Sunday 8 March 2026 - Programme Notes
Benjamin Ellin - Three States at Play, for solo violin
Ajdic - Adagio for clarinet and strings
Haydn - Symphony No 104, London
IGOR STRAVINSKY - DUMBARTON OAKS
Igor Stravinsky’s Concerto in E♭, commonly known as Dumbarton Oaks, was composed in 1937-1938 and commissioned by Robert Woods Bliss and Mildred Barnes Bliss, the owners of the Dumbarton Oaks estate in Washington, D.C. This work was intended to celebrate the twentieth anniversary of the Blisses’ marriage. The concerto reflects Stravinsky’s neoclassical style during this period, characterized by a return to classical forms and clarity, combined with his distinctive modern harmonic language and rhythmic vitality.
Dumbarton Oaks is scored for a chamber orchestra reminiscent of the Baroque concerto grosso, featuring a small ensemble of strings, woodwinds, and brass. The work is structured in three movements, each demonstrating Stravinsky’s mastery of form and texture while evoking the spirit of earlier musical eras with a contemporary twist.
The first movement, Tempo giusto, opens with a lively and rhythmic theme that immediately sets a bright and energetic tone. The music is marked by clear, contrapuntal lines and a playful dialogue between the instruments, reflecting Stravinsky’s neoclassical interest in balance and order. The movement’s rhythmic drive and crisp articulation create a sense of forward momentum.
The second movement, Adagio, contrasts with the first through its lyrical and contemplative character. Here, Stravinsky explores more expressive melodic lines and richer harmonic textures, creating a serene and introspective atmosphere. The movement’s slower pace allows for a more intimate interplay among the instruments, highlighting their individual colours.
The final movement, Allegro, returns to a spirited and dance-like mood. It features intricate rhythmic patterns and lively exchanges between the ensemble’s sections, culminating in a vibrant and energetic conclusion. The movement’s structure and thematic development showcase Stravinsky’s skill in blending classical forms with modern rhythmic complexity.
Dumbarton Oaks exemplifies Stravinsky’s neoclassical phase, combining clarity of form, rhythmic vitality, and inventive orchestration. The concerto is both a homage to the past and a fresh, modern work, reflecting the composer’s unique voice and his ability to reinterpret tradition with originality and elegance.
Benjamin Ellin - Three States at Play, for solo violin
Three States at Play was originally written in 2005. Dissatisfied with the original version of the work, Ellin looked to revise it with a new colleague. The brilliant, young and unflinching Artem Kotov proved to be just that person. Ellin was introduced to Kotov by Nic Pendlebury at Trinity College of Music in London. In fact, Kotov led the orchestra in the premiere of Ellin's White Crucifixion with violist Rivka Golani in London in 2009.
Three States at Play subsequently garnered a new and vivacious interpreter and the composer gained a friend, a collaborator and a musician who would help the composer enormously in the challenges of writing for solo violin. The work, in three movements, highlights a dazzling array of emotions and techniques
Alojz Ajdic - Adagio for clarinet and strings
From Alojz Ajdič:
" The Adagio for Clarinet and Orchestra from 1985 is a reorchestrated equivalent of a composition for clarinet and piano of the same year."
The composer first named the piece The Story of Suburbia. Ajdič expressed some of his feelings regarding the emergence of the Adagio with the words:
" Life is made up of many events that the individual forms into a whole from which the personality is recognisable. The mosaic of life is best formed from the individual's creativity and from the environment in which he lives. In such a mosaic of life there are many dark and grey stones. However, one can also find beautifully coloured stones, which form the colourful image of the personality. It is true that one must believe in and trust life, enabling one to view the world peacefully and level-headedly. This Adagio is a statement with which I wanted to say that in my life, too, there have been many beautiful moments, which have made life happier and more beautiful for me."
Alojz Ajdič’s Adagio for Clarinet and String Orchestra is a poignant and expressive work that showcases the composer’s deep sensitivity to timbre and melodic line. Ajdič is known for his lyrical and introspective style, often blending traditional and contemporary elements. This Adagio exemplifies his ability to create a deeply emotional atmosphere through a refined dialogue between the solo clarinet and the string orchestra.
The piece unfolds with a slow, contemplative tempo, allowing the clarinet to sing with a warm, expressive tone. The string orchestra provides a delicate and supportive backdrop, weaving gentle harmonic textures that enhance the clarinet’s melodic lines without overpowering them. The music’s harmonic language is rich yet accessible, combining subtle dissonances and consonances to evoke a sense of longing and introspection.
Structurally, the Adagio is characterized by its flowing, arch-like phrases that build gradually in intensity before receding into moments of quiet reflection. The clarinet’s role is both lyrical and virtuosic, with moments of sustained, singing lines contrasted by more intricate, ornamented passages. The strings respond with lush harmonies and occasional counter-melodies, creating a layered and immersive sound world.
Throughout the work, Ajdič’s careful attention to dynamics and phrasing allows for a nuanced emotional journey, inviting listeners into a space of contemplation and serene beauty. The balance between the soloist and the ensemble is delicately maintained, highlighting the clarinet’s expressive capabilities while enriching the overall texture with the warmth and depth of the strings.
Joseph Haydn - Symphony No 104, London
Joseph Haydn's Symphony No. 104 in D major, known as the London Symphony, stands as the crowning achievement of his symphonic output and the final work in his celebrated series of twelve London symphonies. Composed in 1795 during Haydn’s second visit to London, this symphony reflects the composer’s mature style, blending classical form with inventive orchestration and expressive depth. The London symphonies were commissioned by the impresario Johann Peter Salomon, who brought Haydn to England where he enjoyed immense popularity. Symphony No. 104 was premiered at the King’s Theatre in London and was met with great acclaim, cementing Haydn’s reputation as the "Father of the Symphony."
The symphony opens with a slow introduction marked Adagio, which immediately establishes a grand and somewhat mysterious atmosphere. This introduction features a rising motif that creates tension and anticipation, leading seamlessly into the Allegro spiritoso. The first movement follows sonata form, with two contrasting themes: the first is bold and energetic, while the second is more lyrical and graceful. Haydn’s mastery of motivic development is evident as he skillfully manipulates these themes through dynamic contrasts, inventive harmonies, and rhythmic vitality.
The second movement, Andante, provides a lyrical and contemplative contrast. It is structured as a theme with variations, showcasing a serene melody that is passed between the strings and woodwinds. Each variation explores different textures and moods, highlighting Haydn’s ability to create variety and emotional nuance within a single movement. The gentle, flowing character of the Andante offers a moment of calm reflection before the more rhythmically driven third movement.
The third movement is a Minuet and Trio, a traditional dance form that Haydn elevates with his characteristic wit and elegance. The Minuet is robust and rhythmically assertive, featuring strong accents and a lively pulse. In contrast, the Trio section introduces a lighter, more lyrical theme with delicate woodwind passages, providing a graceful counterbalance. This movement exemplifies Haydn’s skill in balancing contrast and unity within a classical dance form.
The symphony concludes with a vigorous Finale: Allegro spiritoso, which is structured as a sonata form with a distinctive rondo-like character. The main theme is lively and memorable, characterized by its rhythmic energy and buoyant melody. The movement opens with this theme, which is then developed and contrasted with a more lyrical second theme. Haydn employs sudden dynamic shifts, syncopations, and inventive orchestration to maintain excitement and variety throughout. The rondo element emerges as the main theme repeatedly returns, interspersed with contrasting episodes that showcase different instrumental colours and moods. The development section explores and transforms the thematic material, building tension before the recapitulation. The movement culminates in a spirited coda that reaffirms the main theme with exuberance and finality, bringing the symphony to a thrilling close.