Boulogne - Symphony No. 1 in G major, Op. 11

The amazing life of Joseph Boulogne was recently turned into a film, and for good reasons. Born in the island of Guadeloupe, son of a plantation owner and a slave, Boulogne was taken by his father to Paris in his youth, and there he excelled not only as a composer but also as a fencer, eventually becoming a knight (“chevalier”). As a military man, his symphony No. 1 demonstrates discipline in its construction and development, following strict compositional rules. With only three movements, this symphony is considered old fashioned for the time when it was written, but none the less, it is a testament of the work of one of France’s most successful musician, the first composer of African ancestry who achieved great fame and success in classical music.

His Symphony No. 1 in G major, Op. 11, is part of a set of works that highlight his abilities as both a conductor and composer, particularly during his tenure as the conductor of the Concert des Amateurs, one of the leading orchestras in Paris. Written around 1779, it showcases his remarkable talents and offers a glimpse into his highly melodic and energetic style, which mirrors the elegance and sophistication of the Classical period.

Haigh - Grin
Winner of the 2024 LCO Call-for-Scores

Irish/British composer Robin Haigh works internationally with leading orchestras, ensembles, and soloists. Described as possessing an “idiomatic and unique compositional approach, blending together styles [...] in a way that feels genuine, honest, real” (What is Metamodern? Journal), Haigh’s output includes the orchestral works SLEEPTALKER (Ivor Novello Award Nominee) and Grin (Ivor Novello Award Winner 2020) written for the London Philharmonic Orchestra and Britten Sinfonia respectively, ensemble works AESOP 2 (Ivor Novello Nominee) and FILTH for Orchester im Treppenhaus, quadruple trombone concerto THE DREAMERS for Aldeburgh Festival, and the British Composer Award-winning recorder quintet In Feyre Foreste. (Learn more)

To Grin is to smile with exposed teeth. When we grin, we expose perhaps the most destructive part of the human anatomy as a signal of joy or amusement, the part of us which only really exists to grind down organic matter into tiny pieces. While writing this piece, I was reminded of videos in which demonstrations of extremely destructive machines are paired with cheerful, peppy music to entice potential corporate customers, producing something absurd, comical, and somewhat disturbing. The brutality of the imagery in these videos is somehow matched by accompanying music which is in its own way brutal; brutally repetitive, and brutally cheerful, like a forced grin.

Mozart - Symphony No. 36 in C major “Linzer,” K. 425

Mozart's Symphony No. 36 in C major, K. 425, commonly known as the "Linz" Symphony, was composed in just a few days in 1783 during a visit to the Austrian city of Linz. This symphony is a prime example of Mozart's mastery in combining grace and brilliance with structural clarity and emotional depth. Here are the program notes for the symphony:

The Linz Symphony was composed under unique circumstances: After returning from Salzburg with his wife, Constanza, Mozart stopped in Linz on their way back to Vienna. They were the guests of Count Thun, who requested a symphony for a concert just days away. Despite having no prepared music with him, Mozart completed this symphony in a remarkable four-day span. The work was premiered on November 4, 1783, in Linz.

This symphony marks a transitional period for Mozart, showcasing his evolving symphonic style that balances the light-hearted charm of his earlier works with the more dramatic, mature style he would explore in his later symphonies.

The Linz Theatre, where Mozart’s Symphony No. 36 premiered