Conductor Natalia Luis-Bassa
Violin
Iona McDonald
Friday 15 July, 6pm
Perth Concert Hall
Puccini
Manon Lescaut: Intermezzo from Act III Page 10
Bruch
Violin Concerto No.1 in G minor, Op.26 Page 12
Borodin
Symphony No.2 in B minor Page 16
Welcome to our summer extravaganza! This evening we bring you a wideranging concert. One of the challenges for young musicians is to learn how to accompany a soloist. We all need to be in sync and really learn to listen to the soloist to be able to accompany in the correct way, so this was our biggest learning outcome on the course.
We are accompanying a NYOS alumna, which is always a source of pride for the organisation and a fantastic way to have a role model for the younger generations. Violinist Iona McDonald joins us to perform Max Bruch’s Violin Concerto No.1 in G minor, Op. 26, one of the most popular concertos in violin repertoire. Full of beautiful melodies, and alongside his Scottish Fantasy, it is one of the composer’s most famous works. The musicians were presented with a concerto that is not merely accompanying with simple rhythms and melodies, on the contrary, it is full of challenges, and we worked hard to get it right!
We are opening the concert with the intermezzo from the opera Manon Lescaut by my favourite opera composer, Puccini. This piece contains some of the most expressive music ever written. In this piece, we concentrate on sound production and how to follow the conductor because it is full of rubato. Sometimes it can be challenging when the tempo is not the same from the beginning to the end, but we did it!
We are closing the concert with the Borodin Symphony No.2; we worked on some of the movements during the spring course, and added two more from the piece for our final concert.
Russian composer and music critic Cesar Cui said: “The first movement is like an everyday picture of some solemn ritual; the last movement is a vivid, motley, varied celebration of sparkling gaiety.” I could not describe it better myself.
I feel honoured to have worked with NYOS again, and so happy to be back in bonnie Scotland.
Natalia Luis-Bassa Conductor
Natalia is a dynamic conductor and a passionate advocate for young musicians’ education, forming partnerships with many institutions like the National Children’s Orchestras of Great Britain, National Youth Orchestras of Scotland, Royal Conservatoire of Scotland, Leeds Conservatoire, Oasby Music Group and most recently with the Benedetti Foundation amongst others. She is also a record-breaker as the first person to obtain a degree in Orchestral Conducting in her native country of Venezuela.
After completing her postgraduate studies at the Royal College of Music in London, she held the RCM Junior Fellowship in Opera Conducting for two years. Her relationship with the RCM continues to this day as she is a Professor of Conducting there.
Natalia holds a Master’s degree from the University of Huddersfield where she is a part-time lecturer and has been appointed Elgar Ambassador.
Promoting the conducting craft for young people has been a highlight of her career and she has held many successful workshops around the country.
Iona McDonald is a violinist recently graduated from the Royal Academy of Music in London where she obtained her undergraduate and postgraduate degrees studying with Maureen Smith and Michael Foyle. Iona was a member of the National Youth Orchestras of Scotland from the age of 8, touring China in 2015, performing at the BBC Proms in 2016 and leading the Symphony Orchestra in its 2017 season.
Iona is a member of the Asaka Quartet, formed at the Royal Academy of Music in October 2021 where they were selected for the prestigious Frost Trust Advanced Specialist Strings Ensemble Training Scheme (ASSET). After just six months of working together, they are delighted to have been appointed Chamber Music Fellows at the Royal Academy for 2022/23.
Iona is passionate about music education and has been working with the Benedetti Foundation since January 2020 where she currently works as a Senior Lead Ambassador.
She is also a keen orchestral player and has been a member of the Gustav Mahler Jugendorchester since 2019. She is looking forward to joining them for their Summer Tour in August conducted by Herbert Blomstedt. She has performed regularly with the Royal Academy of Music Symphony Orchestra which she recently led for their performance of Mahler’s Symphony No.3 at the Royal Festival Hall conducted by Semyon Bychkov for the Academy’s 200th Anniversary Concert in June 2022.
Iona has performed as soloist with Buxton Music Society, Musicale, Halifax Symphony Orchestra, Glasgow Chamber Orchestra and High Peak Orchestra.
“I am absolutely delighted to be joining NYOS Junior Orchestra to perform Bruch’s Violin Concerto No.1 in G minor. This concerto is one of my favourites, in particular its expressive and passionate slow movement.
I was a member of NYOS for 9 years, I first joined at the age of 8 where I played in the string training ensemble and worked my way through the ensembles up to the Symphony Orchestra which I led in 2017. Some of my most inspiring musical experiences have been through my time with NYOS. To be returning as a soloist is such a pleasure.”
When opera first became popular in early 17th-century Italy, composers typically wrote about grand figures from mythology or history, often retelling stories through music that audiences would have been familiar with. Later in the 18th-century, some operas began to reflect everyday life more closely; Susanna, a maid, is arguably the main character in Mozart’s The Marriage of Figaro. This trend continued in the 19th-century with the emergence of ‘verismo’ (Italian for realism) operas, which told stories rooted in real life, albeit often in exceptionally dramatic fashion.
DURATION 4 minutes
YEAR OF COMPOSITION 1893
Puccini was arguably the leading exponent of this genre. His opera Manon Lescaut, from which this intermezzo is taken, has all the hallmarks of a classic verismo opera: morally dubious characters, doomed romances, crime, and tragedy.
THE WORLD IN 1893...
New Zealand becomes the first country in the world to grant women the right to vote in parliamentary elections.
Thomas Edison finishes construction of the first motion picture studio in West Orange, New Jersey.
This intermezzo is performed between the second and third acts of the opera as the title character, Manon, is being taken to jail. Its dark and mysterious opening, played by the lower strings, gives way to impassioned melodies as Manon thinks of her first love.
The score is marked with many Italian expressions - con espressione, sostenendo, expressivo - to encourage the players to portray the depths of Manon’s emotions at this point in the opera and to shape the long melodic lines with beautiful phrasing.
By Jack Johnson (© NYOS, 2022)Intermezzo – a short piece of music that is performed between two major sections of a bigger work such as an opera.
Mascagni – Intermezzo from ‘Cavalleria Rusticana’
One of the most popular operatic intermezzos, like Puccini’s built around expansive and lyrical melodic lines.
i. Vorspiel: Allegro moderato
ii. Adagio
iii. Finale: Allegro energico
Bruch’s first violin concerto has enjoyed incredible popularity since its premiere over 150 years ago, to the extent that he has frequently been regarded as a ‘one-hit wonder’. This fact annoyed the composer, who towards the end of his life would complain that nobody wanted to perform his other compositions, including his two subsequent violin concertos. One factor in this might be that Bruch resisted the many exciting musical developments that occurred during his long life.
DURATION 25 minutes
YEAR OF COMPOSITION 1866
THE WORLD IN 1866...
The US Congress passes the Civil Rights Act, the first US legislation to affirm that all citizens are equally protected by law. In the wake of the American Civil War this was intended to protect the civil rights of Black people, who had previously been enslaved in many parts of the country.
Alfred Nobel invents dynamite. He left his fortune, made from military weapons, to the creation of the famous Nobel prizes, including one for Peace, to try and change his legacy.
He was born a decade after the death of Beethoven and died after composers such as Schoenberg and Debussy had begun to make radical breaks with traditional musical concepts, and jazz music had captivated the USA. Bruch composed in a resolutely 19th-century German romantic style for his entire life. That said, the concerto does break with some conventions. It abandons the traditional long orchestral introduction followed by a statement of the main theme from the soloist. The violin enters after just a few bars from the orchestra, playing extended winding passages across its range that sound almost like improvisations
The movement builds in tension to a stormy orchestral climax midway through, followed by a return to the improvisatory figures of the opening. Rather than ending in another dramatic flourish, the first
movement effectively melts into the slow second movement without a break.
The second movement showcases the violin’s lyrical singing qualities with a beautiful melody, tenderly supported by the orchestra. This is followed by a riotous and virtuosic finale, influenced by the traditional Hungarian folk dances that were popular around Central Europe at the time the concerto was written.
By Jack Johnson (© NYOS, 2022)
These seven concertos display an extraordinary breadth of styles ranging from neo-classical to experimentation with unconventional sonorities and techniques.
These concertos are often grouped with Bruch’s first to represent the four great German violin concertos of the 19th century.
First Violin
Rhea Fitzgerald, Edinburgh (Leader)
Adeline Boulet, Crieff
Gavin Bryson, Glasgow
Tiffany Cai, Ayr
Emily Chong, Glasgow
Grace Cooper, Edinburgh
Struan Cottee, Dunbar
Aeronwy Gault, East Dunbartonshire
Eleanor Hanson, Huddersfield
Hailun Hu, Edinburgh
Lara Johnston, Livingston
Lewis O’Keefe, Edinburgh
Ula Seatle, Edinburgh
Ayana Selvarajah, Glasgow
Alina Tang, Glasgow
Becca Ye, Edinburgh
James Yu, Glasgow
Second Violin
Eirene Cai, Edinburgh
Oi Cheng Yuet, Edinburgh
Daria Derevyankin, Tarbert
Xiurong Gong, St Andrews
Caitlin Ke, Glasgow
Anjalie Khan, Edinburgh
Joseph Knapper-Hirst, Glasgow
Owen Lai Pak Ming, Glasgow
Anastazja MacIver, Bridge of Weir
Sandy McCreath, Glasgow
Simon Mercieca, Edinburgh
Isla Rae, Glasgow
Daniel Richardson, Edinburgh
Henry Shulayev-Barnes, Aberdeen
Ramsay Stubbs, Fort William
Jonathan Turner, Aberdeen
Qing Xiao Yang, Edinburgh
Sonia Zhang, Edinburgh
Viola
Hannah Cook, Glasgow
Hannah Gregory, Stirling
Seona McKendrick, Edinburgh
Stephen O'Neill, Edinburgh
Katherine Ross, Glasgow
Cello
Will Archibald, Langholm
Daniel Armstrong, Cupar
Freddy Beeston, Edinburgh
Alexandra Casson, Edinburgh
Ross Davis, Lauder
Patrick Fourie, Glasgow
Gemma Gowans, Glasgow
Henry Jones, Newbridge
Olivia MacIver, Bridge of Weir
Jamie McCreath, Glasgow
David Postatny, East Dunbartonshire
Danny Urquhart, Stirling
Double Bass
Finlay Bryce, Glasgow
Callum Campbell, Glasgow
Gillan Emmott, Rutherglen
Hector Murray, Edinburgh
Flute
Elizabeth Greenstock, Isle of Lewis
Alistair Hillis, Glasgow
Zuzanna Kujawa, Uddingston
Aurora Margiotta, Edinburgh
Oboe
Jamie Dickinson, Glasgow
Ellie Digger, Glasgow
Reuben Scott, Glasgow
Clarinet
Heather Bentley, Glasgow
Megan Fisher, Fearn
Rachel Leung, Glasgow
Rose Veitch, Aberdeen
Bassoon
Reuben Clark, Glasgow
Max Docherty, Glasgow
Theodora Gherghe, Glasgow
Aneesa Phillips, Glasgow
French Horn
Lucy Arbuckle, Glasgow
Magnus Campbell. Glasgow
Darcy Cowie, Stonehaven
Eryn Furie, Ballantrae
Rhona Langford, Glasgow
Trumpet
Finlay Brooks, Stirling
Sarah MacDonald, Spean Bridge
Trombone
Ruth De Villiers, Dundee
Angus Freeman, Aberdeen
Lilla Hicks, Helensburgh
Tuba
Alastair Gilmour, Glasgow
Heather Shiels, Paisley
Percussion
Nikhil Bollapragada, Glasgow
William Ewins, Edinburgh
Amelia Leishman, Edinburgh
Jeevan Thomas, Stirling
Harp
Brigitte Harrigan Lees, Edinburgh
Annabelle Nordmann, Glasgow
Special thanks to the Leverhulme Trust for supporting our young musicians. As Leverhulme Arts Scholarship recipients, many of the musicians listed have received bursary support thanks to funding from the Leverhulme Trust.
Correct at the time of going to print
i. Allegro moderato
iii. Andante
iv. Finale: Allegro
DURATION 33 minutes
YEAR OF COMPOSITION
1869-1876, premiered 1877
THE WORLD IN 1877...
The first human cannonball act in the UK, and probably the world, is performed by 14-year-old Rossa Matilda Richter at the London Aquarium.
Emile Berliner invents the microphone.
Thomas Edison announces his invention of the phonograph, a machine that can record sound.
Borodin was a member of ‘The Mighty Handful’, a group of 19th-century composers dedicated to creating a unique Russian style of classical music, drawing on local folk music and harmonies from the Russian Orthodox tradition. His Second Symphony is often regarded as his most successful large-scale symphonic work. It was composed over a seven-year period, during which Borodin also wrote his magnum opus, the opera Prince Igor.
This work is often considered a nostalgic portrait of Ancient Russia, a medieval world of knights and heroic figures, which in a contemporary context might seem romanticised and sanitised. It opens with a foreboding theme played in unison by the strings. With great inventiveness, Borodin references this theme throughout the movement across the orchestra, particularly strikingly in the brass instruments, which add to the heroic atmosphere.
The central movements bring significant shifts in mood. The third is incredibly serene, led by beautiful solo passages for the clarinet and horn, and conjures a mythical past as depicted in Russian folk tales.
The festive final movement brings the symphony to a celebratory climax, its lively themes inspired by traditional Slavic dances. The celebratory atmosphere is enhanced by the vibrant percussion
section: cymbals, triangle, tambourine and bass drum, which drives the movement to its triumphant end.
By Jack Johnson (© NYOS, 2022)Magnum opus – Latin for ‘great work’, usually refers to what is considered to be an artist’s greatest work, the pinnacle of their achievements.
Copland – Appalachian Spring
This ballet, written in the mid 20thcentury, also uses folk-like music to paint a nostalgic portrait of the origins of the composer’s homeland (the USA).
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CONDUCTORS’ CIRCLE
Ms Lindsay Pell and Professor Chris Morris
Professor Marjorie and Dr David Rycroft
NYOS SYMPHONY ORCHESTRA
Principal Chair Sponsors
The Baron of Balvaird Principal Harp
Mrs A M Bennett Double Bass
Mr and Mrs Timothy Laing Piano/Celeste
Geoffrey and Jean Lord Percussion
Mr Michael J Pell Bassoon
Dr Myra Soutar French Horn
St Fillans Music Circle Viola
Chair Sponsors
Kirsty Adam Cello
Charles Arbuthnot
Lord and Lady Cameron of Lochbroom Violin
Colin E Christison Viola
Alan Davis Cello
Dr T and Mrs Y Fitzgerald Violin
Mr Andrew Hadden Violin
Mrs Iain Harrison Cello
Professor David Hamilton Lawson Oboe
Carolyn Lawson Timpani
Duncan and Sarah MacIntyre Violin
The Rt Hon Lord MacLean
Mr and Mrs Thomas McCreery
Mr Robin Pagett and Mrs Kate Longworth
Professor and Mrs Kenneth Paterson
In memory of Ian Robertson Bassoon
Mr and Mrs Mark Seymour
Maureen Simpson Cello
Dr C D and Mrs K A Sinclair
Mr A L Stewart French Horn
Lorna and Patrick Stewart Double Bass
Graham Taylor MBE Trombone
Peter Thierfeldt Double Bass
Mrs Ann Verney Cello
Mr and Mrs R M Williamson
Graeme and Ella Wilson
Dr and Mrs Paul Wilson
NYOS JAZZ ORCHESTRA
Chair Sponsors
Tim and Sally Barraclough Percussion
Theo and Noah Rossi Piano
NYOS JUNIOR ORCHESTRA
Leader Chair Sponsor
Alan and Jan Simpson
Principal Chair Sponsor
Dr Myra Soutar Second Violin
HONORARY CHAIR SPONSORS
In memory of Richard Chester MBE
Sarah Chester
We are incredibly grateful to all our sponsors and funders listed above for their continued support. NYOS also acknowledges those who wish to remain anonymous.
Professor and Mrs Andrew Bain
Sandra Bale
Mr Douglas Burke
Mr Graham Bygrave
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Mrs R Coleman
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Mr and Mrs A Craig Duncan
The Countess of Elgin and Kincardine
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Mr Malcolm Fleming
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We are incredibly grateful to all our friends and supporters listed above for their continued support. NYOS also acknowledges those who wish to remain anonymous.
Or visit: www.nyos.co.uk/support/
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Helen Douthwaite Course Manager
Ethan Skuodas Orchestra Logistics
Roddy Long First Violin and Strings
Simon Graham Second Violin
Shelagh McKail Viola
Miranda Phythian-Adams Cello
May Halyburton Double Bass
Lis Dooner Flute
Fraser Kelman Oboe
Andy Langford Clarinet and Wind
Bec Roberts Bassoon
Steve Cowling French Horn and Brass
Andrew Connell-Smith Trumpet
Andrew Foden Trombone
John-Paul O’Hagan Tuba
Calum Huggan Percussion
Helen Thomson Harp
Yla Garvie Head
Eleanor Macqueen
Anne Moynihan
Lorna Murray
Liam Orr
Andrew Vettraino
Scott Whitefield
Lindsay Pell Chair
Francis Cummings
Kirsteen Davidson Kelly
Kate Miguda
Kenneth Osborne
Oliver Searle
Emma Stevenson
Kirsteen Davidson Kelly
Chief Executive
Jacqueline Rossi
Head of Development
Carole Lyons
Head of Finance
Judith Archibald
Head of Ensembles
Anthony Coia
Marketing & Communications Manager
Jack Johnson
Development Manager
Nicole Bull
Finance Officer
Hayley Gough
Administration Manager & PA to Chief Executive
Helen Douthwaite
Classical Ensembles Manager
Joanna Burns
Jazz Ensembles & Outreach Manager
Madeleine Coxshott
Ensembles Co-ordinator
Amy Cook
Kickstart Projects Assistant
nyos.co.uk/soundings
NYOS is developing a new strategy to build on our 40-year legacy of youth music delivery.
To do this we need to hear from people with a wide variety of experiences: young musicians, parents, former NYOS members, music teachers, partner organisations and audience members, as well as those who aren’t involved with NYOS but might like to be.
To share your views about NYOS and its future direction, please use the QR code below or visit nyos.co.uk/soundings and complete a short survey. NYOS members are also invited to join an online focus group discussion on 24 or 30 August from 6.30pm to 9pm. All survey and focus group participants will be invited to enter our prize draw to win a £100 Ticketmaster gift card.
Facilitated by
FRIDAY 29 JULY, 7PM
NYOS Senior Orchestra
Ayr Town Hall
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THURSDAY 4 AUGUST, 7.30PM
NYOS Symphony Orchestra
Music Hall, Aberdeen
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FRIDAY 5 AUGUST, 7.30PM
NYOS Symphony Orchestra
Caird Hall, Dundee
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FRIDAY 14 APRIL 2023, 7.30PM
NYOS Symphony Orchestra
Usher Hall, Edinburgh
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SATURDAY 15 APRIL 2023, 7.30PM
NYOS Symphony Orchestra
Glasgow Royal Concert Hall
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