Malcolm Arnold (1921-2006) Serenade for small orchestra, op.26 (1950)

Listeners are presented with a conundrum when listening to Malcolm Arnold’s music. It is often described as either ‘light’ or ‘heavy’. This disparity also illustrates the troubled personality of the composer. On the one hand, there is the lively, tuneful music frequently found in Arnold’s film scores, overtures and the several ‘national’ Dances. Sometimes, these works used ‘pop’ tunes, hints of jazz and characteristically present a sunny disposition. And then there are the ‘heavy’ pieces. These include works such as the bleak later symphonies and the String Quartet No.2, op.118. It is possible that some listeners are repelled by the seeming frivolity of the ‘light’ music with others are put off by the intensity of the ‘heavy.’

What must be remembered is that every work that Malcolm Arnold wrote is characterised by structural craftsmanship and a rare attention to detail.

The ‘light music’ Serenade for small orchestra, op.26 was finished on 8 May 1950. This was a fruitful period for the composer which produced the ever-popular first set of English Dances, op.27 and the second Divertimento for orchestra, op.24. The most rewarding (financially) task, was writing film scores for both features and documentaries, with nine examples produced at this time. The previous year had seen the completion of his Symphony [No.1], op.22 and the rarely heard Quartet for strings [No.1], op 23. 

The Serenade is written in three well-balanced movements: 1. Allegretto, 2. Andante con moto and 3. Allegro vivace. It reflects the spirit, if not the letter, of 18^th century Divertimenti. The structure of each movement is straightforward, with an abundance of attractive melodies. The work opens with ‘typical’ Arnoldian music defined by a gentle and largely ‘innocent lyricism’ with just a hint of more complex dissonances. Just occasionally, something a little hard-edged emerges, but is soon pushed out of the way.  Meredith and Harris (Malcolm Arnold: Rogue Genius: The Life and Music of Britain’s most misunderstood composer, 2004) have written that this movement is a fusion of ‘rural peace’ and a reflection on the ‘bustle and pressure’ of his life at that time. The ‘Andante con moto’ is calm with a touch of ‘jazz’ in the woodwind. There is considerable tension between the deliciously poised opening melody and the more forceful muted brass and pizzicato in the middle section. The main theme returns, bringing this diverse and poetic movement to a close. The finale is characteristic of Arnold’s light music frequently heard in his comedy film scores. It is lively, boisterous and full of rhythmic detail that owes much to William Walton.

The entire piece is lightly scored with the timpani and the trumpets being used with restraint-except in the final movement.

The premiere performance was at The Orangery, Hampton Court on 4 June 1950. It was included in a concert featuring Handel’s Water Music (Hamilton Harty’s arrangement) Haydn’s Symphony No.31 and Mozart’s ‘Coronation’ Piano Concerto in D major, K.537. The New London Orchestra was conducted by Alec Sherman.

Some critics were disappointed by the Serenade. Arnold was accused of using ‘salon music and American jazz.’ More damning was the suggestion by The Scotsman newspaper that the work was a ‘confection’ of Britten, late-Bartok and Shostakovich with ‘sly oleaginous references to Melachrino.’ George Melachrino (1909-1965) was a then-popular light music composer and bandleader.

It is this stylistic imbalance that makes the Serenade for small orchestra so appealing and ultimately successful.

Listen to Malcolm Arnold’s Serenade for small orchestra, op.26 (1950) on YouTube