Commissioned by the « Quintet L », the Quintet for winds op 30 has been composed in March 2004 (Ist and IInd movement ) and between January - March 2005 ( IIIrd, IVth and Vth movement ).
The internal architecture of the work relies on connections between the Ist, IIIrd and Vth movement, as well as between the IInd and IVth movement.
The Ist movement presents a short melodic fragment distributed between different tones. It is the compositional ferment of this movement as well as in the 3rd and 5th movements.
During the Ist movement, this melodic element will vary imperceptibly in its harmony and its instrumental repartition each time it will appears. These melodic permutations are separated by chords coming from these melodic fragments.
The IIIrd movement composed of 3 parts, develops again this short melodic fragment, beginning with the piccolo. It is surrounded by new melodic themes played by the horn in dialogue with the oboe, then with the clarinet in B. It also permits to hear this short melodic fragment harmonized with wide chords, played by all musicians.
The Vth movement, made of 5 variations, presents a new development of the melodic and harmonic element of the Ist movement. The bassoon and the B flat clarinet present a melodic ascendant motive which will be taken over by different instruments in a large climb of pitch order. In the 2nd variation, it is an harmonic climate which dominates : resonance of chords or attacked chords sustained by a melodic two voices writing. The 3rd variation is a recapitulation by inversion of the 1st variation and leads the quintet to a deep pitch order. After a 4th variation fugato, the 5th variation will offer a short reminder of the beginning of this last movement, followed by a quotation of the Ist movement played by the B flat clarinet and the oboe, as well as a reminder of the IIIrd movement given by the piccolo.
The Quintet ends into a vigorous musical climate.
About the IInd and the IVth movement, they offer to the flute in G and the English horn in the IInd movement, then to the horn and the E flat clarinet in the IVth movement, a slow and very expressive melody, nearly free "ad libitum", and serene.
The work allows the listener to discover all the wealth of this formation : to benefit from the soloists tone and also from the alliance of the tone of these 9 instruments.