Senior Orchestra

Programme notes

Scheherazade, Op. 35 - II & III Movements

Rimsky-Korsakov composed this symphonic suite, Op. 35, in 1888. The suite is inspired by "One Thousand and One Nights," a collection of Middle Eastern folk tales. Each movement of the suite depicts a different story from the collection, with the common thread being the character of Scheherazade herself, who narrates the tales to her husband, the Sultan, to postpone her execution.

The second movement of Rimsky-Korsakov's Scheherazade, titled "The Tale of the Kalendar Prince" revolves around a prince who becomes a Kalendar (a wandering monk) after a series of misfortunes and adventures. The movement begins with a return to the rhapsodic violin theme associated with Scheherazade herself. This serene opening is quickly disrupted by a sudden stab of tremolo strings, followed by a playful and impish exchange of triplet notes between the trombone and trumpet. This musical dialogue introduces the listener to the tale of the Kalendar Prince.

Rimsky-Korsakov intentionally left the precise plot points ambiguous, which makes sense given that the Arabian Nights contain three different Kalendar Princes, making it unclear which specific prince is being referenced. Despite the lack of a clear storyline, the movement is rich with drama and excitement. The music conveys a sense of impending threat, adding to the overall tension and intrigue of the narrative. 

In the third movement, "The Young Prince and The Young Princess," Rimsky-Korsakov illustrates a romantic and idyllic scene involving two young lovers. The music is characterised by its lyrical and tender melodies, suggesting the beauty and innocence of their love. While the movement does not correspond to a specific tale from "One Thousand and One Nights," it evokes the general atmosphere of romance and enchantment found throughout the collection.

The movement opens with a gentle, flowing melody played by the clarinet, symbolising the young prince. This is followed by a graceful and delicate theme played by the violin, representing the young princess. As the movement progresses, these themes are developed and intertwined, creating a musical depiction of the blossoming love between the two characters. 

Throughout the piece, Rimsky-Korsakov uses a rich orchestral palette to evoke the lush and magical setting of the story. The music alternates between lyrical, intimate passages and more lively, dance-like sections, reflecting the joy and playfulness of the young couple.  The music captures the essence of youthful love and the enchanting world of "One Thousand and One Nights," bringing the story to life in a vivid and memorable way. 

A Shropshire Lad

George Butterworth's "A Shropshire Lad" is a rhapsody for orchestra that beautifully encapsulates the essence of A.E. Housman's poetry.

Composed in 1912, this orchestral work is a poignant reflection on themes of youth, love, and the inevitable passage of time, set against the backdrop of the idyllic English countryside. Butterworth, who was both a composer and a soldier, found deep resonance in Housman's verses, which speak to the transient nature of life and the looming shadow of mortality.

The rhapsody opens with a serene and pastoral theme, evoking the gentle rolling hills and tranquil landscapes of Shropshire. This opening section is characterised by lush string melodies and delicate woodwind passages, creating a sense of peace and nostalgia. As the piece progresses, darker and more sombre themes emerge, reflecting the underlying melancholy of Housman's poetry. 

Butterworth employs a rich orchestral palette to convey a range of emotions, from the innocence and vitality of youth to the sorrow and resignation of impending loss. The middle section of the rhapsody features more dramatic and turbulent music, with sweeping strings and powerful brass, suggesting the conflicts and hardships faced by the young men in Housman's poems.

The emotional journey of "A Shropshire Lad" is deeply moving, with Butterworth masterfully weaving together moments of tender lyricism and profound sadness. The climax of the piece is both powerful and poignant, embodying the tragic fate of the young soldiers who leave their idyllic rural homes, only to meet untimely deaths in war. 

The rhapsody concludes with a return to the pastoral themes of the opening, but with a more reflective and wistful tone. This final section serves as a poignant reminder of the beauty and fragility of life, encapsulating the essence of Housman's poetry.

Butterworth's own fate adds a layer of poignancy to the work. A promising composer, he enlisted to fight in World War I and was killed in the Battle of the Somme in 1916 at the age of 31. "A Shropshire Lad" stands as a testament to his talent and a moving tribute to the generation of young men lost in the war.

Danse Macabre, Op. 40

"Danse Macabre," composed by Camille Saint-Saëns in 1874, is a symphonic poem that vividly brings to life the medieval legend of Death leading the dead in a wild, eerie dance. This work showcases Saint-Saëns' remarkable ability to paint musical pictures, using orchestral colours and rhythmic vitality to evoke the supernatural and the macabre.

Saint-Saëns drew inspiration for "Danse Macabre" from a poem by Henri Cazalis, which describes Death appearing at midnight every Halloween. As Death tunes his violin, skeletons rise from their graves to join him in a frenzied dance until the rooster crows at dawn, signaling the end of their revelry and their return to the grave.

The piece opens with a harp striking midnight, twelve ominous chimes that set the scene. Following this, the solo violin enters, representing Death with a distinctive, unsettling tritone (an interval known as "Diabolus in Musica" or "the Devil in music"), played by detuning the open E string down to E-flat. This dissonance introduces the eerie and playful main theme of the piece.

The orchestra then bursts into the danse macabre, with swirling strings, whirling woodwinds, and punctuating brass and percussion, creating a sense of chaotic revelry. The xylophone, representing the rattling bones of the dancing skeletons, adds a particularly macabre touch.

Throughout the piece, Saint-Saëns employs clever orchestration and dynamic contrasts to maintain the eerie atmosphere. The music alternates between lively dance rhythms and more sinister, mysterious passages, reflecting the supernatural and ghostly nature of the dance.

One of the central themes is a macabre waltz, which becomes more frenetic as the piece progresses. This waltz is interspersed with variations and counter-melodies, keeping the listener engaged with its ever-changing textures and moods.

A key motif in "Danse Macabre" is the use of Dies Irae, a traditional Gregorian chant associated with the Day of Judgment. Saint-Saëns weaves this motif subtly into the fabric of the piece, heightening the sense of foreboding and doom.

As the dance reaches its peak, the music grows more intense and frenetic, with the full orchestra engaged in the wild revelry. Suddenly, the dance is interrupted by the crowing of the rooster, depicted by the oboe, signaling the break of dawn. The skeletons return to their graves, and the piece ends quietly, with a sense of eerie calm returning as the supernatural night fades away.

"Danse Macabre" has remained one of Saint-Saëns' most popular works, celebrated for its vivid orchestration and imaginative storytelling. It has inspired numerous adaptations and has been featured in various films, television shows, and other media, continuing to capture the imagination of audiences with its haunting and evocative portrayal of the dance of death.

Overture to "Don Pasquale"

Composer: Gaetano Donizetti (1797-1848)
Premiere: January 3, 1843, at the Théâtre Italien in Paris

"Don Pasquale" is one of Gaetano Donizetti’s most beloved operas, epitomising the spirit of the Italian comic opera, or opera buffa. The work marks one of the final peaks of the bel canto tradition. Composed towards the end of Donizetti’s career, "Don Pasquale" showcases his matured style and masterful command over both dramatic and musical elements.

By the time "Don Pasquale" premiered, Donizetti was already a prolific and successful composer, with over 60 operas to his name. The opera is a comic masterpiece that tells the story of an old bachelor, Don Pasquale, who is tricked into marrying a young woman, Norina, who conspires with her lover, Ernesto, to teach the old man a lesson about trying to control their lives.

Since its premiere, "Don Pasquale" has remained a staple in the operatic repertoire. The overture, in particular, is frequently performed as a standalone concert piece, admired for its vivacity and charm.