14/03/2026
Dear all,
Welcome to Shiny on 1st violin and Jaron on percussion.
The programme order is as below with programme notes.
Please put the music in your black folder in order.
Two more rehearsal then the concert on Sun 29 March in the afternoon.
I will send you the details later. The concert is closed one and no outside people allowed to listen including parents, I'm afraid.
I encourage more members to take solo stage. Let me know by this Friday with details.
1. Christoph Willibald Gluck (1714–1787)
Dance of the Furies from Orfeo ed Euridice
The dramatic ballet Dance of the Furies comes from Gluck’s opera Orfeo ed Euridice, first performed in Vienna in 1762. In the story, Orpheus descends to the underworld in search of his beloved Eurydice. At the gates of Hades he confronts the terrifying Furies, guardians of the realm of the dead. Gluck depicts this scene with driving rhythms, dark harmonies, and intense orchestral energy. The music’s turbulent character reflects both the fury of the spirits and the emotional struggle of Orpheus as he pleads for passage.
2. Gottfried Heinrich Stölzel (1690–1749)
Bist du bei mir
The beloved aria Bist du bei mir (“If you are with me”) is one of the most cherished melodies of the Baroque era. Although long associated with Johann Sebastian Bach, the piece is now known to have been written by Gottfried Heinrich Stölzel. The music expresses quiet devotion and serenity, its simple yet deeply expressive melody supported by gentle harmonic movement. The work’s intimacy and warmth provide a striking contrast to the dramatic opening of the programme.
3. James Barnes (b. 1949)
Yorkshire Ballad
American composer James Barnes wrote Yorkshire Ballad in 1984 for concert band, later arranging it for orchestra. The piece unfolds as a lyrical meditation inspired by the landscapes of northern England. A broad and noble melody gradually develops through rich harmonies and expressive orchestral colour. Rather than dramatic contrasts, Barnes allows the music to grow organically, creating a sense of calm reflection and pastoral beauty.
4. Members solo stage
5. Albert Ketèlbey (1875–1959)
In a Persian Market
Few light orchestral works have enjoyed the enduring popularity of In a Persian Market. Ketèlbey paints a colourful musical picture of a bustling Middle Eastern marketplace. A series of vivid themes suggests approaching caravans, merchants and beggars, dancers, and finally the quiet departure of the caravan into the distance. The piece is both theatrical and imaginative, showcasing the orchestra’s ability to create atmosphere and narrative through sound.
6. Edvard Grieg (1843–1907)
Homage March from Sigurd Jorsalfar
The Homage March forms part of the incidental music written by Grieg for Bjørnstjerne Bjørnson’s drama Sigurd Jorsalfar (1872). The music accompanies a ceremonial scene honouring the returning Norwegian king Sigurd after his crusading journey. With its stately rhythms, bright orchestration, and festive character, the march captures a spirit of celebration and national pride. It stands as one of Grieg’s most impressive orchestral ceremonial pieces.
7. Gustav Holst (1874–1934)
I Vow to Thee, My Country
The hymn I Vow to Thee, My Country is based on the central melody from the “Jupiter” movement of Holst’s orchestral suite The Planets. Known as the tune “Thaxted,” the melody became widely loved in Britain after it was paired with Sir Cecil Spring Rice’s patriotic text. Noble, expansive, and deeply moving, the music rises gradually to a powerful conclusion. Its broad melodic lines and majestic harmony bring the concert to a dignified and uplifting close.
See you all this Friday,
Yoshi
