Scotland’s National Orchestra 1
RSNO LIVE: WELCOME BACK!
Spring/Summer 2021
Available to view until 30 July 2021
NINE SPECTACULAR CONCERTS BROADCAST FROM OUR HOME TO YOURS Featuring Thomas Søndergård • Nicola Benedetti Elim Chan • Benjamin Grosvenor Paul Lewis and more
On Sale Now! rsno.org.uk
RSNO LIVE: WELCOME BACK! The RSNO and Music Director Thomas Søndergård welcome you back to live music with a homecoming concert that’s all about elegance, eloquence and joie de vivre! Tonight, we’re partying Frenchstyle with Jacques Ibert’s anarchic Divertissement, Poulenc’s sparkling Sinfonietta and Françaix’s floral tribute to time lost (and found), played by the RSNO’s own Adrian Wilson.
IBERT Divertissement [15’] FRANÇAIX L’horloge de flore [16’] POULENC Sinfonietta [27’] Thomas Søndergård Conductor Adrian Wilson Oboe Royal Scottish National Orchestra PERTH CONCERT HALL Fri 18 Jun 2021, 7.30pm GLASGOW ROYAL CONCERT HALL Sat 19 Jun 2021, 7.30pm This performance has been recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
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RSNO: Scotland’s National Orchestra 5
Welcome I am delighted to welcome you to the RSNO’s first live concerts since March 2020. The Orchestra has been incredibly busy during Lockdown, creating free online content including the Friday Night Club and #RSNOchallenge, broadcasting two Digital Seasons, reaching over 46,000 primary school children across Scotland with our brand-new film and accompanying resources for Gaspard’s Foxtrot, exploring new ways to work creatively with young people online and so much more. Thank you for your ongoing support. It has been so wonderful to connect with you online during these difficult times, but I know that I speak on behalf of Music Director Thomas Søndergård and all the musicians when I say how much we have missed performing live for you. There is simply nothing like a live performance – that moment when the orchestra tunes up and the anticipation grows, then the music starts, giving you goosebumps! We are thrilled to be performing in-person for you this evening, with Thomas back on the podium and Principal Oboe Adrian Wilson in the spotlight. I do hope you enjoy the concert. We are looking forward to many more to come.
Alistair Mackie CHIEF EXECUTIVE
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73-81
64–72
55–63
46–54
37–45
28–36
19–27
10–18
1–9
Royal Scottish National Orchestra
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ARTISTIC TEAM Thomas Søndergård MUSIC DIRECTOR Elim Chan PRINCIPAL GUEST CONDUCTOR Neeme Järvi CONDUCTOR LAUREATE Alexander Lazarev CONDUCTOR EMERITUS Kellen Gray ASSISTANT CONDUCTOR
Gregory Batsleer
1 2 3 4 5 6
CHORUS DIRECTOR, RSNO CHORUS
Patrick Barrett
7 CHORUS DIRECTOR, RSNO JUNIOR CHORUS
FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska
8 9 10
ASSOCIATE LEADER
Emily Davis ASSOCIATE LEADER 11 Tamás Fejes ASSISTANT LEADER 12 Patrick Curlett ASSISTANT PRINCIPAL 13 Barbara Paterson SUB PRINCIPAL 14 Jane Reid 15 Caroline Parry 16 Ursula Heidecker Allen 17 Lorna Rough 18 Susannah Lowdon 19 Alan Manson 20 Elizabeth Bamping 21 SECOND VIOLIN Xander van Vliet PRINCIPAL Jacqueline Speirs
22 23
ASSOCIATE PRINCIPAL Marion Wilson ASSOCIATE PRINCIPAL 24 Harriet Wilson SUB PRINCIPAL 25 Nigel Mason 26 Wanda Wojtasinska 27 Paul Medd 28
Anne Bünemann Sophie Lang Robin Wilson Emily Nenniger
29 30 31 32
VIOLA Tom Dunn PRINCIPAL Asher Zaccardelli
33
ASSISTANT PRINCIPAL
34
Susan Buchan SUB PRINCIPAL Lisa Rourke SUB PRINCIPAL David Martin Nicola McWhirter Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt
35 36 37 38 39 40 41 42
CELLO Aleksei Kiseliov PRINCIPAL 43 Betsy Taylor ASSOCIATE PRINCIPAL 44 Kennedy Leitch ASSISTANT PRINCIPAL 45 Arthur Boutillier SUB PRINCIPAL 46 William Paterson 47 Rachael Lee 48 Sarah Digger 49 DOUBLE BASS Ana Cordova PRINCIPAL Margarida Castro
50 51
ASSOCIATE PRINCIPAL Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis
52 53 54 55
FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson
56 57 58
PRINCIPAL PICCOLO
OBOE Adrian Wilson PRINCIPAL Peter Dykes ASSOCIATE PRINCIPAL Henry Clay PRINCIPAL COR ANGLAIS
59 60 61
CLARINET Timothy Orpen PRINCIPAL CLARINET Duncan Swindells
62 63
PRINCIPAL BASS CLARINET
BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto
64 65 66
PRINCIPAL CONTRABASSOON
HORN Christopher Gough PRINCIPAL 67 Alison Murray ASSISTANT PRINCIPAL 68 Andrew McLean 69 ASSOCIATE PRINCIPAL 70 David McClenaghan Martin Murphy ASSISTANT PRINCIPAL 71 TRUMPET Christopher Hart PRINCIPAL Marcus Pope SUB PRINCIPAL Jason Lewis ASSOCIATE PRINCIPAL
72 73 74
TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair
75 76 77
PRINCIPAL BASS TROMBONE
TUBA John Whitener PRINCIPAL
78
TIMPANI Paul Philbert PRINCIPAL
79
PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL
80 81
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Divertissement Jacques Ibert’s music possesses an unmistakably French sparkle and joie de vivre. He took his creative lead from the ‘roaring’ 1920s, when everything from jazz and blues to Mozart and Bach went into the Parisian stylistic melting pot. Like the music of Les Six – Francis Poulenc, Louis Durey, Arthur Honegger, Darius Milhaud, Germaine Tailleferre and Georges Auric – Ibert enjoyed taking a new spin on Baroque and Classical music, often with a hint of playful irony, gleefully cross-referencing 18th-century musical archetypes as though it was the most natural thing in the world. As he memorably put it: ‘I want to be free – independent of the prejudices which arbitrarily divide the defenders of a certain tradition, and the partisans of a certain avant-garde.’
Jacques Ibert (1890-1962)
FIRST PERFORMED Paris, 30 November 1930 DURATION 15 minutes Introduction Cortège Nocturne Valse Parade Finale
The irrepressible Ibert studied initially with Paul Vidal at the Paris Conservatoire, where his co-students included Honegger and Milhaud. While rounding off his education in style with the illustrious Gabriel Fauré, he won the prestigious Prix de Rome in 1919, which entitled him to a period of study in the Italian capital. He made such an impression there that from 1937 he was appointed Director of the French Academy. His refusal to be musically pigeon-holed and his stylistic gregariousness contributed in part to his music being banned by the Vichy government in 1940. Having spent most of the Second World War living in exile in Switzerland, Ibert was invited officially by Charles de Gaulle to return, and he was musically repatriated in 1944. His most popular work is the orchestral Divertissement, composed in 1929. Yet he also produced innumerable chamber, piano and vocal works, operas – towards the end of his life he was director of both the Paris Opéra and Opéra-Comique – reams of incidental music, and a memorable series of 35 film scores, including the music to Orson Welles’ 1948 version of Macbeth.
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The Divertissement began life as the incidental music for an early staged production of Un chapeau de paille d’Italie (‘The Italian Straw Hat’), a five-act French farce by Eugène Labiche (1815–88). The story revolves around a distinctive straw hat belonging to a young married woman, which is part-eaten by a passing horse while she is indulging in a mild flirtation. The hat is discovered by an exboyfriend, now a bridegroom in the process of checking arrangements for a wedding party of eight carriages not far behind, who takes it upon himself to find an exact copy of the hat before the young woman’s insanely jealous husband starts asking awkward questions. With the wedding party in hot pursuit, he visits a milliner, an aristocrat and a bachelor friend in turn, hoping they can help, but to no avail. Just as all appears lost, an uncle turns up with a wedding present that turns out to be an exact replica of the missing hat. All is explained and the celebrations go ahead as planned. Scored for piccolo, flute, clarinet, bassoon, contrabassoon, horn, trumpet, trombone, percussion, celeste, piano and strings, the Divertissement collects together six of the most memorable sections from the theatrical score in a manner reminiscent of a pit orchestra. Musical in-jokes come thick and fast as generic formulas are sent up mercilessly, ranging from a passing quotation from Mendelssohn’s Wedding March in the context of the second movement Cortège (funeral procession) to a hilarious Waltz that cross-references Johann Strauss’ The Blue Danube (among others), and there’s a madcap Finale, during which a policeman blows his whistle in a desperate attempt to bring some order to the ensuing chaos. © Julian Haylock
What was happening in 1930? 13 Jan The Walt Disney Company’s Mickey Mouse newspaper comic strip was first published 18 Feb US astronomer Clyde Tombaugh confirmed the existence of the planet Pluto, which was redefined as a dwarf planet in 2006 6 Mar Clarence Birdseye put the first frozen foods on sale, in Springfield, Massachusetts 12 Mar With 78 followers, Mahatma Gandhi set off on a 200-mile march to protest the British monopoly on salt in India 31 Mar The Motion Picture Production Code, or Hays Code, outlining strict rules on the depiction of sex, crime, religion and violence, was introduced 18 Apr BBC Radio: ‘Good evening. Today is Good Friday. There is no news’ 24 May Amy Johnson landed in Darwin, becoming the first woman to fly solo from England to Australia 13 Jul The first FIFA World Cup started: France scored the opening goal against Mexico 5 Aug Neil Armstrong, the first person to set foot on the Moon, was born 5 Oct The British airship R101 crashed in France on its maiden long-distance flight, killing 48 2 Nov Haile Selassie was crowned emperor of Ethiopia
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L’horloge de flore Jean Françaix was one of the most gifted neoclassicists of the generation immediately following the multifarious Parisian collective known as Les Six, although his often lighthearted style and delicious sense of irony might be more closely aligned with Ibert and Henri Sauguet (1901-89). Born the son of a conservatoire director and a singing teacher, Françaix showed exceptional talent from an early age and was already composing by the age of six. Although he was also a gifted pianist – having won first prize at the Paris Conservatory, he became much in demand both as a soloist and chamber music partner, forming a regular duo with cellist Maurice Gendron – it was as a composer that Françaix was principally celebrated.
Jean Françaix (1912-1997)
FIRST PERFORMED Philadelphia, 1 April 1961 DURATION 16 minutes 3 heures: Galant de Jour (Day Jessamine or Poisonberry) 5 heures: Cupidon Bleu (Cupid’s Dart or Blue Catamanche) 10 heures: Cierge à grandes fleurs (Night-blooming Cereus or Torch Thistle) 12 heures: Nyctanthe du Malabar (Night-flowering Jasmine or Malabar Jasmine) 17 heures: Belle de nuit (Moonflower or Morning Glory) 19 heures: Géranium triste (Geranium or Mourning Geranium) 21 heures: Silène noctiflore (Night-flowering Catchfly)
Encouraged by Ravel and considered something of a phenomenon by his teacher Nadia Boulanger, Françaix also won the support of Princesse Edmond de Polignac, the official title of Winnaretta Singer, the great American patron of the arts and sciences and heiress of the Singer sewing machine company. It is difficult to overestimate her impact on Parisian culture when in 1894 she established her own salon, located in her mansion situated on what is now the Avenue Georges-Mandel. A keen supporter of new music, she oversaw the premieres of pieces by (among others) Françaix, Chabrier, Debussy, d’Indy, Falla, Stravinsky, Satie, Weill, Fauré and Ravel, who in appreciation dedicated to her his Pavane pour une infante défunte. Highly prolific – he once described himself as ‘constantly composing’ – Françaix established his reputation during the 1930s with a series of works that demonstrate his effortless command of a wide range of genres. Over a creative lifetime spanning nearly 80
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years, he exhibited an extraordinary flair for instrumental sonorities (especially woodwind), encompassing chamber-scale intimacy (his favourite medium), large-scale works for the concert hall and cinema – including a series of 10 film scores for acclaimed actor-director Sacha Guitry – 16 ballets and five operas. Throughout over 200 published works, he combined a child-like sense of wonder with a neoclassical deftness of touch, delicacy of wit and conversational ease, shot through with a typically French capacity for insouciant charm and gentle irony. One of the most immediately striking things about Françaix’s oboe concerto L’horloge de flore (‘The Flower-Clock’) is the alluring range of ingenious sonorities he obtains from a modest orchestra of two flutes, two clarinets, two bassoons, two horns and strings. The other is its seven distinctive movement titles based on the clock-style classification of flowers devised by Swedish botanist Carl Linnaeus (1707-78), on the basis of the time of day when each blooms. Played without a break, the Concerto epitomises Françaix’s self-declared creative impulse: ‘I wish to be honest when I am composing. The latest fads and theories are the last things on my mind. My interest is not primarily attracted by the “motorways of thought”, but more “the paths through the wood”.’ L’horloge de flore was commissioned in 1957 by John de Lancie, principal oboist (from 1954 to 1977) of the Philadelphia Orchestra, who gave the world premiere on 1 April 1961, conducted by Eugene Ormandy. © Julian Haylock
What was happening in 1961? 9 Feb The Beatles performed for the first time under that name at The Cavern Club in Liverpool 13 Mar Black and white £5 notes ceased to be legal tender in the UK 11 Apr The trial of Nazi Adolf Eichmann started in Jerusalem; he was sentenced to death on 11 Dec 12 Apr Soviet cosmonaut Yuri Gagarin became the first human in space, orbiting the earth once in Vostok I 17 Apr The US Bay of Pigs Invasion of Cuba began; it had failed within two days 25 May President Kennedy announced that the US would put a man on the Moon by the end of the decade 16 Jun Soviet-born dancer Rudolf Nureyev requested asylum in France while in Paris with the Kirov Ballet 13 Aug Construction of the Berlin Wall began, restricting movement between Soviet East Berlin and the Western Allies’ West Berlin 25 Oct The first issue of satirical magazine Private Eye was published in London 11 Dec American involvement in the Vietnam War began, as helicopters and 400 personnel arrived in Saigon
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Sinfonietta The archetypal 20th-century French composer, Poulenc combined grace and sparkling wit with a gentle nobility that encapsulated his desire for a ‘return to simplicity’. The essence of his creative world lies hidden in a biographical note sent to his English publisher when he had just turned 19:
Francis Poulenc (1899-1963)
FIRST PERFORMED London, 24 October 1948 DURATION 27 minutes Allegro con fuoco Molto vivace Andante cantabile Finale: Très vite et très gai
I was born in Paris on 7 January 1899. I studied piano under Riccardo Viñes and composition almost solely through books because I was fearful of being influenced by a teacher. I read a lot of music and greatly pondered musical aesthetics. My four favourite composers, my only masters, are Bach, Mozart, Satie and Stravinsky. I don’t like Beethoven at all. I loathe Wagner. In general, I am very eclectic, but while acknowledging that influence is a necessary thing, I hate those artists who dwell in the wake of the masters. Now, a crucial point. I am not a Cubist musician, even less a Futurist and, of course, not an Impressionist. I am a musician without a label. Although Poulenc had little time for Debussy as a composer, he encapsulated the essence of his style in exactly the same way: ‘mon plaisir’. Basking in the creative hothouse that was 1920s Paris, he forged a unique style that magpie-like homed in on the creative jewels of yesteryear – especially Bach and Mozart. These acted as springboards for his own fertile imagination, which was constantly refuelled by his exposure to some of the most iconic figures of the age, including Jean Cocteau, Igor Stravinsky, Maurice Chevalier, Ernest Hemingway, Coco Chanel and Christian Dior. Poulenc was part of a group of composers coined popularly in the press as Les Six. Although each had their own indelible musical
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personality, they shared a common view that the old Romantic order had outlived its usefulness and that contemporary music needed a good spring clean. The Sinfonietta originated as a 1947 commission from the BBC Third Programme (later Radio 3) in celebration of its first anniversary. The request was for something on the lighter side, and Poulenc, who according to a letter to his old friend Milhaud was ‘full of the joys of spring’, responded with one of his most lively and playful scores. He chose the title ‘sinfonietta’ not because the work is on a small scale (it lasts around half an hour), but rather due to its ebullient nature and lack of gravitas. As Poulenc memorably put it, ‘I would prefer my music to be loved rather than analysed.’ The Sinfonietta was premiered and broadcast on 24 October 1948 by the Philharmonia Orchestra under Roger Désormière, much to Poulenc’s approval – we learn from another letter that ‘it went very well in London’. Cast in four movements, the Sinfonietta wears its ingenuity lightly, as though determined not to take itself too seriously. Overbrimming with charm, wit and urbanity, Poulenc cherry-picks the Classical gestures of Haydn and Mozart and gives them a new spin. Even when in the opening movement Poulenc pays lip-service to the traditional structural outline of two contrasted subjects, a central development section and a recapitulation of the main material, one senses him playing with his composition rather than subjecting it to symphonic rigour. The result is an irresistible whistle-stop ride through musical convention that at the same time turns convention on its head. © Julian Haylock
What was happening in 1948? 1 Jan Railways in Britain were nationalised, becoming known as British Railways 30 Jan Indian pacifist Mahatma Gandhi was assassinated by Hindu nationalist Nathuram Godse in New Delhi 25 Feb President Beneš of Czechoslovakia ceded control of the country to the Soviet-backed Communist Party 7 Apr The World Health Organization was established by the United Nations 30 Apr The Rover Company unveiled the Land Rover at the Amsterdam Motor Show 14 May The Declaration of the Establishment of the State of Israel was made by soon-to-be first Prime Minister David Ben-Gurion 21 Jun The Manchester Baby, the first electronic stored-programme computer, ran its first programme 5 Jul The National Health Service, providing universal healthcare, free at point of use, was introduced in the UK 29 Jul The Summer Olympics began in London, the first Games since those in Berlin in 1936 11 Sep Muhammad Ali Jinnah, founder and first Governor-General of Pakistan, died 30 Dec Cole Porter’s Kiss Me, Kate opened on Broadway
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Adrian Wilson OBOE In addition to being Principal Oboe of the RSNO, Adrian is the oboist with the flexible chamber group Ensemble 360, who appear regularly at London’s Wigmore Hall and at UK music festivals. He has also been principal oboe of Ireland’s RTÉ National Symphony Orchestra. Adrian has worked as a guest principal with the BBC Symphony Orchestra, Orchestra of the Royal Opera House, Covent Garden, London Symphony Orchestra, City of Birmingham Symphony Orchestra, BBC Scottish Symphony Orchestra, BBC Philharmonic, Royal Liverpool Philharmonic Orchestra, Royal Philharmonic Orchestra, Northern Sinfonia, London Mozart Players, Northern Chamber Orchestra, Psappha and Birmingham Contemporary Music Group. Adrian has been the Principal Oboe of the RSNO since 2014. His early studies were at the Junior Royal Academy of Music in London. During this time he was twice a finalist in the BBC Young Musician of the Year competition and was principal oboe of the National Youth Orchestra of Great Britain. He went on to read Mathematics and Music at the University of Birmingham, followed by a Postgraduate Performance course at the Birmingham Conservatoire, where he studied the oboe with George Caird and Jonathan Kelly. He returned to the RAM to learn with Douglas Boyd and Celia Nicklin, winning numerous prizes and becoming principal oboe of the European Union Youth Orchestra. In 2002 he was appointed principal oboe of Southbank Sinfonia and continued his studies with Alexei Ogrintchouk in Rotterdam and Paris.
Adrian’s concerto performances include Mozart’s Oboe Concerto and Vaughan Williams’ Oboe Concerto with the RSNO, Donizetti’s Oboe Concertino, Haydn’s Sinfonia Concertante and Ennio Morricone’s Gabriel’s Oboe with the RTÉ National Symphony Orchestra, the world premiere of John Joubert’s Oboe Concerto at the Lichfield Festival, and J S Bach’s Double Concerto for Oboe and Violin with Bradley Creswick and Northern Sinfonia and Nicola Benedetti and Ensemble 360. Adrian Wilson is supported by The Hedley Wright Chair
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Thomas Søndergård CONDUCTOR Danish National Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Gewandhausorchester Leipzig, Deutsches Symphonie-Orchester Berlin, Mahler Chamber Orchestra and Bamberg Symphony. In February 2021, Thomas made his debut with the Berlin Philharmonic Orchestra in a Digital Concert Hall performance in the ‘Golden Twenties’ season.
Danish conductor Thomas Søndergård is Music Director of the Royal Scottish National Orchestra, making his debut in October 2018 after six seasons as Principal Guest Conductor. He served as Principal Conductor of the BBC National Orchestra of Wales (BBC NOW) from 2012 to 2018, and prior to this as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons. He conducted the RSNO on its New Year 2019 tour to China, Spring 2019 tour to the West Coast of the USA and September 2019 visit to Paris, as well as its January 2020 tour to Belgium, the Netherlands and Germany. He also conducted works by Mahler as part of the 2020 Edinburgh International Festival’s online My Light Shines On season. Thomas has conducted many leading orchestras, including the Chicago Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Concertgebouw Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Oslo Philharmonic Orchestra, Gothenburg Symphony Orchestra,
Thomas’ operatic engagements include the Bayerische Staatsoper (Turandot), Norwegian Opera (Die Zauberflöte) and Deutsche Oper Berlin (world premiere of Andrea Lorenzo Scartazzini’s Edward II ), and Tosca, Turandot and Dialogues des Carmélites with the Royal Swedish Opera. He was described as ‘a sensation’ at his debut with the Royal Danish Opera conducting Poul Ruders’ Kafka’s Trial, and subsequent productions there have included Il barbiere di Siviglia, Le nozze di Figaro, La bohème, The Cunning Little Vixen and Il viaggio a Reims. Thomas’ debut recording with the RSNO, of Richard Strauss’ Ein Heldenleben, was released by Linn Records in April 2019, followed in February 2020 by Prokofiev’s Symphonies 1 and 5. Releases with BBC NOW include Sibelius’ Symphonies 1, 2, 6 and 7 and a disc which shines light on Sibelius’ tone poems and theatre music (Linn Records). Other noteworthy recordings include Vilde Frang’s celebrated first recording for EMI, of Sibelius’ Violin Concerto and Prokofiev’s Violin Concerto No1, and Ruders’ Piano Concerto No2 on Bridge Records, nominated for a Gramophone Award in 2011. The Lutosławski and Dutilleux cello concertos with Johannes Moser were released on Pentatone in 2018. In 2011 Thomas was awarded the prestigious Queen Ingrid Foundation Prize for Services to Music in Denmark.
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Royal Scottish National Orchestra
Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor. The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe. The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan. Formed in 1978 by Jean Kidd, the acclaimed RSNO Junior Chorus, under its director Patrick
Barrett, also performs regularly alongside the Orchestra. Boasting a membership of over 400 members aged from 7 to 18, it has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television. The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Strauss’ Ein Heldenleben, was released in 2019. The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life. The team is committed to placing the Orchestra at the centre of Scottish communities via workshops and annual residencies.
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On Stage FIRST VIOLIN Sharon Roffman
FLUTE Katherine Bryan
Lena Zeliszewska
Helen Brew
Emily Davis
OBOE Peter Dykes
LEADER
ASSOCIATE LEADER ASSOCIATE LEADER
Patrick Curlett Barbara Paterson Susannah Lowdon Jane Reid SECOND VIOLIN Marion Wilson ASSOCIATE PRINCIPAL
Harriet Wilson Sophie Lang Paul Medd Robin Wilson
PRINCIPAL
ASSOCIATE PRINCIPAL
CLARINET Timothy Orpen
PIANO/CELESTE Lynda Cochrane
PRINCIPAL
Duncan Swindells
PRINCIPAL BASS CLARINET
BASSOON David Hubbard PRINCIPAL
HORN Christopher Gough
Betsy Taylor Kennedy Leitch Arthur Boutillier DOUBLE BASS Margarida Castro ASSOCIATE PRINCIPAL
Michael Rae
PRINCIPAL
HARP Pippa Tunnell
Felix Tanner Susan Buchan Claire Dunn
PRINCIPAL
PERCUSSION Simon Lowdon
PRINCIPAL COR ANGLAIS
Paolo Dutto
CELLO Aleksei Kiseliov
PRINCIPAL
Henry Clay
VIOLA Tom Dunn PRINCIPAL
TIMPANI Paul Philbert
PRINCIPAL CONTRABASSOON
PRINCIPAL
Alison Murray TRUMPET Christopher Hart PRINCIPAL
Marcus Pope TROMBONE Dávur Juul Magnussen PRINCIPAL
Institut français d’Ecosse West Parliament Square Edinburgh EH1 1RF Contact us at 0131 285 6030 frenchclassesife@gmail.com @institutfrancaisecosse
@ifecosse @ifecosse www.ifecosse.org.uk
HYBRID SUMMER TERM 5-30 JULY
2-weeks semi-intensive online French course with 1h30 morning classes, On-Site Creative Lab for adults with the award-winning French author Franck Magloire, & On-Site Summer Camps for kids in partnership with Theatre Sans Accents
RSNO: Scotland’s National Orchestra 19
Supporting the RSNO I am honoured and extremely proud to be Music Director of the RSNO. It is through the continued generosity of you, our friends, donors and supporters, that we can continue to achieve and realise the most ambitious goals of the Orchestra. The absence of live performance and the separation of musicians from the stage make these difficult times for all. It has reinforced for us all how vital music is in helping us overcome hardship, fear and loneliness. The creativity and dedication shown by RSNO musicians in recent months has been incredible. This is despite the pattern of our working lives being dramatically
interrupted and being separated, not just from one another, but also from our audiences and communities. I hope you will choose to support us now as we adapt and embark upon this next chapter in RSNO history. Thank you for your support
Thomas Søndergård MUSIC DIRECTOR, RSNO
RSNO Conductors’ Circle The RSNO Conductors’ Circle is an inspirational group of individual supporters at the heart of the RSNO’s Individual Giving programme. Our members’ annual philanthropic gifts enable us to realise the Orchestra’s most ambitious goals. Conductors’ Circle members support inspirational concert performances for our audiences alongside transformational education programmes in communities across Scotland, via our ground-breaking initiative Music for Life. The relationship between the RSNO and Conductors’ Circle members involves exceptional levels of access to all aspects of Orchestra life. We design bespoke private events tailored to individual interests and passions, providing insight into the artistic process and bringing our supporters further into the RSNO family. Members of the Conductors’ Circle benefit from an intimate and long-lasting connection with the RSNO Artistic Team and particularly with RSNO Music Director Thomas Søndergård, Principal Guest Conductor Elim Chan and the many
renowned guest Conductors we are privileged to welcome to the RSNO each year. The RSNO is very grateful for the continued support of its Conductors’ Circle: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young We would also like to thank those generous donors who wish to remain anonymous. For more information on Individual Giving and becoming part of the Conductors’ Circle please contact Jenny McNeely at jenny.mcneely@rsno.org.uk
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Patron Programme CHAIR PATRON From musical activities in schools with the musicians of the future to working in community venues across Scotland, as a Chair Patron you are enabling RSNO musicians to explore the many facets of their art and the positive impact it has on people’s lives. Supporting an individual musician puts you at the heart of the RSNO family. You’re connected directly to the musicians on stage and get to enjoy privileged behind-the-scenes access. RSNO musicians truly appreciate our Chair Patrons and enjoy developing personal relationships with our supporters.
Assistant Conductor Kellen Gray
Cello Aleksei Kiseliov PRINCIPAL
Horn Christopher Gough PRINCIPAL
First Violin Maya Iwabuchi LEADER Sharon Roffman LEADER
Kennedy Leitch
Alison Murray
Arthur Boutiller
David McClenaghan
The Bill and Rosalind Gregson Chair
The Ardgowan Charitable Trust Chair
Patrick Curlett
Rachael Lee
Trumpet Christopher Hart PRINCIPAL
The Solti Foundation Chair
Dunard Fund Chair
Tamás Fejes Assistant LEADER
ASSISTANT PRINCIPAL The RSNO Circle Chair
Jane Reid
The James Browning Chair
ASSISTANT PRINCIPAL The David and Anne Smith Chair
The Christine and Arthur Hamilton Chair
Double Bass Ana Cordova PRINCIPAL
The James Wood Bequest Fund Chair
The Kate and Gavin Gemmell Chair
Alan Manson
John Clark
Elizabeth Bamping
Flute Katherine Bryan PRINCIPAL
The Hugh and Linda Bruce-Watt Chair The WL and Vera Heywood Chair
The Gregor Forbes Chair
The David and Anne Smith Chair
Second Violin Xander van Vliet PRINCIPAL
Helen Brew ASSISTANT PRINCIPAL
Sophie Lang
The Ian and Evelyn Crombie Chair
Oboe Adrian Wilson PRINCIPAL
Viola Lisa Rourke SUB PRINCIPAL
Peter Dykes
The Hilda Munro Chair
The Meta Ramsay Chair
David Martin
The Miss Grace MM Mitchell Bequest Chair
Francesca Hunt
The Rolf and Celia Thornqvist Chair
The Gordon Fraser Charitable Trust Chair
The Hedley Wright Chair
ASSOCIATE PRINCIPAL Witherby Publishing Group Charitable Trust Chair
Cor Anglais Henry Clay PRINCIPAL
The Springbank Distillers Chair
ASSISTANT PRINCIPAL Mr & Mrs Pierre and Alison Girard The J & A Mitchell Chair
Ms Chris Grace Hartness
Marcus Pope SUB PRINCIPAL
The Nigel and Margot Russell Chair
Trombone Dávur Juul Magnussen PRINCIPAL The Mitchell’s Glengyle Chair
Lance Green
ASSOCIATE PRINCIPAL The William Cadenhead Chair
Timpani Paul Philbert
Ms Chris Grace Hartness
Percussion John Poulter
ASSOCIATE PRINCIPAL The Dot and Syd Taft Chair
Director of Concerts and Engagement Bill Chandler The James and Iris Miller Chair
In memory of a dear friend, Fiona H
Bassoon David Hubbard PRINCIPAL
The James and Morag Anderson Chair
We would like to acknowledge the generous contribution of Mr Hedley Wright in supporting the RSNO Chair Patron Programme.
RSNO: Scotland’s National Orchestra 21
LEARNING AND ENGAGEMENT PATRON Our Learning and Engagement activity is structured around our Music for Life programme. From apps for babies to concerts and workshops for school children, and lunchtime concerts for older adults, the range of projects is vast. As a Patron, you will have access to our projects to bring you closer to the communities we serve across Scotland. Learning and Engagement Patrons Neil and Nicola Gordon Professor Gillian Mead Mr Maurice Taylor CBE RSNO Principal Oboe, Adrian Wilson Witherby Publishing Group Charitable Trust NEW WORKS PATRON The RSNO is dedicated to bringing new works and outstanding new talent to audiences across Scotland. Our New Works Patrons contribute a significant legacy to orchestral music that extends beyond the RSNO, providing new music for orchestras and audiences around the world – for generations to come. New Works Patron Susie Thomson We are also grateful to those who give but wish to remain anonymous. If you would like more information or would like to discuss how you can become part of the RSNO Family of Supporters, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk
We would like to thank all those who have made donations to the RSNO Covid Appeal over the recent months. The generosity of our supporters at this time is deeply appreciated.
Musical Memories Leave a gift to the RSNO and ensure future generations can create their own Musical Memories of the Royal Scottish National Orchestra. We all have special Musical Memories. It could be learning to play an instrument when you were a child, or a special piece of music that just left you breathless the first time you heard the Orchestra play it. Maybe it was seeing a soloist you had always wanted to hear, or just a great concert shared with friends. Memories such as these make music such an important part of our lives. Leaving a gift to the RSNO in your will is the single most important way you can help us to make music and to create memories. Your legacy will support the work of the Orchestra for years to come, ensuring that we can continue to bring great music to a new generation of children, young people and adults right across Scotland. It is easy to leave a gift. After you have made provisions for family and friends, please think of the Orchestra.
Your gift is important to us and to everyone in Scotland who enjoys music. Contact your solicitor to draft a will or add a codicil to your current will. If your estate is subject to inheritance tax, a gift to a charity, such as the RSNO, is tax-free and will reduce the amount of tax payable to the Government. Please ask your solicitor for details. For more information please visit rsno.org.uk/memories If you would like to discuss this further, please contact Kirsten Reid, Individual Giving and Partnerships Officer, in the strictest confidence at kirsten.reid@rsno.org.uk To the many among you who have pledged to leave a gift already – thank you.
RSNO: Scotland’s National Orchestra 23
Charitable Trusts and Foundations Charitable trusts and foundations have a long and illustrious history of supporting the RSNO, both on the concert platform and through our Learning and Engagement programmes in the community. Grants and awards of all sizes are greatly appreciated, and range from one-off donations for specific projects through to large-scale support over a number of years, including support of the acclaimed RSNO Junior Chorus and our flagship educational project, the National Schools Concert Programme. We are fortunate in having developed long-term relationships with a number of trusts who have sustained their invaluable support over many years, enabling a significant amount of our work and mission to go ahead each year that otherwise would simply not happen. Our 2020:21 Season of concerts and Learning and Engagement programmes is generously supported by the following trusts and foundations: Aberbrothock Skea Charitable Trust Aberdeen Endowments Trust Alexander Moncur Charitable Trust Austin and Hope Pilkington Trust Balgay Children’s Society Boshier-Hinton Foundation Cruden Foundation David and June Gordon Memorial Trust D’Oyly Carte Charitable Trust Dunclay Charitable Trust Educational Institute of Scotland Ettrick Charitable Trust Fidelio Charitable Trust Forteviot Charitable Trust Gannochy Trust Garrick Charitable Trust Gordon Fraser Charitable Trust Hugh Fraser Foundation Idlewild Trust James Wood Bequest Fund Jean & Roger Miller’s Charitable Trust Jennie S. Gordon Memorial Foundation John Ellerman Foundation John Mather Charitable Trust John Scott Trust Fund J T H Charitable Trust Leche Trust Leng Charitable Trust McGlashan Charitable Trust MEB Charitable Trust Meikle Foundation Michael Tippett Musical Foundation Mickel Fund Murdoch Forrest Charitable Trust Nancie Massey Charitable Trust Noël Coward Foundation Northwood Charitable Trust PF Charitable Trust Privy Purse Charitable Trust PRS Foundation R J Larg Family Trust Robertson Trust Ronald Miller Foundation
Russell Trust RVW Trust Scott-Davidson Charitable Trust Solti Foundation Souter Charitable Trust Stevenston Trust Tay Charitable Trust Thistle Trust Thriplow Charitable Trust Tillyloss Trust Trades House of Glasgow W A Cargill Fund Walter Craig Charitable Trust Walter Scott Giving Group Wavendon Foundation William Syson Foundation Witherby Publishing Group Charitable Trust We are also grateful to a number of trusts that wish to stay anonymous. If you would like more information about our work and how you can make a difference, please contact Ajda Šubelj, Head of Trusts and Projects, at ajda.subelj@rsno.org.uk
24 RSNO Live: Welcome Back!
RSNO Circle The Circle is a vital part of the RSNO family. Our community of music-lovers inspire and support us. Supporting us by joining the Circle will help us to bring music to so many people, from our Learning and Engagement programmes to our brand-new digital performances. As part of our community and family, we will keep in touch with our exclusive magazine Inner Circle, our Circle member webpage and invitations to special events throughout the year. To find out more about joining the Circle please visit rsno.org.uk/circle or get in touch with our Individual Giving and Partnerships Officer, Kirsten Reid, RSNO, 19 Killermont Street, Glasgow G2 3NX Email: kirsten.reid@rsno.org.uk To all our existing Circle members, thank you. Thank you for your unwavering support that allows us to continue sharing the joy of music. Virtuoso
Ms Catherine Y Alexander Mrs A M Bennett Dame Susan and Mr John Bruce Mrs Stina Bruce-Jones Stephen and Morny Carter Philip and Mary Contini Sir Sandy and Lady Crombie Gavin and Kate Gemmell Dr M I and Mrs C R Gordon Scott and Frieda Grier Iain MacNeil and Kat Heathcote Miss A McGrory Miss M Michie Mr James Miller CBE Meta Ramsay Mr George Ritchie Mr P Rollinson Mr and Mrs W Semple Mr Ian Taft Claire and Mark Urquhart Raymond and Brenda Williamson Mr Hedley G Wright
Symphony
Ronnie and Evelyne Anderson Mr Alan and Mrs Carolyn Bonnyman Mr John Brownlie Miss L Buist Mr and Mrs J K Burleigh Mr J L Donaldson Mr I Gow Mr J D Home Mrs J Kennedy Mrs A Lamont Mr I C MacNicol Professor J and Mrs S Mavor Mrs A McQueen Morag Millar Mr Miller Graham and Elizabeth Morton Mr and Mrs David Robinson Mr D Rogerson Mrs Ann M Stephen Mr Alistair M and Mrs Mandy Struthers Mr and Mrs M Whelan Mrs A Wolfson
Concerto
Dr K Chapman and Ms S Adam Mr A Alstead Miss D Blackie Mr L Borwick Neil and Karin Bowman Dr C M Bronte-Stewart Dr F L Brown Mr and Mrs Burnside Ms H Calvert Mr A Campbell Sir Graeme and Lady Catto Mr R Cavanagh Myk Cichla Dr J Coleiro Mr and Mrs B H Cross Christine and Jo Danbolt Mr P Davidson Mr J Diamond Miss C Dixon-Carter OBE Mr S Dunn Mr C Ffoulkes Mrs E Gibb Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Mr W Gray Mrs S Hawthorn Richard and Linda Holden Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Norman and Christine Lessels Mr Alistair Mackie Mr D MacPherson Mr R G Madden Mr S Marwick Mr and Mrs G McAllister Ms M McDougall Mr E and Mrs S McGeachan Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Mrs A C Morrison Dr and Mrs D Mowle Mr and Mrs D Pirie Ms A and Miss I Reeve
Miss L E Robertson Ross family Dr and Mrs G K Simpson Mr and Mrs A Stewart Mrs M Stirling Mr G Stronach Dr G R Sutherland Mr I Szymanski Professor D E M Taylor Mr and Dr Tom Thomson Mr J B and Mrs M B Watson Mr and Mrs D Weetman Mrs Wigglesworth Mr and Mrs Zuckert
Sonata
Ms S Ace Mr K Allen Mrs P Anderson Ms D Baines Mr O Balfour Mr N Barton Dr A D Beattie Professor G Beeston Mrs H Benzie Mr R Billingham Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Lady J Bute Miss S M Carlyon Mrs H S Chalmers Mr J Claxon Mr T Cole and Mrs J Leslie-Cole Lady Coulsfield Adam and Lesley Cumming Ms K Cunningham Mr F Dalziel and Mrs S Walsh Dr J K and Mrs E E Davidson Mr and Mrs K B Dietz Mrs C Donald Jane Donald and Lee Knifton Ms P Dow Mrs P du Feu Mr John Duffy Mr and Mrs M Dunbar Mr R M Duncan
Brigadier and Mrs C C Dunphie Mrs E Egan Mr R Ellis Miss L Emslie Mr R B Erskine Dr E Evans Mr D Fraser Mr D and Mrs A Fraser Mr D Frew Ms J Gardner Dr P and Dr K Gaskell Mr W G Geddes Mrs M Gibson Mr D Gibson Mrs M Gillan Mr R M Godfrey Dr J A Graham and Mrs H M Graham Professor and Mrs A R Grieve Mr and Mrs G Y Haig Lord and Lady Hamilton Dr P J Harper Dr N Harrison Mr and Mrs R J Hart Mr D Hartman Ms V Harvey Dr and Mrs P Heywood Bobby and Rhona Hogg Mr R Horne Mr and Mrs F Howell Mrs A S Hunter Professor R N Ibbett Ms J Incecik Mr A Kilpatrick Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson Mr R M Love Dr D A Lunt Mrs Lesley P Lyon Mr and Mrs R MacCormick Mr and Mrs MacGillivray Lady Lucinda L Mackay Dr A K and Mrs J C Martin Mr and Mrs J Martin Mr and Mrs D H Marwick Ms S McArthur Mr G McCormack
Mrs L McCormick Mrs M McDonald Mr M McGarvie Mrs C McGowan-Smyth Dr Colin McHardy Dr A H McKee Mr Patrick McKeever Mr G McKeown Ms H L McLaren Mrs E McLean Ms Fiona McLeod Mr and Mrs B Mellon Mr and Mrs I Mills Mrs P Molyneaux Mr R Morley Mr B Morrison Mr K M Murray Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Ms S Park Mr R Parry Mr J Paterson Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr W Ramage Mr M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb Mrs E Robertson Mr I Robertson Mr H and Mrs J Robson Ms A Robson Mrs E K Ross Mrs S Scott Mrs J Shanks Mr J A Shipley Dr M J and Mrs J A Shirreffs Dr Colin and Mrs Kathleen Sinclair Mr M J Smith
Mrs E Smith Mr M A Snider Dr and Mrs B Stack Mrs Lorna Statham Mrs T Stevenson Rev N and Mr R Stewart Mrs R F Stewart Mr and Mrs Struthers Mr and Mrs B Tait Dr and Mrs T Thomson Mr C Turnbull Dr S Tweedie Dr Morag Ward Mr W Watters Dr and Mrs T Weakley Mrs V Wells Mr G West Miss M Whitelaw Dr and Mrs D T Williams Mr D Woolgar Mr R Young
Thank you to all our members of the Circle, including those who wish to remain anonymous. Every one of you makes a real difference.
26 RSNO Live: Welcome Back!
A big Thank You to our supporters FUNDERS
CORPORATE SUPPORTERS
PRINCIPAL MEDIA PARTNER
PRINCIPAL TRANSPORT PARTNER
BROADCAST PARTNER
PARTNERS Glasgow Chamber of Commerce • Institute of Directors • Scots Magazine The Scottish Council for Development & Industry • Smart Graphics
PROJECT PARTNERS Abertay University • Children’s Classic Concerts • Children’s Hospices Across Scotland • Dundee University • Gig Buddies Glasgow Association for Mental Health (GAMH) • Glasgow Life • Horsecross Arts • National Youth Orchestras of Scotland Prescribe Culture (University of Edinburgh) • Royal Conservatoire of Scotland • Scottish Book Trust Tayside Healthcare Arts Trust • Usher Hall • Young Scot
CHAIR SPONSORS
If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Kirsten Reid, Individual Giving and Partnerships Officer, at kirsten.reid@rsno.org.uk
RSNO: Scotland’s National Orchestra 27
Royal Scottish National Orchestra PATRON
CHIEF EXECUTIVE
Jenny McNeely
Her Majesty The Queen
Alistair Mackie Nicola Shephard
Graham Ramage
HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS
EXECUTIVE ASSISTANT
GRAPHICS AND NEW MEDIA DESIGNER
RSNO BOARD OF DIRECTORS
CONCERTS
INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER
Elected Directors Dame Susan Bruce DBE
DIRECTOR OF CONCERTS AND ENGAGEMENT
Bill Chandler
Michael Cameron
DRIVER AND DEPUTY STAGE MANAGER
CHAIR
Bekah Cork
John Heasley
ARTISTIC PLANNING AND TOURS MANAGER
HONORARY TREASURER
Emma Hunter
Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood
DEPUTY ORCHESTRA MANAGER
Ewen McKay
HEAD OF ORCHESTRA MANAGEMENT
Richard Payne
Craig Swindells
Nominated Directors Cllr Frank Docherty
Samantha Campbell
STAGE AND PRODUCTION MANAGER
Christine Walker CHORUS MANAGER
LEARNING AND ENGAGEMENT
Andrew Stevenson
DIRECTOR OF LEARNING AND ENGAGEMENT HEAD OF LEARNING AND ENGAGEMENT
Flora Farqhuarson CREATIVE ASSISTANT
Rosie Kenneally
Company Secretary Gordon Murray
LEARNING AND ENGAGEMENT OFFICER
RSNO COUNCIL
Dr Jane Donald
Baroness Ramsay of Cartvale
Ian Brooke
Lady Gibson Ms Ruth Wishart
INFORMATION SERVICES MANAGER
Ajda Šubelj
HEAD OF TRUSTS AND PROJECTS
Liz Wallace
COMMUNICATIONS MANAGER (MATERNITY COVER)
Angela Moreland
Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough
CHAIR
Sam Stone
ARTISTIC PLANNING MANAGER CONCERTS ADMINISTRATOR
THE CITY OF EDINBURGH COUNCIL
TRUSTS AND PROJECTS COORDINATOR
FINANCE AND CORPORATE SERVICES
Matthias van der Swaagh
Cllr Lezley Marion Cameron
Naomi Stewart
LIBRARIAN
Tammo Schuelke
GLASGOW CITY COUNCIL
Kirsten Reid
EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS PROGRAMMES EDITOR
Constance Carter-Fraser
EXTERNAL RELATIONS ADMINISTRATOR
Jessica Cowley
CHIEF OPERATING OFFICER
Eli Dolliver
VIDEO PRODUCTION INTERN
Ted Howie
FACILITIES COORDINATOR
Jack Hunter VIDEO PRODUCER
Sam McErlean
SOUND ENGINEERING INTERN
Irene McPhail
ACCOUNTS AND PAYROLL ASSISTANT
Hedd Morfett-Jones DIGITAL MANAGER
Susan Rennie FINANCE MANAGER
Abby Trainor ADMINISTRATOR
Jade Wilson
FINANCE ASSISTANT
Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk Scottish Company No. 27809 Scottish Charity No. SC010702
MARKETING MANAGER
Carol Fleming
/royalscottishnationalorchestra
Lorimer Macandrew
@RSNO
Catriona Mackenzie
@rsnoofficial
HEAD OF MARKETING
DIGITAL CONTENT PRODUCER
COMMUNICATIONS MANAGER (MATERNITY LEAVE)
Youtube.com/thersno
The RSNO is one of Scotland’s National Performing Companies, supported by the Scottish Government.
Orchestra list and programme details correct at time of going to print. Contents © Copyright RSNO and named authors.