Concert à cinq, Op. 38

Concert à cinq, Op. 38, composed in 1939, is a luminous chamber work that belongs to the neoclassical tradition of the 1930s. Its unusual instrumentation—flute, violin, viola, cello, and diatonic harp—attracts attention for its sonic refinement. Absil combines a partial string quartet (a string trio without second violin) with flute and harp, creating a quintet of contrasting timbres. This configuration unmistakably recalls Ravel’s Introduction et Allegro (1905), which similarly employed harp, flute, and strings; it is likely that Absil had this illustrious predecessor in mind, especially since his own Concert à cinq adopts a comparable three-movement structure, beginning with a slow introduction. The opening Introduction et Allegro starts with a relaxed and elegant Andante con moto, giving way to a lively and cheerful Allegro in a light sonata form. The flute exchanges graceful motifs with the strings, while the harp frequently provides arpeggiated accompaniment, lending a shimmering colour to the ensemble.

The central Andante is lyrical and pastoral in mood, with each instrument taking a turn at the melodic foreground. A simple tune first stated by the flute, reminiscent of rustic song, is taken up by the violin, gently supported by viola and cello in muted chords and delicate roulades from the harp. The harmony remains serene—close to F major—and evokes, at times, the bucolic charm of Mozartian quartets, while subtly incorporating soft jazz-like enrichments, reflecting Absil’s interest in extended harmonies. The Finale is a brief, spirited rondo: a lively refrain (Presto) alternates with calmer episodes, and the harp plays a propulsive rhythmic role, over which the flute and violin weave playful motifs. The writing is crystalline throughout, with each instrument given clear space, ensuring the texture remains light. The prevailing spirit is one of joy and refined virtuosity. Stylistically, the Concert à cinq exemplifies a smiling neoclassicism, already noted by contemporary critics for its “very classical and very cheerful” nature.

Absil here reconnects with the aesthetic of French interwar chamber music: lucid forms, timbral elegance, and inspiration drawn from both early dances—some finale passages evoke a baroque gigue—and folkloric elements, with modal inflections reminiscent of Walloon song or rustic dance rhythms. The tone is resolutely optimistic and graceful, offering in 1939 a kind of musical escapism from the looming war. Absil himself described the work as a “concert”, invoking the Concerto grosso model where soloists dialogue—a fitting term, as each instrument has its moment in the spotlight (notably a lyrical cello solo in the Andante and brilliant flute passages in the Finale). Premiered in Brussels shortly after its composition, likely at a Société Philharmonique concert, the piece was enthusiastically received.

Concert à cinq is regarded as a cornerstone of Absil’s neoclassical output—praised for its graceful balance of form, virtuosic charm, and melodic invention, and often cited as a gem of Belgium’s interwar chamber music repertoire.