top of page
Candlelight: English Elegance Program Notes
Out of Time (2001)
Jonathan Dove (b. 1959)
Premiere of string orchestra version: January 13, 2018; Royal Northern College of Music
Jonathan Dove is an English composer known for his contributions to opera, choral, film, orchestral, and chamber music. Recognized with accolades such as the Christopher Whelen Award for his theatrical compositions, an Ivor Novello Award for best stage work, and appointed Commander of the Order of the British Empire in 2019, Dove's craft is both celebrated and deeply personal.
was originally created for string quartet and commissioned by Mrs. Elizabeth Allsebrook as an elegy for her late husband. Dove himself describes the piece as "a serenade for someone I have never met," a testament to its universal appeal despite its deeply personal origins. The work unfolds as a mosaic of six short, interconnected movements. This structural approach allows for a continuous flow, creating a unified yet multifaceted musical narrative.
Out of Time is scored for strings.
“Dido’s Lament” from Dido and Aeneas, Z. 626 (composed no later than July 1688)
Henry Purcell (1659-1695)
Premiere: Unknown
Henry Purcell, often lauded as the "English Orpheus," was a pivotal figure in the history of English music. Born into a family of musicians in London in 1659, Purcell's prodigious talent quickly secured him influential positions, including that of organist at Westminster Abbey. He served as the primary royal composer for Kings Charles II, James II, and William III, contributing a wealth of instrumental and choral music for state occasions, court events, and funerals. Tragically, Purcell's life was cut short at the age of 36, leaving behind a legacy that profoundly shaped the trajectory of English musical expression.
Dido and Aeneas, composed sometime before 1688, is unique in Purcell's output as his only fully sung opera. The work draws its narrative from Nahum Tate’s libretto, which in turn is based on Virgil’s Latin epic poem, The Aeneid. The opera recounts the tragic love affair between Aeneas, a Trojan warrior destined to found Rome, and Dido, the Queen of Carthage. After Aeneas's ship is driven ashore in Carthage following a storm, he falls deeply in love with Dido. However, divine intervention compels Aeneas to depart for Italy, leaving Dido heartbroken and betrayed. Her final lament, sung just before she takes her own life, is one of the most emotionally potent moments in all of Baroque opera.
Tonight's performance features Dido’s Lament, also known by its opening line "When I am laid in earth." This aria is frequently cited in musicological studies as a quintessential example of the Baroque technique of ground bass (or basso ostinato) and remarkable instances of word painting. The profound sense of Dido's deepening despair is literally embodied by the persistent eleven-fold repetition of a descending chromatic tetrachord in the bass line. This so-called “ground bass,” a characteristic feature of the period, provides a stable yet inexorably descending harmonic foundation, mirroring Dido's psychological trajectory towards her demise.
Even in an instrumental rendition, such as the cello feature heard tonight, the emotional resonance of Dido’s words—"When I am laid, am laid in earth, May my wrongs create No trouble, no trouble in thy breast; Remember me, remember me, but ah! forget my fate. Remember me, but ah! forget my fate."—permeates the music. Purcell's masterful word painting is evident in the melodic contours and harmonic inflections that vividly portray Dido's plea for remembrance coupled with a desire for her sorrows to be forgotten, and her final acceptance of her tragic fate.
Dido’s Lament is scored for strings and solo cello.
Irish Tune from County Derry (Danny Boy) (1902-1911)
Traditional/Percy Grainger (1882-1961)
Premiere: First publication 1911 – London: Schott & Co.
Percy Grainger (1882-1961) was a singular figure in 20th-century music – a renowned piano prodigy and an innovative composer. Born in Australia, Grainger's international career eventually led him to the United States at the outbreak of World War I, where he enlisted as an Army bandsman and subsequently became an American citizen in 1918.
Grainger's compositional output is particularly notable for his idiosyncratic settings of folk songs. He possessed a passion for traditional melodies, which he meticulously collected and transformed with his distinctive harmonic and orchestrational palette. One of Grainger’s most popular works is his treatment of the Irish folk tune, "Londonderry Air", also widely known as "Derry Air."
Grainger created at least five distinct settings of the timeless melody throughout his career. Grainger's first published settings of this tune appeared as early as 1918. The arrangement heard this evening with highlights Grainger's masterful ability to draw out the inherent expressiveness of the melody through rich string textures.
Irish Tune from County Derry is scored for strings.
Fantasia on a Theme by Thomas Tallis (1910, rev. 1919)
Ralph Vaughan Williams (1872-1958)
Premiere: September 6, 1910; Three Choirs Festival, Gloucester Cathedral, London Symphony Orchestra with Vaughan Williams conducting
Ralph Vaughan Williams stands as a towering figure in 20th-century English music. Born into a prosperous family with a progressive social conscience, Vaughan Williams held a populist view of music, believing it should serve and be accessible to all. He played a pivotal role in the resurgence of the English musical tradition, which had lain largely dormant since Henry Purcell in the 17th century, and was only recently reawakened by Edward Elgar in the late 19th and early 20th centuries. His prolific output encompasses symphonies, vocal works, and extensive choral settings, all deeply infused with the hymns and folk songs of his native England. Much like Béla Bartók collected Hungarian folk music, Vaughan Williams recognized the invaluable cultural treasure embodied in traditional country tunes, understanding their vulnerability to societal shifts.
Vaughan Williams's Fantasia on a Theme by Thomas Tallis, composed in 1910, is an example of his reverence for English musical heritage. The genesis of this work dates to 1906, when Vaughan Williams was editing the English Hymnal and first encountered the work of Thomas Tallis (c. 1505-1585). Tallis, a prominent English Renaissance composer, is considered one of the pillars of that tradition. The practice of borrowing tunes from other composers was common practice in the Renaissance and a sign of esteem and a way of honoring a fellow artist.
vThe commission for the Fantasia came in 1910 for the Three Choirs Festival at Gloucester Cathedral. The Tallis theme Vaughan Williams chose is remarkable for its use of the Phrygian mode. This mode, characterized by a flattened second scale degree (imagine playing all white notes from E to E on a piano), is neither major nor minor and imparts a distinctive sense of unease or mystery. While common in Renaissance music, particularly church music, modal writing was less prevalent in the early 20th century. Vaughan Williams's lush harmonization of this ancient mode within a modern context imbues the piece with a profound sense of timelessness, seamlessly blending the old with the new.
Fantasia on a Theme by Thomas Tallis is scored for double string orchestra with string quartet.
Simple Symphony, Op. 4 (1933-1934)
Benjamin Britten (1913-1976)
Premiere: March 6, 1934; Norwich String Orchestra with Britten conducting
Benjamin Britten (1913-1976) stands as a central and influential figure in 20th-century British music, renowned for his remarkable versatility across a wide array of genres, including opera, choral works, vocal music, chamber pieces, and instrumental compositions. Britten's compositional voice was characterized by his progressive techniques, often underpinned by a firm grasp of underlying tonal and neo-classical structures. He significantly shaped the trajectory of British musical culture through his innovative approach and artistic vision.
Composed in 1934, Britten's delightful Simple Symphony, Op. 4, offers a fascinating glimpse into the composer's early creative genius. Remarkably, this work was written when Britten was just 20 years old, drawing upon thematic material he had originally conceived between the ages of nine and twelve.
Scored for string orchestra, the Simple Symphony is structured in four movements, mimicking the traditional symphonic form but on a miniature scale and with a distinctly playful sensibility. While conventional symphonic movements are typically identified by their tempo markings or structural indications (e.g., Allegro non troppo, Minuet), Britten's choice of jocular titles for each movement imbues the work with a sense of levity:
-
Boisterous Bourrée
-
Playful Pizzicato
-
Sentimental Saraband
-
Frolicsome Finale
This charming work not only showcases Britten's precocious talent but also his early inclination towards wit and originality in musical expression.
Simple Symphony is scored for string orchestra.
Nimrod from “Enigma Variations, Op. 36” (1898-1899)
Edward Elgar/Caputo (1857-1934)
Premiere: June 19, 1899, in St. James’s Hall, London
Sir Edward Elgar was a respected English composer whose style was profoundly shaped by continental European Romanticism, drawing inspiration from luminaries such as Handel, Dvořák, Brahms, Delibes, and Berlioz. A largely self-taught composer from humble beginnings in a small village near Worcester, Elgar’s formal musical training was limited to local teachers and musical books and scores borrowed from the library. This independent journey fueled a singular creative voice that would in turn help revive the English music tradition.
The Enigma Variations, Op. 36, composed in 1899, marked a pivotal turning point in Elgar's career, achieving widespread success both in Britain and internationally, despite being written when he was already in his forties. This work not only captivated audiences but also cemented his reputation as the pre-eminent British composer of his generation, leading to his knighthood in 1904.
In Elgar's own words, the Enigma Variations were conceived as a playful yet profound tribute to his inner circle: "I have sketched a set of Variations on an original theme. The Variations have amused me because I've labelled them with the nicknames of my particular friends… that is to say I've written the variations each one to represent the mood of the 'party' (the person)… and have written what I think they would have written – if they were asses enough to compose." Among the fourteen movements, the most celebrated is "Nimrod", the ninth variation. Dedicated to August Jaeger, Elgar's close friend and music publisher, "Nimrod" has transcended its origins to become a profound expression of friendship and quiet nobility, enduring as one of the most beloved melodies in the classical repertoire. The enthusiastic reception of the Enigma Variations firmly established Elgar's place in musical history.
“Nimrod” from Enigma Variations is scored for string orchestra.
Downton Abbey (2010)
John Lunn (B. 1956)
Downton Abbey television premiere: September 26, 2010
John Lunn, a Scottish composer, is widely recognized for his evocative and compelling contributions to the world of television and film scores. His career in media composition began in the late 1980s with BBC Scotland. Lunn's ability to capture the essence of a narrative through music is perhaps best exemplified by his work on the critically acclaimed British historical drama, Downton Abbey. Set in the opulent, yet rapidly changing, post-Edwardian era, the series chronicles the lives of the aristocratic Crawley family and their dedicated servants at the fictional Yorkshire country estate of Downton Abbey, spanning the pivotal years between 1912 and 1926. The score, primarily for string orchestra, beautifully underscores the series' central themes of societal transformation, personal struggles, and the grand events of the early 20th century.
Lunn's mastery in creating a musical landscape that is both historically resonant and emotionally profound earned him accolades, including two Emmy Awards for "Outstanding Music Composition for A Series" in both 2012 and 2013 for his contributions to Downton Abbey. His music for the series has become synonymous with its elegant charm, dramatic tension, and poignant reflection on a vanishing way of life.
Capriol Suite (1926)
Peter Warlock (1894-1930)
Premiere: Unknown
Peter Warlock, born Philip Arnold Heseltine, was an interesting and enigmatic figure in 20th-century British music. Hailing from a wealthy and well-connected London family, Warlock received his education at Eton College and, for a time, Oxford. It was during his Oxford years that he first cultivated an interest in the occult, an interest that would later manifest in his choice of pseudonym, "Peter Warlock," which he first adopted in 1916 and exclusively used for his musical publications by 1918. He reserved his given name for his work as a respected music critic and analyst.
Warlock's musical development was significantly shaped by his enduring friendship with and deep admiration for Frederick Delius, whom he met in 1911. Delius remained a strong influence and a crucial mentor throughout Warlock's compositional career. Beyond Delius, Warlock's musical interests broadened to encompass English folk songs and the earlier styles of Elizabethan and Jacobean English music. An extended stay in Ireland in 1917 further fueled his fascination with magic and the occult, while also fostering an affinity for Celtic music. By 1921, his diverse tastes also included a strong interest in the music of Béla Bartók.
Warlock's creative output was vast, primarily comprising songs and other vocal music for voice and solo piano, alongside choral pieces and a select few instrumental works. His unconventional and often scandalous lifestyle became as much a part of his public persona as his music. Tragically, towards the end of the 1920s, Warlock became deeply depressed by a perceived loss of creative inspiration. He died in his London flat in 1930 from coal gas poisoning; while officially unclear, the circumstances, including the fact that he had locked his young cat out of the room, strongly suggest suicide.
Despite his relatively short life, Warlock left behind a body of work that includes his most famous composition, the Capriol Suite. This work, a set of six contrasting dances in the Renaissance style, was originally written as a piano duet. Warlock subsequently arranged it for string orchestra in 1926, and later for full orchestra in 1928. The suite's charm lies in its vibrant evocation of Renaissance dance forms, drawing its themes from a manual of Renaissance dances by the 16th-century French priest, Jehan Tabourot (1519-1595), also known by his pseudonym Thoinot Arbeau. Warlock himself conducted a performance of the Capriol Suite in 1929, the only public conducting engagement of his life.
The movements of the Capriol Suite are:
-
Basse Danse
-
Pavane
-
Tordion
-
Bransles
-
Pieds en l'air
-
Mattachins
Capriol Suite is scored for string orchestra.
bottom of page