Die Jahreszeiten: Sommer

The Seasons

A Symphonic Celebration of Summer, Autumn, Winter and Spring

Summer is the first of the four movements of Michael Lawson's symphonic suite, The Seasons. If required, Summer may be performed on its own. Ideally, all four movements should be performed together in the order of Summer, Autumn, Winter, and Spring. Each movement is published separately and may be found in the works section.

Programme music is intended to evoke images or convey the impression of events, or even the step-by-step telling of a story. By giving this orchestral suite the title of The Seasons, I deliberately stepped into programme music territory, not only by sharing a famous classical title (in works by Vivaldi, Haydn, Tchaikovsky, Glazunov and others) but by allowing my own imagination to be stimulated by the rich beauty and also the poignancy of nature’s annual cycle.

Composers have depicted this cycle in a variety of creative ways. Glazunov’s Seasons is a ballet; Tchaikowky's is in miniatures for the piano; Haydn’s is choral; Vivaldi’s great work is not one but four violin concertos. Their special characteristic of this "Seasons genre" is they all tell stories. So conscious of the accomplishments of such esteemed company, what of my own work - what story might remain for me to tell?

For instance, what kind of music might be inspired by our alarming climate instability? A concerned composer like myself might choose to dramatise some present and future climate catastrophe. That is certainly of value, and some composers are beginning to travel such a path. However, the story of the Seasons that I wish to present is closer to an impressionist painting than a detailed study or depiction of events. The Impressionist I have in mind is the British painter, Turner, whose romanticism often revealed a deeper passion beneath the surface of the events and scenes he depicted. What would Turner have made of climate change, I wonder? For myself, by depicting the Seasons, differentiated as they still are, (but for how long?) I share our contemporary environmental concerns. But the intention of the four contrasted movements is not simple tradition. Instead, I wish to draw attention to the sheer wonder of the life cycle as we on earth have received it: the joy, the pathos, the richness and the hope our four seasons represent.

So, thinking of story lines and nuance - whatever intellectual stimulus a musical work may raise, I am a composer who likes music to be music. My preference is not to overly rely on philosophy or in fact any kind of extra-musical programme, beyond the most general. I am also conscious that like the most famous examples I have mentioned, the music still has to be able to stand on its own, as if we know nothing about its title and intention. Like we caught it by chance by turning on the radio, and knowing nothing about it, still able to be entranced by the music as music.

Having written those sentences, I realise (fortunately) not everyone is like me, and we have different ways of listening to and appreciating music. What matters most for some may be indeed that music evokes pictures. For others, it’s the emotional narrative that counts. For others still, it may be quasi-intellectual with the unfolding shape of the ideas and material being more to the fore. Or perhaps a combination of two, three or more. Surely the main thing about music is to enjoy it!

So, when you eventually hear my version of The Seasons, of course I invite you to recognise the different divisions of the year and their characteristics. But however you enjoy music, if you are emotionally shaped like me, then the music may prompt you to sense deeper levels of our life cycle too, and yes, to reflect on the dire state of climate instability we have inflicted on this good planet upon which we sojourn - and motivate ourselves to the radical action which may save it.

How was the suite composed? Spring (the last in the cycle) was written first. The initial draft was composed in a rush of inspiration over one weekend, for three pianos. I was enthused by what I had written but hadn’t a clue what to call it, or what to do with it. And for that matter three pianos are not a hugely practical ensemble for performance either! So I sent it to friends for comment. As a result, it was variously named, with nearly-but-not-quite-titles such as “Carnival” and “Summerdance”. Then I thought, why not elaborate and orchestrate it? And that was the key that finally unlocked the music.

In scope it not only grew like Topsy, the title “Spring”, with all its promise of new life now seemed exactly where the music was at. In fact, growingly aware of how the music touched that deeper level of meaning, on the score I scribbled the Latin word, “Resurgam” (Rise again!)

Spring of course has many connotations. The music here is unashamedly expectant and hopeful, yes, and joyful too. The composition of Spring also meant here was a Season in search of three others. That’s the strange way that music is sometimes born.

So I adapted a recent saxophone movement called Night Song, and turned it into a balmy summer’s evening with Alto Saxophone and Trumpet duetting with commentary from the woodwind and strings. Then came Autumn. It can be a beautiful and richly coloured season, but here the opening strings are in a sense ambiguous, and render a sense both of serenity, but also an emotional taste of the season which is to follow. Nonetheless, all that swiftly gives way to a lilting and expressive waltz time melody whose orchestral treatment I must say embodies all my heart, especially in the two clarinets soloists who take on advocacy for that melody second time through. Everyone in the orchestra has their own comment and contribution.

Winter was the last movement to be composed. Yes, as you’d expect it’s strong and powerful, funereal even, yet intriguingly detailed too. I don’t know what pictures it will conjure up for you. But if you feel your heart throbbing with the pounding bass, and timpani towards the end, you’ll certainly have identified with what the music portrays - whatever that is! (You can make up your own programme story if you like too.) Of one thing I am certain, like the Seasons, Winter is definitely not the end. Hence Spring, Resurgam, and new life promised, which is the hope and inspiration I guess we all need. For there are times, as I believe, when music speaks to us from beneath the surface. In a language of the emotions an otherwise hidden reality is unveiled, more persuasive, more richly and deeper impassioned than words, however powerful will ever achieve.

Michael Lawson’s “The Seasons” was commissioned for the Royal Wedding Celebration Concert at the Cadogan Hall, London and was first performed by the London Festival Sinfonia in 2018.