Development
Spring 2025
Catherine Larsen-Maguire Conductor Adam Lee Soloist 19 April Perth Concert Hall
Programme Conductor Catherine Larsen-Maguire
Soloist Adam Lee Clarinet
Programme Avril Coleridge-Taylor Óscar Navarro Daniel Kidane Smetana
Sussex Landscape Clarinet Concerto No 1 Breakbeat ‘Vltava’ from Má Vlast
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Welcome I have the great privilege of welcoming you to this Spring Concert given by NYOS Development! I am incredibly grateful to have been a part of NYOS Development for the past three years. During this time, I have experienced significant growth and development in my musical journey. The best part of being in NYOS Development is that it's more than just playing in an orchestra, it's a community of like-minded individuals who share a deep passion for orchestral music. There's an indescribable feeling in knowing that everyone around you is experiencing the same emotions through the music. Each of us plays a vital role, and without any one of us, the sound wouldn't be the same. It's about sharing the responsibility, effort, and joy that music brings to all of us. I am especially excited to perform Sussex Landscape by Avril Coleridge-Taylor. She has been a major inspiration to me, breaking significant barriers in classical music, particularly as a woman of mixed heritage. Despite facing adversity and harsh criticism, she continued to pursue her passion. Thank you all for coming and we hope you enjoy the concert!
Becca Ye © Fraser Band
Becca Ye Leader, NYOS Development 2025
Catherine Larsen-Maguire We are thrilled to have our Music Director Catherine LarsenMaguire conducting the NYOS Development orchestra for the first time. Catherine took up her three-year tenure as Music Director for NYOS in 2024 and this year, she will work with both our orchestras, as well as NYOS Camerata — look out for more information coming soon. A consummate artist who combines an innate musicality with a superlative technique, and an astute musical ear with an infectious dynamism on the podium, Catherine Larsen-Maguire has become a sought-after conductor, whose performances are ‘charged with recreative energy, flexible tempi, scrupulous balance and interpretative reach’ (The Arts Desk), and who remains supremely versatile, equally at home in the traditional orchestral canon and with the music of today. Catherine Larsen-Maguire has in recent years conducted orchestras including the London Philharmonic, BBC National Orchestra of Wales, Scottish Chamber Orchestra, Royal Northern Sinfonia, Orchestre National du Capitole de Toulouse, Orquesta Sinfónica de Galicia, Orquesta Sinfónica de Tenerife, Orquesta de Extremadura, Slovenian Radio Symphony Orchestra, Mecklenburgisches Staatskapelle and Göttinger Symphonieorchester. With a passion for mentoring the next generation of musicians, Catherine Larsen-Maguire places great emphasis on working with young people, both as conductor and educator. Other Youth orchestras with which she has recently collaborated include the Young Israel Philharmonic, the Orchestra of the Luebeck Hochschule and the Underground Youth Orchestra in Athens; she has given masterclasses in Germany (University of the Arts), Brazil (University of São Paulo, Femusc Festival), Israel (Jerusalem International Conducting Masterclass), Spain (Real Conservatorio Superior de Granada) and Mexico (Queretaro Festival). Born in Manchester and now based in Berlin, Catherine LarsenMaguire read music at Cambridge University, followed by studies at the Royal Academy of Music in London and the Karajan Academy in Berlin. She turned her focus exclusively to conducting in 2012 following a successful career as a bassoonist, which included 10 years as principal at the Komische Oper Berlin.
Catherine Larsen-Maguire © David Beecroft
Conductor
Avril Coleridge-Taylor (1903–1998)
Sussex Landscape
Avril Coleridge-Taylor © Oxford Dictionary of National Biography, from Stephen Bourne’s private collection
Avril Coleridge-Taylor was captivated by Sussex’s beauty, however, as becomes quickly apparent, this piece is not an idyllic depiction of a bucolic landscape. For the most part, the work has a sombre, almost funereal energy, reflecting its composition in the shadow of World War Two. This is in stark contrast to her earlier, shorter composition Landscape. Both pieces were based on a World War One poem, Of Greatham, by John Drinkwater. However, the lines that Coleridge-Taylor quotes in the earlier piece’s manuscript refer to Sussex as a place of ‘golden song’. In the later piece, the verse quoted speaks of a ‘world in flame’ and ‘nations marketing in death’. The impact of the war on Coleridge-Taylor's output is clear. Yet even though this work evocatively represents an oft-revisited period of British history, it, like the works of many women composers, has been neglected, only recently being recorded for the first time and with no record of a performance in Coleridge-Taylor's lifetime. Compositions by women have historically been framed as domestic, romantic and small-scale, but this piece is just one of many examples of women composers creating music of political and historical significance. The war works of Britten, Messiaen and Shostakovich have long been heralded for their profundity and impact, but the voices of many women composers who were creating work at this time continue to be overlooked.
Year of Composition: 1940 Duration: 14 minutes The World in 1940: A pivotal year in World War Two: Germany invades Norway and Denmark, and Britain is in crisis following the fall of France, culminating in the Battle of Britain, the Blitz and Winston Churchill becoming Prime Minister. Further listening: Vaughan Williams Symphony No 3 ‘Pastoral’ Although his music was dismissed by one critic as ‘all just a little too much like a cow looking over a gate’, similarly to the ColeridgeTaylor work, the ‘Pastoral’ label given to this symphony belies its wartime influences. Grażyna Bacewicz Overture A thrilling overture, composed in the depths of World War Two, listen out for the morse code for victory woven into the music.
Óscar Navarro (b1981)
Clarinet Concerto No 1 We asked Scottish clarinettist and tonight’s soloist, Adam Lee to tell us a bit about Óscar Navarro’s Clarinet Concerto No 1.
Year of Composition: 2019 Duration: 11 minutes
Why did you select this piece for the NYOS Development orchestra? I've known of this concerto for a while and I could tell by listening to it that it would be a lot of fun to play. So that was my main aim — to find a piece that the young musicians would enjoy playing and could have fun with. But it doesn't come without its difficulties! I wanted a piece that would challenge the young musicians — covering a wide range of styles, characters, changing tempos and dynamics. This piece has it all and I thought it'd be a perfect fit for the Development orchestra. What do you think our musicians will enjoy most about this piece? The concerto is very cinematic at heart and this can be some of the most satisfying music to play — it's a great feeling to be part of an orchestra that's really going for it and creating a huge, symphonic and cinematic sound. The contrast of these cinematic sections with the more upbeat, folk-like sections as well as hints of jazz will be so much fun!
Óscar Navarro
What are some of your fondest memories of your time with NYOS? NYOS was one of the earliest experiences I had of playing in an orchestra, and being surrounded by people who were playing to a higher standard than I was. I learned so much from this and took so much inspiration from my fellow musicians. Looking back at the big picture, I can now see a clear pathway I took through NYOS, from starting off doubling second clarinet to, after a few years, leading the clarinet section. This pathway is what NYOS is all about, and I suppose what I'm really trying to say is that my fondest memory of NYOS is the overall journey that I took through it, over the years I was in the orchestra.
‘NYOS provided me with valuable opportunities during my education to experience the joy of making and sharing music with so many likeminded young people. I'm very privileged through my role on the NYOS Board to be able to continue supporting these opportunities, and it's an even greater privilege to be able to jump back in on the action, working with the NYOS Development orchestra, making and sharing music with the next generation of Scotland's young musicians.’
Soloist
Adam Lee Adam Lee is a Scottish clarinettist, soloist, teacher, and composer. He is the Principal Clarinet No. 2 of the BBC Scottish Symphony Orchestra. He studied with John Cushing, Tim Orpen, Heather Nicoll, and Joe Pacewicz at the Royal Conservatoire of Scotland and graduated in July 2021 with a first-class BMus Performance degree and The Principal’s Prize for Excellence. He went on to study at the Royal College of Music, London, with Timothy Lines, Richard Hosford, Peter Sparks, Barnaby Robson & Bob Hill, graduating in July 2023 with a Master of Performance with Distinction and the Tagore Gold Medal.
a Ad m e Le © an Ry Bra y dle
As an orchestral musician, Adam has appeared as Guest Principal with the BBC Symphony Orchestra, Orchestra of the Royal Opera House, BBC Concert Orchestra, Royal Liverpool Philharmonic, Royal Scottish National Orchestra, London Mozart Players, Orchestra of Opera North, and as Guest Assistant Principal with the Academy of St. Martin in the Fields and Aurora Orchestra. Adam is regularly invited to appear as a soloist with various reputable ensembles, with some recent highlights including performances of the Copland Clarinet Concerto with The Glasgow Barons and the Mozart Clarinet Concerto with the Piccadilly Sinfonietta. As a recitalist and chamber musician, he has performed in venues such as the Wigmore Hall, 1901 Arts Club, Royal College of Music and Royal Conservatoire of Scotland. Alongside his performance career, Adam is committed to education through masterclasses and teaching, as an Ambassador for the RCS Woodwind Department and in his role on the Board of the National Youth Orchestras of Scotland.
NYOS Development Orchestra Conductor Soloist
Catherine Larsen-Maguire Adam Lee
Violin 1 Becca Ye Leader Carina Wanchen Cai Lucas Chan Anna Coste Vilara Dahanayake Maria Drelich Lewis Hair Eleanor Hanson Elizabeth Irvine Catherine Irvine Sandra Janiszewska Caitlin Ke Alex Layberry Thomas Peel Olivia Ren Olivia Singh Jonathan Turner Emily Yang Raymond Zhang James Rippiner
Viola Victoria Abbey Nirvana Balideh Adam Bishop Matteo Caridà Annina Fourie Tadhg Hegarty Dineo Makhatholela Seona McKendrick Murray Nicholl Stephen O'Neill Lucy Robertson Rose Trygstad
Violin 2 Hazel Davis Beth Deighton Emily Millard Hannah Nicholson Alice Reid Roslyn Reid Hannah Robertson Ayana Selvarajah Johan Thomasson Charlotte Vermeren Fiona Wei Talitha Williamson
© Fraser Band
Piano Caitlin Ke (Clarinet Concerto No 1) Harp Caitlin Dines Arianna Gagnon
Cello Alexandra Casson Ross Davis Hailey Gao Gemma Gowans Magnus Holden Jonathan Leung Jamie McCreath Aldyth Tierney-Hynes Eve Tribe Eisean Wilding Eleanor Winter Ava Zhang Double Bass Lillian Boyle Harry Brady Glynnis Chan Alexander Smith Andrew Watson Flute Mia Li Isla Rippiner Ellie Stewart Luke Xu Tuba Eilidh Boyd
Bassoon Emily Crump Christopher Johns Rhona Kallow Lachlan Timar Trombone Minnie Baynham-Wainwright Tess Mary Devlin Patrick Summers Max Wardrope Trumpet Henry Agius Oliver Livingston Luke Parkhill Tom Sills French Horn Lauren Bell Thomas Brotchie Darcy Cowie Felicity Dalziel Beatrice Elliott Clarinet Craig McGroarty Aaron Rae Rose Veitch Donald Whitelaw Oboe Autumn Clark Eve Docherty Mikel Hui Emma Kirby Percussion Briana Ayanouvi Ruaridh Docherty Henry Jones Anna Ross Murray Stewart
Daniel Kidane (b 1986)
Breakbeat Envisaged as a raucous piece that harnesses the raw energy of the orchestra, Breakbeat relates to a genre of music which utilises ‘breaks’. A characteristic segment within urban music, the ‘break’ is a stop-time section where the music diverts from the main part of a song or piece and has an interlude. ‘Breakbeats’ within jungle, grime and garage music are often sampled from earlier recordings in funk, jazz and R&B and so I decided to apply this method to my orchestral piece. Breakbeat draws on musical influences that shaped my early years, including South West London’s best known garage outfit, So Solid Crew, and the rhythms of 1960s fun and soul. Solid Crew originated from Battersea and some of the crew members lived only a few doors down from me. This urban sound often permeated in and around the area where I lived, as much of the group’s mixing and initial track making happened in their bedrooms, where the bass rich beats and MCing could be heard from the street.
Daniel Kidane © Kaupo Kikkas
With the backdrop of this urban soundscape in mind, I began to compose Breakbeat. The piece begins with woodwinds pulsing the ‘break’ rhythm along with coursing chromatic motif. I purposely decided not to give the percussion section the signature rhythm, instead camouflaging the rhythm in the higher register of the orchestra. The strings turn into a quasipercussion section, underpinning the pulse with the chromatic motif. This propulsive motion setup at the beginning sets the mood for the rest of the piece, with rhythmic intensity being sustained even in the quieter more placid sections. Throughout the piece the idea of juxtaposing break sections with contrasting material gives the music an intentional rugged feel, similar in idea to the muscular block sections found in Stravinsky’s compositions. © Daniel Kidane
Year of Composition: 2017 Duration: 10 minutes The World in 2017: – The world's oldest golf club, Muirfield in East Lothian, votes to admit women as members for the first time in 273 years. – After some brief confusion (and panic), Moonlight wins Best Picture at the Academy Awards.
Bedřich Smetana (1824–1884)
‘Vltava’ from Má Vlast ‘Vltava’ is the most well-known movement from Smetana’s Má Vlast (My Fatherland), a six-movement tribute to his native Bohemia, now Czechia. The piece is not just a beautiful symphonic portrait of the landscape but also a cultural emblem for the Czech Republic, where the Vltava is the national river, representing strength, continuity and national pride. In the composer’s own words: ‘The composition describes the course of the Vltava, starting from the two small springs, the Studená and Teplá Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer's wedding is celebrated, the round dance of the mermaids in the night's moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John's Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Elbe.’
Duration: 12 minutes The World in 1874: The term ‘impressionism’ is coined by art critic Louis Leroy, initially as a satirical attack on the emerging painting style. Further listening: Rafael Kubelík’s incredible performance with the Czech Philharmonic Orchestra was recorded and can be found on most streaming platforms. You can even watch a grainy video of the entire concert on YouTube.
Bedřich Smetana c 1878 © Library of Congress
It was this work that the renowned Czech conductor Rafael Kubelík chose to conduct on 12 May 1990 at the opening concert of the first Prague Spring Festival to be held in freedom after 42 years of totalitarian rule. Kubelík had refused to return to his homeland after the Communist putsch in 1948 but came out of a five-year retirement to conduct Má Vlast in front of a sold-out audience at the Municipal House in Prague in one of the most legendary performances in classical music history.
Year of Composition: 1874
Bursary support
Donors & Supporters Statutory Funder
Conductors’ Circle Ms Lindsay Pell and Professor Chris Morris Professor Marjorie and Dr David Rycroft Robert and Christine Maguire Principal Chair Sponsors Alistair Allan Cello Mrs A M Bennett Double Bass Mr and Mrs Timothy Laing Piano/Celeste Mr and Mrs Michael Pell Bassoon Alan and Jan Simpson NYOS Development Leader Dr Myra Soutar French Horn & Second Violin Sue Strudwick Clarinet
‘The NYOS bursary has given me unforgettable experiences.’ At NYOS we want to ensure that no young person misses out on the opportunities we offer due to their financial circumstances. All NYOS courses are subsidised by 66%, but in recent years, we have seen an increased demand for financial support. 56% of our 2025 orchestral participants are receiving bursary support with nearly a third participating free of charge thanks to our bursary programme. The generous support of our donors make all the difference to the lives of our young musicians, ensuring that NYOS remains as accessible to young people from all backgrounds across Scotland. No young musician should miss out because of their financial circumstances — your support can make this a reality. Donate today!
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Chair Sponsors Kirsty Adam Cello Charles Arbuthnot Tim and Sally Barraclough Percussion Mrs Isabella Brown Lord and Lady Cameron of Lochbroom Violin Andrew Hadden Violin Professor David Hamilton Lawson Oboe Fabienne Harrison Cello Duncan and Sarah MacIntyre Second Violin Mr and Mrs Thomas McCreery Mr Robin Pagett and Mrs Kate Longworth In memory of Ian Robertson Mr and Mrs Mark Seymour Maureen Simpson Cello Mr A L Stewart French Horn Graham Taylor MBE Trombone Mrs Ann Verney Cello Mr and Mrs R M Williamson Graeme and Ella Wilson Dr and Mrs Paul Wilson Honorary Chair Sponsors In memory of Richard Chester MBE Sarah Chester
Trusts & Foundations
National Youth Orchestras of Scotland Endowment Trust ABO Sirens Fund A M Pilkington Charitable Trust AMW Charitable Trust A Sinclair Henderson Charitable Trust Baird Educational Trust Bransford Trust Cockaigne Fund, administered by Foundation Scotland Countess of Dunmore’s Charitable Trust Cruach Trust Cruden Foundation Dunclay Charitable Trust Forteviot Charitable Trust Hinshelwood Gibson Trust Hope Scott Trust Hugh Fraser Foundation Jennie S Gordon Memorial Trust Jimmie Cairncross Charitable Trust John Mather Trust JTH Charitable Trust Leng Charitable Trust Len Thomson Charitable Trust Martin Charitable Trust McGlashan Charitable Trust MEB Charitable Trust Miss E C Hendry Charitable Trust Misses Barrie Charitable Trust Miss Jean R Stirrat’s Charitable Trust Nancie Massey Charitable Trust Pear Tree Fund for Music P F Charitable Trust Radcliffe Trust Ronald Miller Foundation Scops Art Trust Sir Iain Stewart Foundation Stevenson Charitable Trust Talteg Ltd Tay Charitable Trust Thomson Charitable Trust Tillyloss Charitable Trust Turtleton Charitable Trust W A Cargill Fund William Grant Foundation
We are incredibly grateful to all our funders and sponsors listed above and the Friends of NYOS for their continued support. NYOS also acknowledges those who wish to remain anonymous. Please do contact jackjohnson@nyos.co.uk if you would like to amend or add a supporter credit to future programmes.
NYOS Team NYOS Board Samuel White Interim Chair Alastair Allan Francis Cummings Caroline Dooley Ken Fairbrother Kenneth Law Adam Lee Kate Miguda Roger Wilson
NYOS Team Kirsteen Davidson Kelly Chief Executive & Artistic Director Catherine Larsen-Maguire Music Director Neil Fox Director of Engagement Karen Smith Head of Finance & Administration Jack Johnson Head of Development Kate Fitzgerald Marketing & Communications Manager Nicola Pickavance Fundraising Consultant Isaac Holden Engagement Projects Manager Natalie Brayshaw Orchestra Projects Manager Sophie James Digital Support Apprentice David Rees Stage Manager
Course Tutors
Roderick Long Violin 1 & Strings Aisling O’Dea Violin 2 Shelagh McKail Viola Jessica Kerr Viola May Halyburton Cello John Grant Flute & Wind Andy Langford Clarinet Rebecca Roberts Bassoon Steven Cowling French Horn & Brass JP O’Hagan Tuba Sharron Griffiths Harp Tom Hunter Percussion
Pastoral Team
Heather Lynn Head Adam Auchie Bridie Bloor Eleanor Macqueen Kirsty Thompson Annabelle Pizzey
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