Holst: Second Suite in F (arr. wind quintet) 

This is a wonderful arrangement! The way you've arranged it makes it seem it as though this piece was meant for this instrumentation. Very well done!

I played this in 9th grade in the early 70's. I still remember much of it, and had several of the solos for the 1st trumpet. Thanks so much for this presentation! A very pleasant memory!

This masterpiece is full of the joys and sorrows of the human world

This is terrific! Love playing this in symphonic band, and would have loved this arrangement for the woodwind quintet I was in!

Wow, you make it sound like the real thing 👍

Nice!

What software did you use to write this piece

7:00

Is the french horn a robot? It sounds like a saxophone 🤖

Why the video theme in chinese?

Solo un por Midi infinite?

Good work on the orchestration. If you can make the new version sound like it could be the orginal setting, it's a success. But … you've committed the same crime that _every_ orchestrator for WW quintet commits. You have the bassoon churning away without a break pumping out the bass part, trying to balance with four louder and higher instruments, then at letter K (it's _always_ at letter J or K), when your chops are saying "I could really use a four-bar rest right now", there's suddenly a high solo part - that can't be done well on tired chops. If this it the finale of a whole recital, it's not going to go well. Clarinet players have similar troubles. Flute and oboe give each other resting time, horn is just too loud to have all the time. So clarinet plays non-stop, and never gets anything high because - what do you with the flute and oboe? In the same way bassoon isn't just a bass instrument, clarinet isn't just an alto instrument. I'd recommend adding a bass clarinet, and a second horn. Quintets might have a longer pedigree, but septets are much easier for the players. With today's typesetting tools, it's really not too hard to re-orchestrate. Mvt II bar 169, 4th beat: melody in the oboe should be an Eb quarter, not C Bb eighths. Mvt IV bar326-7: I'd suggest putting bassoon down the octave for these two notes. Normally I'd argue to keep bassoon higher, but this is a case where it might sound better with a bigger space between the bassoon and horn. Maybe the two bars before that too, for a better line (although low D is usually a muffled note, so maybe not). Again: rests for the bassoon. Bars 240-7 would work just as well on horn. Bars 352-60 have a lovely colour as you have it, but if the clarinet had the melody and the flute had the rising step (yes, in the lowest register - it will work because it wouldn't be swamped by higher sounds), that would give the bassoon a nice break. bars 338--9 and 342-3: should the horn be playing B and G (concert E and C)? Why the switch to the cor anglais? There's nothing that couldn't be played on oboe. If you think it might be too low for oboe to play quietly, but these chords can go up an octave and be revoiced, probably clarinet over oboe over horn. Remember it's about orchestrating for the tessitura of the instruments you're going _to_ , not the instrments you're coming from. I don't mean to sound critical; orchestrating is my biggest joy in creating music, so I get a bit over excited about it. As for all the bassoon stuff; I've played soooo many quintets on bassoon. It's _always_ letter J or K.

AGAIN a super recording…..and Again no name of the Quintet and the players. WHY???

Woodwind quintet, but there's a horn instead of an alto sax. Weird.