Close Encounters Summer Concert
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Programme Notes
Capriol Suite
Peter Warlock (1894–1930)
Peter Warlock’s Capriol Suite is one of the finest British works written for string orchestra. Composed in 1926, it takes its inspiration from Orchésographie, a sixteenth-century treatise on Renaissance dance by the French writer Jehan Tabourot, who published under the pseudonym Thoinot Arbeau. Rather than arranging the original tunes directly, Warlock used their rhythms and character as a starting point, creating a work that feels rooted in history while speaking with a distinctly twentieth-century voice.
The suite moves through a series of contrasting dances, from the stately Basse-Danse to the exuberant Mattachins, balancing elegance with rhythmic vitality. Warlock’s colourful harmonies, bold textures and unmistakable English musical language have made the Capriol Suite an enduring favourite of both professional and youth string orchestras.
Eine kleine Nachtmusik – First Movement
Wolfgang Amadeus Mozart (1756–1791)
Few works are as instantly recognisable as the opening movement of Eine kleine Nachtmusik. Written in Vienna in the summer of 1787, it was composed during one of the busiest and most remarkable periods of Mozart’s life, shortly after completing Don Giovanni. Although the purpose of the serenade remains unknown, it was almost certainly intended as elegant evening entertainment for a private gathering.
The famous opening immediately establishes the work’s confident, joyful character before giving way to graceful melodies and lively exchanges between the instruments. Beneath its apparent simplicity lies extraordinary craftsmanship, with every phrase perfectly balanced and every musical idea developed with effortless clarity. More than two centuries later, it remains one of the defining masterpieces of the Classical era.
Holberg Suite (Selection)
Edvard Grieg (1843–1907)
Grieg composed the Holberg Suite in 1884 to commemorate the 200th anniversary of the Norwegian playwright Ludvig Holberg. Although Grieg was one of the leading Romantic composers of the nineteenth century, he chose to look back to the elegance of the Baroque period, writing a suite inspired by the dance forms of composers such as Bach.
Originally written for piano and later orchestrated for strings, the suite combines eighteenth-century structure with Grieg’s unmistakable melodic warmth and rich Romantic harmonies. The selected movements demonstrate his gift for lyrical melody, rhythmic vitality and expressive colour, creating music that feels simultaneously timeless and unmistakably Scandinavian.
St Paul’s Suite (Selection)
Gustav Holst (1874–1934)
The St Paul’s Suite occupies a special place in Holst’s output. Written in 1912 for the orchestra of St Paul’s Girls’ School, where he served as Director of Music for nearly three decades, it was composed for the talented students he taught each week.
Although Holst would later achieve worldwide fame through The Planets, the St Paul’s Suite reveals a more intimate side of his writing. Drawing on English folk melodies and dance rhythms, it combines warmth, wit and inventiveness with superb writing for strings. The suite reflects Holst’s deep understanding of young musicians, offering music that is technically rewarding while remaining full of character, energy and charm.
Air from Orchestral Suite No. 3 in D major
Johann Sebastian Bach (1685–1750)
The Air from Bach’s Orchestral Suite No. 3 in D major is among the most treasured pieces in the classical repertoire. Originally composed around 1730 as part of a larger orchestral suite, it achieved worldwide fame in the nineteenth century through an arrangement by the violinist August Wilhelmj, who transposed the melody so it could be played entirely on the violin’s G string—giving rise to the popular title Air on the G String.
Its beauty lies in its remarkable simplicity. Above a gently flowing accompaniment, the melody unfolds with effortless grace, creating an atmosphere of serenity and quiet reflection. It is a perfect example of Bach’s extraordinary ability to combine technical mastery with profound emotional expression.
Waltz from Jazz Suite No. 2
Dmitri Shostakovich (1906–1975)
One of Shostakovich’s most popular works, the Waltz has become familiar to audiences through countless concert performances, films and television programmes. Although it is frequently attributed to the composer’s Jazz Suite No. 2, it actually belongs to the later Suite for Variety Orchestra, compiled from music written for the Soviet stage and screen.
The waltz captures many of the qualities that define Shostakovich’s musical language. Its sweeping melody and elegant dance rhythm are immediately appealing, yet beneath the graceful surface lies an unmistakable sense of nostalgia and ambiguity. Moments of warmth are tinged with melancholy, while flashes of brilliance hint at the irony for which the composer became renowned. It provides a captivating conclusion to this evening’s programme, demonstrating how music can be both deeply expressive and instantly memorable.
Thank you to our Sponsors
The English Chamber Orchestra gratefully acknowledges the generous support of the organisations whose commitment has made this concert possible.
Their valued partnership and encouragement are greatly appreciated, and we are delighted to recognise their contribution to this evening’s performance.
