Sinfonietta for symphony orchestra (1949)

This is the composition with which 21-year-old Baird made his impressive debut in Łagów Lubuski, during the National Congress of Composers and Music Critics organised in the summer of 1949. During a discussion following this unofficial premiere, Piotr Perkowski pointed to the great talent displayed by Baird, who after merely seven months of study had mastered the entire composition curriculum.

The work consists of three movements, combined in accordance with the principle of contrast of tempo and expression.

I. Con moto

It has the concise form of a sonata allegro, with a very melodious and “bright” first theme (initiated by the flute) and just as melodious, but “darker” second theme (played by the cor anglais). The sonic material is subordinated to the central chord (of D major), which opens and closes the movement. 

II. Adagio, sostenuto e tranquillo (in modo d’una canzona)

This is a very beautiful, moving, mysterious and sad song. The musical narrative is based on an ostinato (played by the double basses, cellos, tympani and harp), oscillating around the note C and even the C minor chord. This is the basis for a polyphonic action – melodious and highly chromatic theme presented by the flute. The outline of the entire movement is that of an arch shaped by the dynamics and volume of sound.

III. Allegro molto ed energico

Here we can hear a return of the energetic nature of the first movement. Although the composer does refer to the two previous movements here, he also introduces a new element – a signal-like point motif, from which he derives the main theme of the third movement. The dramaturgy of the entire piece is based on an arch the climax of which comes in the form of a calm cantilena reached and left behind in a rapid and dazzling manner, A coda crowned with a D major chord (tutti, fff) provides an “optimistic” ending to the work.

The beginnings of Baird’s career as a composer met with some criticism from, for example, Stefania Łobaczewska:

Sinfonietta is a pleasant sounding, very well made toy, which contains no profound artistic thrills. And this is worrying, especially in the case of such a young composer, who displays such ease when it comes to the compositional technique. The second movement suggests that Baird has an extraordinarily valuable gift of melodic invention, but he only gives us a taste of this talent of no special value.