The Marlowsphere (Blog #162)

The Church of St. Luke and St. Matthew
Photo credit, Michael Middleton, Li Saltzman Architects

On April 24, 2025, at 7 p.m. a smallish audience converged on the Church of St. Luke and St. Matthew in the Clinton Hill section of Brooklyn, New York to listen to a world-class chamber ensemble, the Dorian Wind Quintet.

It was an unusual setting for this world-renowned quintet. Recognized by critics, audiences, and colleagues alike for its polished and passionate performances, the Dorian Wind Quintet—formed at Tanglewood in 1961—is known worldwide as one of chamber music’s pre-eminent and longest continuously active ensembles. The Quintet has traveled around the world concertizing in 48 of the 50 United States and Canada, touring Europe eighteen times, and playing throughout the Middle East, India, Africa and Asia. The Dorian made history in 1981, as the first wind quintet to appear at Carnegie Hall.

But apparently this evening’s concert was organized in a hurry to satisfy a grant requirement. This was a lucky opportunity treat for those of us who responded to the short-notice announcement.

It was a varied, high-quality program: “Diversions for Wind Quintet” by Lee Holby, “Quintet for Winds” by Johan Kvandal, and, after the intermission, Paul Hindemith’s “Kleine Kammermusik.”

Amanda Harberg, Composer/Pianist

Known for its many collaborations, this evening’s performance continued the tradition with the New York premiere of Amanda Harberg’s “Excursions for piano and wind quintet” at the conclusion of the concert.

Harberg is an Associate Professor at Berklee College of Music (Boston) in the Contemporary Writing and Production department. A composer/pianist/educator, Harberg’s music has been presented at major venues including Carnegie Hall, Lincoln Center, Verizon Hall, and Symphony Center.

This 10-minute piece starts with a solo piano prelude played by Ms. Harberg herself. “Excursions” then launches into a contemporaneous composition mostly played by the quintet. I say “mostly” because other than the opening piano prelude, the rest of the piece sounded devoid of piano/wind quintet interaction; some accompaniment, yes, interplay no. At one point a few phrases sounded like a tip of the hat to Benjamin Britten’s “The Young Person’s Guide to the Orchestra.” It fit well, though, with the rest of the piece.

Anthony Trionfo, Flautist

The evening’s central pleasure, however, was the Dorian’s performance. For this evening the players were: Roni Gal-Ed (oboe), Benjamin Fingland (clarinet), Adrian Morejon (bassoon), Karl Kramer-Johansen (horn), and the highly acclaimed guest flautist Anthony Trionfo.

Whether a duo, trio, quartet, larger chamber ensemble, jazz big band, Broadway show pit orchestra, or full symphony orchestra, one of the central essential qualities all must acquire is playing together as if one voice. This is no more true than with the Dorian Wind Quintet.

Regardless of the composer or genre performed on this evening, this quintet expressed the notes on the page as one. Of course, this group of highly skilled musicians has been performing together for some time, and this is probably one of the reasons it has achieved a musical blend of such high quality. But it also takes the skill of listening with big ears to make sure five instruments expressing different colors and sonorities sound as one.

On this evening, as I’m certain they do at every performance, this musical ideal was achieved. They made it sound easy. Bravo!

Photo credit: Aleksandr Karjaka, The Dorian Wind Quintet 

Eugene Marlow, Ph.D.  © 2025