Next Concert:

Saturday July 12th 2025 at 7:30pm

St Marks Church, Harrogate, HG2 8AY

Programme

Ernest John Moeran – Sinfonietta (1944)

A lesser-known yet richly rewarding work, Ernest John Moeran’s Sinfonietta is a compelling example of 20th-century British orchestral writing. Completed in 1944 and dedicated to Sir Arthur Bliss, the work was commissioned by the BBC and first performed in 1945.

Moeran, often associated with the English pastoral tradition, blends folk-inspired lyricism with rhythmic vitality and colourful orchestration. The Sinfonietta is written in three movements:

1. Allegro con brio – This energetic opening sets the tone with assertive brass fanfares and crisp, rhythmic motifs. Moeran’s fondness for modal harmonies and irregular phrasing gives the music a distinctly English flavour, while the interplay between sections of the orchestra showcases his mastery of texture.

2. Tema con variazioni – A set of variations on a quietly expressive theme, this middle movement is the emotional core of the work. Here, Moeran’s lyrical gifts shine through in a series of contrasting moods – from tender introspection to darker, more dramatic interludes. There’s a sense of folk-song melancholy, paired with understated sophistication.

3. Allegro risoluto – The finale bursts forth with confident, bounding rhythms and a touch of humour. It reflects the composer’s interest in Irish dance rhythms and brings the work to a vigorous, uplifting close.

Moeran’s Sinfonietta occupies a unique space between the accessible charm of light music and the structural integrity of symphonic form. Though not often performed, it rewards the listener with its balance of energy, invention, and evocative character.

Johannes Brahms – Serenade No. 1 in D major, Op. 11 (1857–1858)

Brahms’ Serenade No. 1 is one of his earliest orchestral works and a clear window into the youthful composer’s evolving voice. Written in his mid-twenties, the piece was begun in 1857 while Brahms was staying in Detmold and working as a court musician – an environment that allowed him time and space to explore larger-scale composition.

Originally conceived as a chamber work for wind ensemble, it gradually expanded to full orchestral forces under the influence of Brahms’ idol, Beethoven, and his mentor, Robert Schumann. The Serenade is not a symphony in name, but its six-movement structure and ambitious length reflect symphonic aspirations.

The movements are:

1. Allegro molto – Bright and expansive, the first movement displays Brahms’ classical roots with a broad, well-structured sonata form, lyrical woodwind writing, and rhythmic drive.

2. Scherzo: Allegro non troppo – Trio – Energetic and good-natured, the scherzo shows Brahms’ fondness for rustic dance rhythms and his already mature handling of orchestral colour.

3. Adagio non troppo – Lush and romantic, the Adagio offers a lyrical contrast with rich string textures and long-breathed melodies. This movement hints at the emotional depth Brahms would explore in his later symphonies.

4. Menuetto I & II – Two graceful and lightly scored minuets add charm and balance to the serenade’s structure, reflecting the work’s origins in lighter, outdoor musical traditions.

5. Scherzo: Allegro – A second scherzo movement injects fresh vigour and variety, full of rhythmic verve and contrapuntal interest.

6. Rondo: Allegro – The final movement is cheerful and dance-like, drawing the serenade to a genial and satisfying conclusion.

Though it predates the mature symphonic Brahms, the Serenade No. 1 is no mere student work. It brims with originality, warmth, and the young composer’s unmistakable voice. It remains a delightful and often-overlooked gem in the Romantic orchestral repertoire.