manner reminescent of Beethoven's Pastoral Symphony. Slowly, excitement builds as the music becomes a true Allegro vivo.

This Quintet is not a vehicle for the flute, with string accompaniment. Certainly, the flute, as are the other voices, some virtuoso passages, but the flute remains a true member of the ensemble and not a soloist. A superb work from start to finish. It will bring audiences to their feet shouting 'bravo' and it is not beyond accomplished amateur players.