RSNO Digital Season: Dvořák New World Symphony

Scotland’s National Orchestra 1

DVOŘÁK NEW WORLD SYMPHONY

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DVOŘÁK NEW WORLD SYMPHONY

Errollyn Wallen’s Mighty River is dedicated to her great-great-greatgreat-great-great grandmother, a slave. This gripping orchestral work from one of Britain’s most original living composers makes an unforgettable impact. James Lowe also conducts Dvořák’s stunning New World Symphony and Wagner’s sensuous love songs, performed

by Scottish mezzo-soprano Karen Cargill.

ERROLLYN WALLEN SCOTCH SCOTCH SCOTCH Mighty River [16’] SNAPS SNAPS SNAPS WAGNER (orch. HENZE) Wesendonck-Lieder [21’] DVOŘÁK Symphony No9 in E Minor Op95 From the New World [43’] James Lowe Conductor Karen Cargill Mezzo-soprano Royal Scottish National Orchestra RECORDED AT THE RSNO CENTRE, GLASGOW Broadcast Fri 15 Jan 2021, 7.30pm This performance has been recorded for the RSNO Archive.

Supported by the Iain and Pamela Sinclair Legacy.

Jack Hunter Director John Whitener Script Supervisor Diana Dumi and Diego Almazán Camera Operators Diana Dumi Video Editor Phil Hobbs Producer Hedd Morfett-Jones Sound Supervisor

Next Digital Season Concert

DVOŘÁK SYMPHONY No8 Richard Thompson Suite from The Mask in the Mirror WORLD PREMIERE Dvořák Romance for Violin Price Violin Concerto No2 Dvořák Symphony No8 Anna-Maria Helsing Conductor Sharon Roffman Violin Please note, due to new COVID-19 travel and quarantine restrictions, artists have changed from those previously advertised.

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Welcome SCOTCH SNAPS

Dear friends A very happy new year to you all. Thank you for continuing to support the Royal Scottish National Orchestra as we navigate these challenging times. We were delighted recently to win the Classical Music Digital Award 2020 for our online material ‘RSNO at Home’, featuring our Friday Night Club concerts, #RSNOchallenge, Sunday Sounds and more.

We recognise that these are difficult times for everyone and hope that our free online content helps to brighten your day.

In our first digital concert of 2021 we’re thrilled to showcase Errollyn Wallen’s Mighty River in our Scotch Snaps series, supported by the John Ellerman Foundation. As Scotland’s National Orchestra, we are proud to celebrate established and emerging composers born or living in Scotland through this vibrant new series and look forward to introducing you to many more works in the future.

We’re also delighted to welcome back James Lowe to the podium. Many of our regular subscribers will remember James’ time with us as Associate Conductor, and we are indebted to him for standing in for our previously advertised conductor, Ryan Bancroft, at the eleventh hour.

The RSNO has developed a rather special relationship with mezzo-soprano Karen Cargill over the years, most recently in her performance of three of Mahler’s wistful Rücker-Lieder with Thomas Søndergård and the RSNO for the 2020 Edinburgh International Festival’s My Light Shines On, which is still available to view on our YouTube channel.

I do hope that you enjoy this concert and we look forward to bringing you more stunning concerts in 2021.

Alistair Mackie CHIEF EXECUTIVE

SCOTCH SNAPS

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ARTISTIC TEAM Thomas Søndergård

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MUSIC DIRECTOR Elim Chan

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PRINCIPAL GUEST CONDUCTOR Neeme Järvi CONDUCTOR LAUREATE Alexander Lazarev CONDUCTOR EMERITUS

Gregory Batsleer

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CHORUS DIRECTOR, RSNO CHORUS

Patrick Barrett

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FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska

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ASSOCIATE LEADER

Emily Davis ASSOCIATE LEADER 10 Tamás Fejes ASSISTANT LEADER 11 Patrick Curlett ASSISTANT PRINCIPAL 12 Barbara Paterson SUB PRINCIPAL 13 Jane Reid 14 Caroline Parry 15 Ursula Heidecker Allen 16 Lorna Rough 17 Susannah Lowdon 18 Alan Manson 19 Elizabeth Bamping 20 SECOND VIOLIN Xander van Vliet PRINCIPAL Jacqueline Speirs ASSOCIATE PRINCIPAL

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Marion Wilson ASSOCIATE PRINCIPAL 23 Harriet Wilson SUB PRINCIPAL 24 Nigel Mason 25 Wanda Wojtasinska 26 Paul Medd 27 Anne Bünemann 28 Sophie Lang 29 Robin Wilson 30 Emily Nenniger 31

VIOLA Tom Dunn PRINCIPAL Asher Zaccardelli

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ASSISTANT PRINCIPAL

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Susan Buchan SUB PRINCIPAL Lisa Rourke SUB PRINCIPAL David Martin Nicola McWhirter Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt

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CELLO Aleksei Kiseliov PRINCIPAL 42 Betsy Taylor ASSOCIATE PRINCIPAL 43 Kennedy Leitch ASSISTANT PRINCIPAL 44 Arthur Boutillier SUB PRINCIPAL 45 William Paterson 46 Rachael Lee 47 Sarah Digger 48 DOUBLE BASS Ana Cordova PRINCIPAL Margarida Castro

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ASSOCIATE PRINCIPAL Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis

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FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson

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PRINCIPAL PICCOLO

OBOE Adrian Wilson PRINCIPAL Peter Dykes ASSOCIATE PRINCIPAL Henry Clay PRINCIPAL COR ANGLAIS

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CLARINET Timothy Orpen PRINCIPAL CLARINET Duncan Swindells

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BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto

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HORN Christopher Gough PRINCIPAL 66 Alison Murray ASSISTANT PRINCIPAL 67 Andrew McLean 68 ASSOCIATE PRINCIPAL David McClenaghan 69 Martin Murphy ASSISTANT PRINCIPAL 70 TRUMPET Christopher Hart PRINCIPAL Marcus Pope SUB PRINCIPAL Jason Lewis ASSOCIATE PRINCIPAL

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TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair

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TUBA John Whitener PRINCIPAL

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TIMPANI Paul Philbert PRINCIPAL

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PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL

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Mighty River

SCOTCH SNAPS

Errollyn Wallen (Born 1958)

FIRST PERFORMED London, 24 February 2007 DURATION 16 minutes Mighty River was commissioned by the Rector and Parochial Church Council of Holy Trinity, Clapham Common and Revd John Wates, whose wife is a direct descendant of William Wilberforce (1759-1833), the devoted campaigner against the slave trade whose lobbying in parliament led to the Abolition of the Slave Trade Act. The piece was premiered in 2007 by the Philharmonia Orchestra in a special concert at Holy Trinity, where the Abolitionists used to meet, marking the 200th anniversary of the Act. ‘Slavery claimed the lives of countless people,’ Errollyn Wallen has commented, ‘but somehow my ancestors found the grit and determination to persist in spite of the conditions in which they found themselves. I dedicate Mighty River to my great-great-great-great-great-great grandmother. Though I never knew her, I am driven on by her courage in the face of dreadful odds and am inspired by her example not merely to survive, but to thrive.’

Errollyn knew this would be an especially important work for her. Thinking about slavery, she says, she began to think about what it means to be a human being, every one of whom wants to be free. ‘Because I love water so much, I got to thinking about rivers and the feeling of water, always pushing out towards the sea … It is an innate human instinct to be free, just as it is a law of nature that the river should rush headlong to the sea. That is the concept behind Mighty River.’

The piece begins with the famous theme of ‘Amazing Grace’ on solo French horn. Gradually it is joined by other instruments, and with the pulsing entry of the violins the flow of the river begins to gather strength. Over this strong and steady motion, flights of woodwind and trumpets soar and flash; the river follows its course through new adventures, bringing episodes of darkness and danger, changes of pace, whirlpools and waterfalls; and during its great journey the melody of ‘Amazing Grace’ meets fragmentary motifs of other spirituals and gospel songs. At last the river reaches the sea and merges in grandeur, stillness and fulfilment. © Jessica Duchen

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Errollyn Wallen COMPOSER by a black woman to be performed at the BBC Proms. She was awarded an MBE in 2007 and a CBE in 2020.

Giving a voice to the voiceless has been a recurring obsession for her, and perhaps it is no coincidence that her own voice as a composer springs from a seriously under-represented background in British contemporary classical music. She is the UK’s first internationally celebrated black female composer, and has become a figurehead for a whole new generation. As for her own role models, the figure she cites most often is J S Bach, not least for his intense and down-to-earth work ethic.

Errollyn Wallen has a special connection with Scotland. Always drawn to the sea, she now lives in a lighthouse on the north coast and here finds ample inspiration for her prolific musical output.

Errollyn is celebrated both as a singersongwriter and for her rigorous and communicative contemporary music. Her works include operas of many different sizes, as well as a plethora of chamber music, solo and ensemble piano pieces and concertos, plus award-winning scores for film and TV. Early in her career she started her own group, Ensemble X, with the motto: ‘We don’t break down barriers … we don’t see any.’

Born in Belize, she moved to the UK with her family at the age of two. Creating music absorbed her even from childhood and she went on to study at Goldsmiths’ College and King’s College London. Her Concerto for Percussion and Orchestra was the first work

Errollyn has been recognised with commissions for the Paralympics opening ceremony in 2012 and from the Royal Opera House, among many others. She has won an Ivor Novello Award, and teaches at Trinity Laban College of Music, the Royal College of Music and Birmingham Conservatoire, where her students have included the singer-songwriter Laura Mvula.

She was recently appointed Visiting Professor of Composition at the Royal Conservatoire of Scotland. © Jessica Duchen

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SCOTCH SNAPS

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The RSNO Scotch Snaps series is supported by the

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Wesendonck-Lieder with his first wife Minna in Zürich, in a garden cottage they took at a knock-down rent (which he rarely paid) from the silk merchant Otto von Wesendonck, who had already provided a generous loan. As well as the financial attractions, Wagner was very interested in Otto’s young wife Mathilde – helped by the fact that Otto was often away on business – and the pair grew extremely close. Nobody really knows how far the affair developed, but eventually Minna intercepted a smoochy letter from Richard to Mathilde, and the whole set-up very quickly fell apart.

Träume (Dreams)

Up to that moment it was a fruitful time for Wagner, as the musical urge which had been dormant since his opera Lohengrin in 1848 began to stir. While Otto was away on business, he held house parties in the Wesendonck villa and spent much time there with Mathilde reading his new opera libretto, Tristan und Isolde. Their intense connection – aesthetic, spiritual, sexual – prompted Mathilde to write a set of five intense poems which Wagner set to a piano accompaniment, trying out ideas for his new opera. The last of the songs, Träume, Wagner scored for string orchestra, hired at Otto’s expense while he was in New York and played in the villa as Mathilde awoke on her 29th birthday in December 1857. When Otto heard about this he was less than charmed, and Wagner was constrained to find other benefactors.

The story behind the creation of the Wesendonck songs does not really show Richard Wagner off to his finest advantage, though as often happened with this rather sinister alchemist he transmuted some questionable behaviour into musical paradise.

In 1857, self-exiled from Germany since his part in the abortive 1849 Dresden Uprising had left him a wanted man there, he was living

The hothouse atmosphere of the villa with its turbid emotions is vividly evident in the poems and songs. Under the influence of Wagner and his new favourite thinker, Arthur Schopenhauer, the young apprentice poet Mathilde produced pieces of highly scented romanticism, full of yearning, unattainable longings, ineffable feelings of alienation and resignation – plus quite a lot of chest-heaving stuff about smouldering eyes, souls and lips.

Richard Wagner (orch. Henze) (1813-1883)

FIRST PERFORMED Mainz, 30 July 1862 DURATION 21 minutes Der Engel (The Angel) Stehe still! (Be still!)

Im Treibhaus (In the Glasshouse) Schmerzen (Pain)

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Wagner promised to keep the songs private, but finding himself hard up in 1862 he allowed them to be published and performed (without Mathilde’s name), and later they were orchestrated by Felix Mottl. In 1976 the German modernist composer Hans Werner Henze, though no Wagnerian, in an attempt to restore the intimacy of the originals, rescored the songs for contralto and chamber orchestra.

This low timbre, and Henze’s rather original writing notably for wind instruments, imparts a very particular feeling to the songs, though he is certainly trying to produce a Wagnerian effect, and the instruments’ musical lines bring great clarity to the counterpoint, far more than is possible on a piano.

The first song, Der Engel, is a serene hymn to the consoling angel who comforts humans in their grief; the next, the turbulent Stehe still!, longs for the calm of renunciation to quieten the pangs of human desire. Im Treibhaus, the longest, is a dark-hued nocturne of unresolved harmony, very like Act III of Tristan und Isolde, full of alienation and the impossibility of happiness, but Schmerzen contrasts the pain of life with the glory of hope and rebirth. With the final song, Träume, we are in the nightscape of Act II of Tristan, as the poet realises that genuine happiness is to be found only in the unreality of dreams.

Wagner didn’t write many songs compared to his contemporaries – this is his only mature song cycle – but they had vast influence: listening to these Wesendonck songs, you hear all the soundscapes and vistas of Gustav Mahler and Richard Strauss opening before your ears. © Robert Thicknesse

What was happening in 1862?

29 Jan Composer Frederick Delius was born in Bradford, Yorkshire 1 Feb Julia Ward Howe’s Battle Hymn of the Republic was published in the Atlantic Monthly 6 Feb In the American Civil War, General Ulysses S Grant’s United States forces had their first victory, capturing Fort Henry, Tennessee 1 May The International Exhibition opened in South Kensington, with exhibits from Japan which would prove influential in the development of Anglo-Japanese style 6 May The transcendentalist author Henry David Thoreau, best known for his book Walden, died 4 Jul On a rowboat trip from Oxford, Charles Dodgson (aka Lewis Carroll) told the story that would become Alice’s Adventures in Wonderland 14 Jul The Austrian symbolist painter Gustav Klimt was born 22 Aug The French composer Claude Debussy was born 4 Nov American inventor Richard Jordan Gatling patented the Gatling gun, the first successful machine gun 13 Dec In the American Civil War, Confederate forces inflicted a heavy defeat on the Union Army at Fredericksburg, Virginia

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Text and Translation Der Engel In der Kindheit frühen Tagen Hört ich oft von Engeln sagen, Die des Himmels hehre Wonne Tauschen mit der Erdensonne,

The Angel In the early days of childhood Oft I heard a tale of angels Who Heaven’s noble pleasure Exchanged for sun on earth,

Daß, wo bang ein Herz in Sorgen Schmachtet vor der Welt verborgen, Daß, wo still es will verbluten, Und vergehn in Tränenfluten,

That, where hearts in anxious trouble Languished hidden from the world, That, where they would bleed to death And perish in floods of tears,

Daß, wo brünstig sein Gebet Einzig um Erlösung fleht, Da der Engel niederschwebt, Und es sanft gen Himmel hebt.

That, where ardent praying, Only for redemption pleads, There the angel sweeps below And lifts them softly heavenwards.

Ja, es stieg auch mir ein Engel nieder, Und auf leuchtendem Gefieder Führt er, ferne jedem Schmerz, Meinen Geist nun himmelwärts!

And so an angel came down to me, And on luminescent wings Led me far from any pain, Lifting my soul heavenwards!

Stehe still!

Sausendes, brausendes Rad der Zeit, Messer du der Ewigkeit; Leuchtende Sphären im weiten All, Die ihr umringt den Weltenball; Urewige Schöpfung, halte doch ein, Genug des Werdens, laß mich sein!

Be still!

Hurtling, racing wheel of time, Measure of eternity; Shining universal spheres Circling the earthly globe; Primeval creation, pause awhile, Enough of becoming, let me be!

Halte an dich, zeugende Kraft, Urgedanke, der ewig schafft!

Hemmet den Atem, stillet den Drang, Schweiget nur eine Sekunde lang!

Schwellende Pulse, fesselt den Schlag; Ende, des Wollens ew’ger Tag! Daß in selig süßem Vergessen Ich mög alle Wonnen ermessen!

Abide in yourself, begetting power, Primal thought, eternal creation!

Hold your breath, still this urge, Be silent for a second’s breath!

Surging pulses, fetter the heart; End, eternal day of will!

That in blissful sweet oblivion I may measure every joy!

Wenn Aug’ in Auge wonnig trinken, Seele ganz in Seele versinken; Wesen in Wesen sich wiederfindet, Und alles Hoffens Ende sich kündet,

When eye gazes blissfully into eye, Soul sinks deeply into soul; Being finds itself in being, And all hopes are fulfilled,

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Die Lippe verstummt in staunendem Schweigen, Keinen Wunsch mehr will das Innre zeugen: Erkennt der Mensch des Ew’gen Spur, Und löst dein Rätsel, heil’ge Natur!

The lip is muted in wondering silence, No more desire shall the soul beget: When man reveals the eternal sign, And solves thy riddle, holy nature!

Im Treibhaus Hochgewölbte Blätterkronen, Baldachine von Smaragd, Kinder ihr aus fernen Zonen, Saget mir, warum ihr klagt?

In the Glasshouse High-arching crowns of leaves, Baldachins of emerald green, You children from distant zones, Tell me, why do you lament?

Schweigend neiget ihr die Zweige, Malet Zeichen in die Luft, Und der Leiden stummer Zeuge Steiget aufwärts, süßer Duft.

In silence your branches bow, Making signs in the air, The suffering of silent witnesses Rising upwards, on sweetest air.

Weit in sehnendem Verlangen Breitet ihr die Arme aus, Und umschlinget wahnbefangen Öder Leere nicht’gen Graus.

Vast with yearning desire You spread out your arms, And embrace in your delusion Barren wasteland, empty horror.

Wohl, ich weiß es, arme Pflanze; Ein Geschicke teilen wir, Ob umstrahlt von Licht und Glanze, Unsre Heimat ist nicht hier!

Well, I know it, sorry plant; A single destiny we share, Though resplendent in light and lustre, Our homeland is not here!

Und wie froh die Sonne scheidet Von des Tages leerem Schein, Hüllet der, der wahrhaft leidet, Sich in Schweigens Dunkel ein.

And how gladly the sun departs From the empty glow of day, Whilst he who truly suffers, Wraps himself in silent gloom.

Stille wird’s, ein säuselnd Weben Füllet bang den dunklen Raum: Schwere Tropfen seh ich schweben An der Blätter grünem Saum.

Silence comes, a whispering murmur Fills the darkened room with fear: I see heavy droplets floating On the leaves’ emerald hem.

Schmerzen Sonne, weinest jeden Abend Dir die schönen Augen rot, Wenn im Meeresspiegel badend Dich erreicht der frühe Tod;

Pain Sun, you weep each evening As your beauteous eyes shine red, When, at the ocean’s surface bathing, You sink to an early death;

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Text and Translation Doch erstehst in alter Pracht, Glorie der düstren Welt, Du am Morgen neu erwacht, Wie ein stolzer Siegesheld!

Yet you arise in ancient splendour, Glory of the sombre world, As you reawaken in the morning, A proud victorious hero!

Ach, wie sollte ich da klagen, Wie, mein Herz, so schwer dich sehn, Muß die Sonne selbst verzagen, Muß die Sonne untergehn?

Oh, then why should I complain, Why my heart, so heavily behold you, Must the sun itself despair, Must the sun itself go down?

Und gebieret Tod nur Leben, Geben Schmerzen Wonne nur: O wie dank ich, daß gegeben Solche Schmerzen mir Natur!

And if death begets life, Only pain brings bliss: O how thankful I am that Nature brings me such pain!

Träume Sag, welch wunderbare Träume Halten meinen Sinn umfangen, Daß sie nicht wie leere Schäume Sind in ödes Nichts vergangen?

Dreams Say, what wondrous dreams Hold my mind so deep in thrall, That they have not like empty froth Passed into bleak nothingness?

Träume, die in jeder Stunde, Jedem Tage schöner blühn, Und mit ihrer Himmelskunde Selig durchs Gemüte ziehn!

Dreams that each and every hour, Bloom more radiant day by day, And with their celestial lore Roam blessedly through the mind!

Träume, die wie hehre Strahlen In die Seele sich versenken, Dort ein ewig Bild zu malen: Allvergessen, Eingedenken!

Dreams which shine like noble rays Sinking deep into the soul, There to paint eternal pictures: All forgotten, but one remembered!

Träume, wie wenn Frühlingssonne Aus dem Schnee die Blüten küßt, Daß zu nie geahnter Wonne Sie der neue Tag begrüßt,

Dreams like springtime sunshine Kissing blossoms from the snow So the new day shall greet them To undreamt-of bliss,

Daß sie wachsen, daß sie blühen, Träumend spenden ihren Duft, Sanft an deiner Brust verglühen, Und dann sinken in die Gruft.

That they grow, that they blossom, Dreamily bestowing fragrance, Gently glowing on your breast, Then sinking down into the grave.

Translation: © Katherine Wren, RSNO Viola

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Karen Cargill MEZZO-SOPRANO Concertgebouw Orchestra, working with conductors including Sir Donald Runnicles, Yannick Nézet-Séguin, Bernard Haitink, Sir Simon Rattle, Daniele Gatti, Esa-Pekka Salonen, Daniel Harding, Robin Ticciati, Edward Gardner and Mirga Gražinytė-tyla. Opera highlights include appearances at the Royal Opera House, Metropolitan Opera New York, Deutsche Oper Berlin, Opéra National de Montpellier, Glyndebourne Festival Opera, BBC Proms, Scottish Opera and Edinburgh International Festival, with roles including Waltraute Götterdämmerung; Erda Das Rheingold and Siegfried; Brangäne Tristan und Isolde; Mère Marie Dialogues des Carmélites; and Judith Bluebeard’s Castle.

Karen Cargill was born in Arbroath, Scotland.

She studied at the Royal Conservatoire of Scotland and was the winner of the 2002 Kathleen Ferrier Award.

Recent highlights include La damnation de Faust with the Deutsches Symphonie Orchester Berlin/Robin Ticciati; Elgar’s Sea Pictures with the Danish National Radio Symphony Orchestra/Thomas Søndergård; Bach’s B Minor Mass with the Philadelphia Orchestra/Yannick Nézet-Séguin; and Judith Bluebeard’s Castle for Scottish Opera and Opera North/Sian Edwards, and the London Symphony Orchestra/Sir Simon Rattle.

Karen regularly sings with the Boston, Cleveland, Philadelphia, Chicago, Rotterdam and Berlin Philharmonic orchestras, Dresden Staatskapelle, London Symphony and Philharmonic orchestras, Bavarian Radio Symphony Orchestra, Danish National Symphony Orchestra and the Royal

Highlights with her regular recital partner Simon Lepper include appearances at Wigmore Hall London, the Concertgebouw Amsterdam, Kennedy Center Washington, DC and Carnegie Hall New York, as well as regular recitals for BBC Radio 3. With Simon she recently recorded a critically acclaimed recital of lieder by Alma and Gustav Mahler for Linn Records, for whom she has also recorded Berlioz’s Les nuits d’été and La mort de Cléopâtre with Robin Ticciati and the Scottish Chamber Orchestra.

In 2018 Karen was awarded an Honorary Doctorate from the RCS. She is also Patron of the National Girls’ Choir of Scotland.

Karen appeared most recently with the RSNO at the 2019 EIF, when she sang Waltraute and Second Norn in Götterdämmerung, during the 2019:20 Season in Berg’s Seven Early Songs, and as part of the 2020 EIF’s digital My Light Shines On season in three of Mahler’s RückertLieder.

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Symphony No9 in E Minor Op95 From the New World Directorship of the newly established National Conservatory of Music of America. He would stay until 1895, missing his native Bohemia, but equally enjoying the musical inspiration to be found in the New World, and the delight with which he was received by New York’s musical community. The Symphony, a commission from the New York Philharmonic, was premiered to a rapturous reception at Carnegie Hall under Anton Seidl on 16 December 1893.

With its memorable tunes and its ability to stir the emotions, it’s not difficult to work out why this Symphony has always been such a crowdpleaser. However, it also offers an extra source of pleasure for budding analysts, in the form of an intriguing question. Namely, just how American really is it?

Antonín Dvořák (1841-1904)

FIRST PERFORMED New York, 16 December 1893 DURATION 43 minutes Adagio – Allegro molto Largo Scherzo: Molto vivace – Poco sostenuto Allegro con fuoco Antonín Dvořák wrote his Ninth Symphony in America, about America and for America. Or, at least, that’s how he pitched it.

Subtitled From the New World, Dvořák wrote his Ninth Symphony in 1893, while living and working in New York. He had moved there the previous year, accompanied by his wife and two of their four children, to take up the

On the one hand, if you listen to the work within the context of its title, then it does indeed sound thoroughly suffused with Americana: emotionally you sense the pioneering spirit of adventure, geographically you imagine wide, empty landscapes, and musically you hear the pentatonic scales of native Indian and African American music (which, incidentally, Dvořák likened to Scottish folk music). We also know how enthused Dvořák was with African American spirituals; the year he wrote this Symphony he claimed, ‘I am now satisfied that the future music of this country must be founded upon what are called the African-American melodies.’ The same year also saw him experiencing the vastness of American prairies at first hand, spending his summer with the Czech community of Spillville, Iowa. Then, the day before the premiere, Dvořák explained in the New York Herald that he had used Native American music in the Symphony, not by quoting traditional tunes verbatim but by composing ‘original themes embodying the peculiarities of the Indian

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music, and, using these themes as subjects, [developing] them with all the resources of modern rhythms, counterpoint and orchestral colour’.

So far, so unarguably American-inspired.

However, the Symphony’s subtitle was in fact an afterthought, added just before Dvořák delivered the manuscript to the New York Philharmonic. As a result, many would argue that if you listen to the work outside the context of its title, then it sounds as much Czech as American.

So, a tribute to all things American, or a guilty subtitle added by a homesick composer who found himself stretching every musical tendon back towards his homeland? You decide.

However, bear in mind that Dvořák was no ethnomusicologist; unlike later composers such as Bartók, who aimed to mimic folk music with their own, Dvořák drew on folk music but then styled it back into his own classical language.

As a result, to do him down for writing Native American melodies that sound firmly rooted in the classical tradition is, in a sense, missing the point of Dvořák.

The first movement begins with a slow, sombre introduction, which then gradually transforms into the Allegro’s main, upwards-thrusting theme introduced by a solo horn. The Allegro’s second theme is introduced by flute and oboe. A dance tune, it sounds reminiscent of the American folk tune ‘Turkey in the Straw’.

An additional theme is a hope-filled melody introduced by the flute that many find similar to the spiritual ‘Swing Low, Sweet Chariot’.

Atmospheric horn chords open the Largo, and then the ensuing main theme almost needs no introduction. Whether you know it as the spiritual ‘Goin’ Home’, or as the Hovis bread tune, this nostalgic, tender, folksong-like theme

is one of the most famous cor anglais melodies of all time. After a glowing central section whose violin melody sounds like the sun warming the vast expanses of prairie grasses, the cor anglais takes up a short reprise of its theme, before first-movement ideas make a return. Then, in a fortissimo climax, the two main themes of the first movement are pitted against the Largo’s own theme, before the music subsides to the purity of the cor anglais solo again. Gorgeous orchestration follows, finished off with a final chord atmospherically scored for divided double basses alone.

Dvořák claimed that the music of his Scherzo referred to the dance of the Pau-PukKeewis in Henry Wadsworth Longfellow’s epic poem, Hiawatha. Whirling and excited, this movement is full of folk-like idioms and harmonies (although with a central Trio section that sounds rather more Bohemian than American!). As with the Largo, themes from the first movement make reappearances, in the transitions between sections and then most obviously in the coda.

With the final movement, Dvořák’s thematic recollections reach a climax. The work begins with a new, march-like theme, severe in the horns and trumpets (and again sounding rather central European in flavour). Then, after a contrasting transitional theme that is actually a variant of the march, comes the comedic surprise entrance of ‘Three Blind Mice’, tossed between the sections. At the end of the development section, melodies from all three previous movements are recalled, which then suffuse the coda in a dramatically charged summation of the Symphony. © Charlotte Gardner

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RSNO: Scotland’s National Orchestra 19

James Lowe CONDUCTOR Jorma Panula, Neeme Järvi, Bernard Haitink, and Valery Gergiev and the London Symphony Orchestra. He has also worked as Assistant Conductor to Haitink in performances with the Royal Concertgebouw Orchestra in Amsterdam.

A former Associate Conductor of the Royal Scottish National Orchestra, James Lowe is Chief Conductor of the Vaasa City Orchestra in Finland and Music Director of the Spokane Symphony in Washington state. A recipient of the Bernard Haitink Fund for Young Talent, he is Principal Conductor of the Edinburgh Contemporary Music Ensemble and Principal Guest Conductor of Music for Everyone. He has also held the positions of Orchestras Advisor to the National Youth Orchestras of Scotland and Chief Conductor of the Prussian Chamber Orchestra. His work as Artistic Director of the Hallé Harmony Youth Orchestra was featured in a four-part Channel 4 documentary shown in the UK in 2010.

Educated at the University of Edinburgh, James continued his development as Benjamin Zander Conducting Fellow with the Boston Philharmonic Orchestra, and has studied with leading conductors in masterclasses, including

One of two prizewinners in the Tokyo International Competition for Conductors and special prize winner in the Jorma Panula International Competition, James has appeared with the Osaka and Tokyo Philharmonic orchestras, Trondheim Symphony Orchestra, Moscow Chamber Orchestra, St Petersburg Academic Symphony Orchestra, New Japan Philharmonic, Indianapolis Symphony Orchestra, The Hallé, BBC Philharmonic, Scottish Ballet, Orchestra of Welsh National Opera, Royal Liverpool Philharmonic Orchestra and Scottish Chamber Orchestra, as well as with ensembles in many European countries, South Africa and the USA. In addition to his conducting work, James is active as an educator and teacher of conducting, and is undertaking research exploring ways in which orchestras can meaningfully engage with a wider public.

20 Dvořák New World Symphony

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.

RSNO: Scotland’s National Orchestra 21

On Stage

FIRST VIOLIN Sharon Roffman

CELLO Aleksei Kiseliov

HORN Christopher Gough

Lena Zeliszewska

Betsy Taylor Arthur Boutillier Rachael Lee Sarah Digger

Alison Murray Andrew McLean David McClenaghan Martin Murphy

DOUBLE BASS Margarida Castro

TRUMPET Christopher Hart

Michael Rae Paul Sutherland Sally Davis

Marcus Pope Jason Lewis

LEADER

ASSOCIATE LEADER

Tamás Fejes

ASSISTANT LEADER

Patrick Curlett Ursula Heidecker Allen Anna Lee Caroline Parry Lorna Rough Alan Manson Susannah Lowdon SECOND VIOLIN Marion Wilson ASSOCIATE PRINCIPAL

Harriet Wilson Emily Nenniger Anne Bünemann Sophie Lang Robin Wilson Wanda Wojtasinska Nigel Mason VIOLA Tom Dunn PRINCIPAL

Asher Zaccardelli Lisa Rourke Katherine Wren David Martin Maria Trittinger

PRINCIPAL

ASSOCIATE PRINCIPAL

FLUTE Helen Brew

ASSOCIATE PRINCIPAL

Janet Larsson Janet Richardson PRINCIPAL PICCOLO

OBOE Adrian Wilson PRINCIPAL

PRINCIPAL

PRINCIPAL

TROMBONE Dávur Juul Magnussen PRINCIPAL

Lance Green Alastair Sinclair

PRINCIPAL BASS TROMBONE

TUBA John Whitener PRINCIPAL

Peter Dykes Henry Clay

TIMPANI Paul Philbert

CLARINET Timothy Orpen

PERCUSSION Simon Lowdon

PRINCIPAL COR ANGLAIS

PRINCIPAL

Duncan Swindells

PRINCIPAL BASS CLARINET

BASSOON Luis Eisen Associate PRINCIPAL

Paolo Dutto

PRINCIPAL CONTRABASSOON

PRINCIPAL

PRINCIPAL

HARP Pippa Tunnell

Scotland’s National Orchestra 23

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

24 Dvořák New World Symphony

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 The Solti Foundation Chair

Cello Aleksei Kiseliov PRINCIPAL

Horn Christopher Gough PRINCIPAL

First Violin Maya Iwabuchi LEADER Sharon Roffman LEADER

The James Browning Chair

Kennedy Leitch

Alison Murray

Dunard Fund Chair

ASSISTANT PRINCIPAL The David and Anne Smith Chair

Tamás Fejes Assistant LEADER

Arthur Boutiller

David McClenaghan

Rachael Lee

Trumpet Christopher Hart PRINCIPAL

The Bill and Rosalind Gregson Chair

Patrick Curlett ASSISTANT PRINCIPAL The RSNO Circle Chair

Jane Reid

The James Wood Bequest Fund Chair

Alan Manson

The Ardgowan Charitable Trust Chair The Christine and Arthur Hamilton Chair

Double Bass Ana Cordova PRINCIPAL

The Kate and Gavin Gemmell Chair

The Hugh and Linda Bruce-Watt Chair

John Clark

Elizabeth Bamping

The WL and Vera Heywood Chair

Flute Katherine Bryan PRINCIPAL

Second Violin Xander van Vliet PRINCIPAL

Helen Brew ASSISTANT PRINCIPAL

The Hilda Munro Chair

Sophie Lang

The Ian and Evelyn Crombie Chair

Viola Lisa Rourke SUB PRINCIPAL The Meta Ramsay Chair

The Gregor Forbes Chair

The David and Anne Smith Chair The Gordon Fraser Charitable Trust Chair

Oboe Adrian Wilson PRINCIPAL The Hedley Wright Chair

Peter Dykes

David Martin

ASSOCIATE PRINCIPAL Witherby Publishing Group Charitable Trust Chair

Francesca Hunt

Cor Anglais Henry Clay PRINCIPAL

The Miss Grace MM Mitchell Bequest Chair The Rolf and Celia Thornqvist Chair

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 25

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 Mr Maurice Taylor CBE 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.

Scotland’s National Orchestra 27

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: Aberdeen Endowments Trust Alexander Moncur Charitable Trust Alma and Leslie Wolfson Charitable Trust Austin and Hope Pilkington Trust Balgay Children’s Society Bank of Scotland Foundation Castansa Trust Cruden Foundation Daiwa Anglo-Japanese 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 Glasgow Educational and Marshall Trust Great Britain Sasakawa Foundation Hugh Fraser Foundation Idlewild Trust James Wood Bequest Fund Jean & Roger Miller 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 Meikle Foundation Michael Tippett Musical Foundation Mickel Fund Murdoch Forrest Charitable Trust New Park Educational Trust Noël Coward Foundation Northwood Charitable Trust PF Charitable Trust PRS Foundation R J Larg Family Trust

Robertson Trust Ronald Miller Foundation RVW Trust Scott-Davidson Charitable Trust Solti Foundation Stevenston Trust Tay Charitable Trust The Privy Purse Charitable Trust Tillyloss Trust W A Cargill Fund Walter Scott Giving Group 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

28 Dvoล รกk New World Symphony

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 and Mrs W Semple Myra and David Soutar 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 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 Norma and Christine Lessels Mr A D Mackay Mr I C MacNicol Professor J and Mrs S Mavor Mrs A McQueen Morag Millar Mr Miller Graham and Elizabeth Morton Miss K Ridland 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 Neil and Karin Bowman Dr M Bronte-Stewart Dr F L Brown Mr John Brownlie Mr and Mrs Burnside 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 C Ffoulkes Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Richard and Linda Holden Mrs F D Inverarity Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Mr Alistair Mackie Mr D MacPherson Mr R G Madden Mr S Marwick Mr and Mrs G McAllister Mr E and Mrs S McGeachan Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Mrs A C Morrison Dr and Mrs D Mowle Dr P Osborne Mr and Mrs D Pirie Ms A and Miss I Reeve Elspeth M Robertson 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 Wigglesworth

Sonata

Ms S Ace Mr K Allen Ms D Baines Mr O Balfour Mr N C Banks Mr N Barton Dr A D Beattie Mrs H Benzie Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Mrs L Brocklebank Ms H Calvert Mr E M Cameron Miss S M Carlyon Mrs H S Chalmers 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 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 E Gibb Mrs M Gibson Mr D Gibson Lady A V Gibson Mrs J Gilchrist 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 Mrs S Hawthorn Mrs M Hayes Dr and Mrs P Heywood Bobby and Rhona Hogg Ms J Hope Mr R Horne Mr and Mrs F Howell Mrs A S Hunter Professor R N Ibbett Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson Mr R M Love Dr D A Lunt Mr and Mrs R MacCormick Mr and Mrs MacGillivray Lady Lucinda L Mackay Mr R Maizels and Ms C Tilley 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 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 M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb 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 Mr E B Simmons and Mrs R Nicolson 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 B Tait Dr and Mrs T Thomson Mrs E B Tupman 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.

30 Dvořák New World Symphony

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 31

Royal Scottish National Orchestra PATRON

CHIEF EXECUTIVE

Graham Ramage

Her Majesty The Queen

Alistair Mackie Nicola Shephard

Kirsten Reid

EXECUTIVE ASSISTANT

GRAPHICS AND NEW MEDIA DESIGNER INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER

Naomi Stewart

TRUSTS AND PROJECTS COORDINATOR

RSNO BOARD OF DIRECTORS

CONCERTS AND ENGAGEMENT

Elected Directors Dame Susan Bruce DBE

Bill Chandler

Ajda Šubelj

CHAIR

John Heasley

Michael Cameron

DRIVER AND DEPUTY STAGE MANAGER

HONORARY TREASURER

Samantha Campbell

FINANCE AND CORPORATE SERVICES

Bekah Cork

CHIEF OPERATING OFFICER

DIRECTOR OF CONCERTS AND ENGAGEMENT

HEAD OF LEARNING AND ENGAGEMENT

Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood

ARTISTIC PLANNING AND TOURS MANAGER

Flora Farqhuarson

INFORMATION SERVICES MANAGER HEAD OF TRUSTS AND PROJECTS

Angela Moreland Ted Howie

FACILITIES COORDINATOR

CREATIVE ASSISTANT

Jack Hunter

DEPUTY ORCHESTRA MANAGER

Irene McPhail

LEARNING AND ENGAGEMENT OFFICER

Hedd Morfett-Jones

HEAD OF ORCHESTRA MANAGEMENT

Susan Rennie

LIBRARIAN

Abby Trainor

ARTISTIC PLANNING MANAGER

Jade Wilson

Emma Hunter

Rosie Kenneally Ewen McKay

Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough

Sam Stone

Richard Payne

Tammo Schuelke

Matthias van der Swaagh

VIDEO PRODUCER

ACCOUNTS AND PAYROLL ASSISTANT DIGITAL MANAGER

FINANCE MANAGER ADMINISTRATOR

FINANCE ASSISTANT

CONCERTS ADMINISTRATOR

Craig Swindells

STAGE AND PRODUCTION MANAGER

Nominated Directors Cllr Frank Docherty

Christine Walker CHORUS MANAGER

GLASGOW CITY COUNCIL

Cllr Lezley Marion Cameron THE CITY OF EDINBURGH COUNCIL

Company Secretary Gordon Murray

EXTERNAL RELATIONS

PROGRAMMES EDITOR

Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk

EXTERNAL RELATIONS ADMINISTRATOR

Scottish Company No. 27809 Scottish Charity No. SC010702

Dr Jane Donald

DIRECTOR OF EXTERNAL RELATIONS

Ian Brooke

RSNO COUNCIL

Constance Carter-Fraser

Baroness Ramsay of Cartvale

Jessica Cowley

Lady Gibson Ms Ruth Wishart

Carol Fleming

/royalscottishnationalorchestra

Catriona Mackenzie

@RSNO

CHAIR

SENIOR MARKETING OFFICER HEAD OF MARKETING

COMMUNICATIONS MANAGER

@rsnoofficial

HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS

Youtube.com/thersno

Jenny McNeely

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.