Musical Director's notes and sound files for the Winter Term 2026
This term’s programme has been put together very deliberately as a cohesive musical journey, rather than a collection of unrelated pieces. At first glance, the works may seem quite different: Mozart at his most classical and elegant, Brahms sounding richer and more romantic, and Strauss writing with a grand orchestral palette while looking firmly back to the Baroque. But one idea runs quietly through all three — each composer, in their own way, looks backwards in order to move forwards.
Mozart reshapes an older, celebratory form into something symphonic; Brahms reaches for classical models as a way into orchestral writing; and Strauss takes 18th-century keyboard music and reimagines it through a modern orchestral lens. In different ways, all three show how musical tradition isn’t something to escape from, but something to build upon.
In some respects, this term’s programme is about classical structures and dance. Serenades, divertimenti, and symphonies all have roots in music written to move, entertain, and bring people together. That sense of character and movement — from stately grandeur to lighter, dance-like gestures — gives the programme a shared feel, even as the musical language changes across centuries.
For us as an orchestra, these works allow us to think about ensemble playing beyond notes and technique. We’ll be exploring how the character of individual movements contributes to the wider shape of a piece, how listening and balance change from style to style, and how music from different periods can feel connected beneath the surface. This term also gives us a chance to continue building trust between conductor and orchestra, develop section-specific ensemble skills, and grow the comfort and confidence of the group as a whole.
Most importantly, though, I hope this term is just as fun as the last!
W. A. Mozart – Symphony No. 35 in D major, K.385, “Haffner”
The “Haffner” Symphony began life as a serenade, written for a celebratory occasion, before Mozart transformed it into a full symphony. That festive origin never quite disappears: this is a work full of energy, confidence, and brilliance.
It has all the hallmarks of mature Mozart — elegance, operatic drama, playful contrasts, and a wonderful sense of forward motion. Even while working within classical forms, Mozart makes them feel fresh and alive. As a Mozart lover, this is one of my favourite pieces, and I’m so excited to be sharing it with the orchestra.
Johannes Brahms – Serenade No. 1 in D major, Op. 11
Brahms originally imagined this piece on a much smaller scale, before gradually expanding it into an orchestral work. Calling it a “serenade” was a conscious choice: writing a symphony felt like stepping into Beethoven’s shadow, and this older classical form offered Brahms a safer, more flexible way to explore orchestral writing.
Despite being an early orchestral work, it already shows many traits of the mature Brahms — warmth, depth, and rich textures — alongside clear influences from Beethoven and earlier traditions. It’s a piece that feels reflective and generous, balancing intimacy with breadth.
Richard Strauss – Divertimento after Keyboard Pieces by François Couperin, Op. 86
Strauss’s Divertimento is based on keyboard pieces by François Couperin, written for harpsichord in the early 18th century. Rather than turning them into a single symphonic statement, Strauss preserves their character as a collection of smaller, contrasting movements.
Although written for full orchestra, much of the music feels chamber-like, with solo winds and unusual instrumental combinations stepping into the spotlight. By looking back to Couperin’s character pieces, Strauss creates something playful, elegant, and surprisingly intimate — and invites us to explore a different way of playing together, where listening and musical conversation are central.
Suggested recordings for the programme
MOZART
Nathalie Stutzmann & the Swedish Chamber Orchestra - My favourite recording of the first movement! The energy!
Herbert von Karajan & the Berliner Philharmoniker - A much larger recording and very legato:
BRAHMS
Mark Austin & the Faust Chamber Orchestra - The tempo aligns with ours well:
Jaime Martin & the Gävle Symphony Orchestra: a little on the fast side, but captures the spirit of the dances so well:
STRAUSS
Jun Markl & the New Zealand Symphony Orchestra (second piece on the album):