Baroque Dances with Maxim

16 – 18 JANUARY 2020

BAROQUE DANCES WITH MAXIM –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

Proudly sponsored and match funded by

SEASON 2019/20

A WARM WELCOME

––––– Welcome to tonight’s Scottish Chamber Orchestra concert – and can I just say, it’s always nice to see our audience being so enthusiastic every time we perform.

Tonight’s performance is extremely special. It’s our Principal Conductor Maxim’s first Baroque week with us where he will not only conduct, but also introduce audiences here to his directing from the harpsichord.

After his last concert with us, where we did Prokofiev, Hersant and Mozart, it shows how incredible and diverse Maxim is stylistically. The Orchestra also have a little surprise for you using different type of strings. So, no metal strings this week... it’s all about GUT! Guess how many sheep you need to be able to make one bottom double bass string? I’ll leave it with you to find out!

SCO is very open to historically informed performance practice; we have done many concerts on gut strings including the last three Mozart symphonies with Robin Ticciatti. This week, we had a little informal session with baroque violinist Huw Daniel on how to use gut strings stylistically, we talked about how to use different types of phrasing in the Baroque style, representing the dance between the double bass and the bow.

I want to thank 20/20 Productions for their fantastic support of the SCO and this week’s concerts, and also the Culture & Business Fund Scotland for match funding their sponsorship.

I hope, dear audience, you enjoy the concert tonight.

Very best wishes, Nikita Naumov Principal Double Bass

THANK YOU

FUNDING PARTNERS ––––– Thank you to everyone who financially supports the work of the SCO, from the Scottish Government to local authorities, our Benefactor, Business Partners and Patrons to many charitable trusts and foundations. The generosity of our funders allows us to create truly world-class music, events and projects both here and abroad.

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BENEFACTOR -----

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SCO AMERICA sco-america.org

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THANK YOU

PRINCIPAL CONDUCTOR’S CIRCLE ––––– Our Principal Conductor’s Circle is made up of individuals who love great music and who share the SCO’s vision to bring the joy of music to as many people as possible. We would like to extend our grateful thanks for playing such a key part in the future of the SCO.

VISITING ARTISTS FUND -----

AMERICAN DEVELOPMENT FUND -----

Colin and Sue Buchan Claire and Anthony Tait Anne and Matthew Richards

Erik Lars Hansen and Vanessa Chang Kenneth and Martha Barker

RECORDINGS FUND -----

CREATIVE LEARNING FUND -----

Colin and Sue Buchan Donald and Louise MacDonald

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CHAIR SPONSORS ----CONDUCTOR EMERITUS

Joseph Swensen Donald and Louise MacDonald

CHORUS DIRECTOR Gregory Batsleer Anne McFarlane

VIOLA

Steve King Sir Ewan and Lady Brown

PRINCIPAL CELLO Philip Higham The Thomas Family

SUB-PRINCIPAL CELLO Su-a Lee Bryan Wade

CELLO

Eric de Wit Jasmine Macquaker Charitable Fund

SUB-PRINCIPAL DOUBLE BASS Adrian Bornet Jo and Alison Elliot

SUB-PRINCIPAL FLUTE Claire and Mark Urquhart

PRINCIPAL OBOE Robin Williams Hedley G Wright

PRINCIPAL CLARINET Maximiliano Martín Stuart and Alison Paul

PRINCIPAL TIMPANI Louise Goodwin Geoff and Mary Ball

SEASON 2019/20

BAROQUE DANCES WITH MAXIM Proudly sponsored and match funded by

––––– TELEMANN ‘Alster’ Overture (Suite) BACH Suite No 4 in D, BWV 1069 interval of 20 minutes

LULLY Suite, Le Bourgeois Gentilhomme RAMEAU Suite from Les Indes Galantes ––––– MAXIM EMELYANYCHEV – Conductor ––––– Thursday 16 January 2020, 7.30pm Edinburgh Queen's Hall Friday 17 January 2020, 7.30pm Glasgow City Halls Saturday 18 January 2020, 7.30pm Aberdeen Music Hall –––––

4 Royal Terrace, Edinburgh EH7 5AB +44 (0)131 557 6800 • info@sco.org.uk sco.org.uk The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039.

Company registration No. SC075079.

#SCO

OUR MUSICIANS

YOUR ORCHESTRA FIRST VIOLIN Benjamin Marquise Gilmore Ruth Crouch Djumash Poulsen Kana Kawashima Siún Milne Fiona Alexander Gabi Maas Carole Howat SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Laura Comini Rachel Spencer Niamh Lyons Rachel Smith VIOLA Philip Nolte Jessica Beeston Brian Schiele Steve King Kathryn Jourdan Rebecca Wexler CELLO Philip Higham Donald Gillan Niamh Molloy Louise McMonagle BASS Nikita Naumov Adrian Bornet

FLUTE Fiona Fulton Yvonne Robertson OBOE David Cowley Fraser Kelman Mary Gilbert BASSOON Alison Green Anthea Wood HORN Boštjan Lipovšek Harry Johnstone Rachel Brady Jamie Shield TRUMPET Peter Franks Shaun Harrold Simon Bird TIMPANI Kate Openshaw PERCUSSION Tom Hunter Philip Hague THEORBO/ GUITAR Eligio Quintiero

PLAYER FEATURE:

Steve King Viola | Joined December 1983 ––––– Steve is Director of Music at Heriot-Watt University, Edinburgh and is a music educationalist, facilitator and composer, as well as playing in the SCO. As a composer, Steve has had many of his works played throughout the country, and on television and radio.

In 2005, Steve was awarded an MBE for services to music. In 2006 he was awarded the Paul Harris Fellowship by the International Rotary Foundation in recognition of his dedicated service to music in the community.

In 2009 he was awarded an Honorary Doctorate [D.Litt] by Heriot-Watt University.

SCO Highlight?

Working with Sir Charles Mackerras.

What makes the SCO unique?

The SCO is simply the finest musical family around. We dedicate our creative impulse to bringing music alive in the most inspiring way.

The Orchestra list was correct at the time of going to print.

ARE YOU A HEARING AID USER?

Please use the Induction Loop systems provided by the venues if available. Hearing aids can cause feedback (a whistling effect) which may be heard by the musicians and other members of the audience.

MOBILE PHONES AND ELECTRONIC DEVICES

Please ensure your mobile phone and any electronic devices are switched off during the concert. The use of cameras and recording equipment is forbidden.

TONIGHT'S REPERTOIRE

WHAT YOU ARE ABOUT TO HEAR –––––

TELEMANN (1681-1767)) ‘Alster’ Overture (Suite) (1721) 1. Ouverture 2. Die Canonierende Pallas 3. Der Alster Echo 4. Der Schwanen Gesang 5. Der Alster Schiffer Dorff Music 6. Die concertierenden Frösche und Krähen 7. Der rührende Pan 8. Der Schiffer und Nymphen eilfertiger Abzug

BACH (1685-1750) Suite No 4 in D, BWV 1069 (1725) Ouverture Bourrée Bourrée Gavotte Menuett Menuett Réjouissance

LULLY (1632-1687) Suite, Le Bourgeois Gentilhomme (1778) Ouverture Deuxième air Air Canarie Marche pour la Ceremonie des Turcs

RAMEAU (1683-1764) Suite from Les Indes Galantes (1735) Entrée des quatre Nations dans la cour d'Hébé Rigaudons Air gratieux pour les Amours Air pour les esclaves affricains Tambourins Adoration du soleil Chaconne

––––– Across the world and throughout history, music and dance have been virtually synonymous. But by the end of the 17th century, dance acquired a particularly special function at European courts. As its status among the arts rose, it came to be regarded as a one of the chief ways of embodying grace, as a method of physically training the body for polite society. In 1661, under the auspices of Louis XIV, the ‘Sun King’, the Académie Royale de Danse was founded, some eight years before a similar organisation would be established to support the production of opera. From there, the latest dances, techniques and music quickly spread throughout Europe — particularly to England and Germany, where French culture was de rigueur — as well as influencing the practices of the emergent middle classes.

The dance music composed during the late 17th and early 18th centuries was often intended to be listened to rather than actually danced to, though these functions often overlapped. Dance also came to play an increasingly important role in operatic productions, particularly in French theatres, where it often featured as a integral part of the drama.

‘Alster’ Overture (Suite) Although Telemann has largely been overshadowed in recent times by his contemporary compatriots J.S. Bach and Handel, during the early 18th century he was widely held to be the leading German composer of the day. Telemann was born into a wealthy and well-educated family in Magdeburg, who initially discouraged him from following a musical career, music being seen as a somewhat degenerate

profession in the rigid social hierarchy that defined early modern Lutheran society.

He lived a long and extremely productive life and experimented with a wide range of genres, composing a large volume of sacred music and up to fifty operas, though unfortunately only nine have survived.

Telemann’s ‘Alster’ Overture is an example of the French ouverture, which is actually a type of suite rather than a prefatory work. It almost certainly dates from after 1721, when having been appointed Kantor in Hamburg, Telemann became responsible for overseeing the music at the city’s five central churches. Scored for a large orchestra that includes four horns, two oboes and strings, it was probably composed for a civic occasion. With its propulsive dotted rhythms, the opening overture is a typical example of the French style, while the sequence of movements that follows, characterise the Hanseatic port in an Arcadian guise, juxtaposing movements that invoke pastoral imagery

any opportunity to venture far from his homeland, it seems that throughout his career J.S. Bach made a conscious effort

with contemporary Hamburg references, including the chimes of the city’s carillon.

Though Telemann included a number of standard dance forms, such as the measured sarabande of the Swans’ Song (Der Schwanen Gesang) and the lively triple-time jig of the ‘quickly departing’ nymphs and shepherds (Der Schäffer und Nymphen eilfertiger Abzug), he also uses some rather adventurous musical language — particularly, for example, in the Concerto of Frogs and Crows (Die concertierenden Frösche und Krähen), with its impish chromaticism and pronounced dissonances.

to acquaint himself with the latest musical developments taking place across Europe.

Indeed, one of Bach’s definitive musical characteristics was the way in which he integrated French dances and Italianate formal structures in a manner that would have been comprehensible to his fellow Germans. While Bach’s Brandenburg Concertos are often held up as the pinnacle of his instrumental output, the four orchestral suites are among his most daring works, bringing a visceral intensity to an otherwise ostensibly generic series of courtly dances.

Orchestral Suite No 4 in D (BWV 1069) Though he was born in provincial Thuringia

Bach’s fourth orchestral suite (really an example of the so-called ensemble ouverture) probably dates from the early

(in the east of Germany) and never gained

1720s when Bach was in Cöthen, before

Telemann

Johann Sebastian Bach

being appointed Cantor in Leipzig in 1723.

Bach would have first become acquainted with French music during his time in Weimar

d’Orléans, who was known as the ‘Grande Mademoiselle’. Lully seemingly took full advantage of his new-found elevation,

(1708 -1717), where the court orchestra would regularly have performed ensemble suites including those assembled from operas and ballets by Jean-Baptiste Lully.

Throughout the suite, Bach makes use of a double-choir texture, with the woodwinds engaging in a vivid dialogue with the strings. While the autograph manuscript has been lost, trumpets and timpani were added to the first movement in 1725, when Bach recycled it for the opening movement of his Christmas cantata Unser Mund sei voll Lachens (BWV 110).

and focused his attention on studying violin, harpsichord and composition, as well dancing, undertaking lessons with the king’s dancing master Jean Regnault.

It was probably through Regnault that, in 1651, Lully entered the service of the king himself, as both dancer and composer.

As a result of his experiences, Lully built up a true affinity with both dance music and theatrical productions, and would go on to essentially define French Baroque opera.

These dances would have been intended to be heard rather than actually danced to; both Bourées I and II call for a significant degree of virtuosity from the winds, with the second in particular presenting one of the most difficult bassoon parts in the Baroque repertoire. Likewise, in the eight-part Gavotte, Bach manages to incorporate a series of complex musical details within the apparently simple duple dance form. The Minuets are comparatively staid, with the second allowing the winds a well-deserved break, before the suite culminates in the effervescent Réjouissance.

Suite from Le Bourgeois Gentilhomme Though Lully was to be the most important French composer of the late 17th century and a central figure at the court of the Sun King, he actually came from humble beginnings. Little is known of his early life, but it seems he was born the son of a miller in Florence. In 1646 he was engaged as an Italian tutor to Louis XIV’s cousin Anne-Marie Louise

Le Bourgeois Gentilhomme (‘The Wouldbe Gentleman’), is an example of the comédie-ballet, a genre pioneered by Jean-Baptiste Poquelin (better known by his stage name, Molière) that blended music and dance within the context of a spoken play. The plot revolves around Monsieur Jourdain, a middle-class merchant, and his conspicuous efforts to raise his social status and become a member of the nobility. Over the course of the play, Monsieur Jourdain employs teachers to instruct him in the arts of philosophy, music, dancing and fencing, and purchases various vulgar items of clothing, believing they will give him an air of sophistication. In one scene, after having denied permission to his daughter to marry a man whose social status he deems beneath them, Jourdain is tricked by his would-be son-in-law into believing he is the son of the Grand Turk and eventually bestows his blessing on the couple.

Lully’s music brings an added dimension to the play, both inside the drama and as an enhanced commentary on the various

farces at which Jourdain finds himself the centre. Right from the opening, the pomp and elegance of the overture hints at Jourdain’s supercilious nature. The Turkish march reveals his aspirations to the exotic, while the sublime dances intended to be performed by the dancing master’s students, serve only to contrast with Jourdain’s total lack of grace.

Suite from Les Indes Galantes While Lully enjoyed his position at the centre of the royal court, Jean-Philippe Rameau spent the first forty years of his life in relative obscurity. He held a series of church positions in the provincial cities of Avignon, Clermont, Dijon and Lyon before arriving in Paris in 1722, where he eventually carved his reputation as a theorist and opera composer.

Les Indes Galantes was an early experiment with the opéra-ballet, a uniquely French genre that introduced dance within a sung narrative. Setting a libretto by Louis Fuzelier, Les Indes galantes quickly proved popular; after its premiere in 1735, by the end of the 1737 season it had been performed some 64 times. Rather than telling a single story, Les Indes galantes draws together a series of four vignettes unified by the central theme of love’s unconquerable power.

The prologue introduces an allegorical depiction of Hébé (the goddess of youth) and L’Amour (the goddess of love), who together decide to abandon war-torn Europe and travel to the unspoilt exotic lands of India, South America, Persia, and North America.

Jean-Baptiste Lully

different dramatic configurations, and with its instrumental dances excerpted.

In many regards, Rameau was the first composer to think in truly orchestral terms, combining different instrumental timbres as part of a rich colour palette.

Indeed, throughout the dances of Les Indes Galantes, he makes consistently creative use of the conventional orchestral resources he had at his disposal, evoking the kinds of sound worlds and physicality he imagined as characterising the respective cultures visited over the course of the drama. With such inventive orchestration used in conjunction with a sequence of dance forms that would have been well known to his audience, Rameau succeeds in familiarising the unfamiliar, while simultaneously defamiliarising the familiar.

From the mid-18th century onward, Les Indes Galantes was frequently heard in

Philippe Rameau

© David Lee

CONDUCTOR

MAXIM EMELYANYCHEV

––––– An outstanding representative of the younger generation of Russian conductors, Maxim Emelyanychev was born in 1988 to a family of musicians. He received his music education in Nizhny Novgorod (conducting and piano) and in Gennady Rozhdestvensky’s conducting class at the Moscow Tchaikovsky Conservatory.

He is a winner of numerous international awards. In 2013 he was awarded the highest Russian theatre prize, The Golden Mask, for his participation as the fortepianist in a stage production of Le nozze di Figaro at the Perm Opera Theatre, conducted by Teodor Currentzis and recorded by Sony Classical. In 2019 he won the Newcomer category in the prestigious International Opera Awards.

Since his conducting debut at 12, he has worked with many Russian and international orchestras both baroque and symphonic. In the last six years he has become the Principal Conductor of the Scottish Chamber Orchestra, Il Pomo d’Oro Orchestra and the NizhnyNovgorod Soloists Chamber Orchestra.

He collaborates with such renowned artists as Joyce DiDonato, Franco Fagioli, Riccardo Minasi, Max Emanuel Cencic, Xavier Sabata, Dmitry Sinkovsky, Marie-Nicole Lemieux, Alexei Lubimov, Teodor Currentzis, Patrizia Ciofi, Stephen Hough, Richard Goode and Katia and Marielle Labèque.

In 2019/20, as well as taking up his position as Principal Conductor of the SCO, he conducts the Orchestra of the Age of Enlightenment in two of the major international opera institutions: Glyndebourne Festival (Handel Rinaldo, with Jakub Orlinski in the title role) and the Royal Opera House (Handel Agrippina, with Joyce DiDonato in the title role).

January 2020 sees him make his North American guest conducting debut in Seattle, and other engagements include Berliner Konzerhausorchester, Iceland Symphony and St Petersburg Philharmonic.

Maxim Emelyanychev’s CD of Mozart Sonatas on fortepiano (Aparté) has won several prestigious awards, including a Choc of Classica 2018 and the ICMA 2019. In October 2018, his CD of Beethoven Symphony No 3 and Brahms Haydn Variations with the Nizhny-Novgorod Soloists Chamber Orchestra was released on Aparté. His first recording with the Scottish Chamber Orchestra, Schubert Symphony No 9 (Linn), released in 2019 has been extremely well received by critics and audiences alike.

EXPLORE BEETHOVEN | MUSICAL CREATIVITY AND DEAFNESS SATURDAY 22 FEBRUARY 2020, 10AM – 1.15PM ST CECILIA’S HALL AND MUSEUM, EDINBURGH Join us for a morning of talks and performances by a Scottish Chamber Orchestra string quartet as we explore Beethoven’s life as a deaf musician and composer.

There is a loop system in the hall and all talks will be BSL-interpreted.

–––––– Full details, including ticket prices and how to book, can be found on our website: sco.org.uk Or you can email: joanna.burns@sco.org.uk or call Joanna on 0131 478 8342

LEGACIES

A LEGACY FOR GENERATIONS TO COME ––––– The SCO would like to thank everybody who has supported our work and we acknowledge with special gratitude those who were kind enough to leave us a final, and deeply thoughtful, gift. All legacies make a positive difference, no matter the size, and help us to fulfil our mission

Tom Bruce-Jones, Glasgow Helen Caldwell, Edinburgh Joyce Denovan, Glasgow Robert Durham, Dundee Herman Gawlik, Glasgow Ian Hogarth, Edinburgh Donald Hopkins, Glasgow

to make incredible music accessible to as many people as possible in the most creative and engaging way.

Mattie Hutchinson, Glasgow

Over the last few years, we have been immensely grateful to these friends of the SCO whose thoughtful foresight in leaving a gift in their Will has made such a valuable contribution in so many wonderful ways:

Steven McLean, Glasgow

Helen Kelbie, Aberdeen David Lee, Glasgow Evelyn McNab, Glasgow Ian Mitchell, Glasgow Judith Pickles, Edinburgh Alice Woodward, Aberdeenshire

THANK YOU

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Thanks also to our Bronze Patrons and Patrons, and to all those who wish to remain anonymous.

ABOUT US

––––– The internationally celebrated Scottish Chamber Orchestra is one of Scotland’s National Performing Companies.

Formed in 1974 and core funded by the Scottish Government, the SCO aims to provide as many opportunities as possible for people to hear great music by touring the length and breadth of Scotland, appearing regularly at major national and international festivals including the Edinburgh International Festival, BBC Proms, and by touring internationally, as proud ambassadors for Scottish cultural excellence.

Making a significant contribution to Scottish life beyond the concert platform, the Orchestra works in schools, universities, colleges, hospitals, care homes, places of work and community centres through its extensive Creative Learning programme.

The SCO has long-standing associations with many eminent guest conductors including Conductor Emeritus Joseph Swensen, Principal Guest Conductor Emmanuel Krivine, François Leleux, Pekka Kuusisto, Richard Egarr, Andrew Manze and John Storgårds.

The Orchestra also enjoys close relationships with many leading composers and has commissioned almost 200 new works, including pieces by the late Sir Peter Maxwell Davies, Sir James MacMillan, Martin Suckling, Einojuhani Rautavaara, Mark-Anthony Turnage, Nico Muhly and Associate Composer Anna Clyne.

An exciting new chapter for the SCO began this Season with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor. This was a position previously held by Robin Ticciati from 2009-2018. Ticciati and the SCO made a series of outstanding recordings (Linn Records) of works by Haydn, Schumann, Berlioz, Strauss and Wagner. Their last recording – the complete Brahms Symphonies – has been internationally acclaimed.

The SCO and Emelyanychev recently released their first album together (Linn Records) to critical acclaim. The repertoire – Schubert’s Symphony No 9 in C major ‘The Great’ – is the first symphony Emelyanychev performed with the Orchestra in March 2018. sco.org.uk

Patron HRH The Prince Charles, Duke of Rothesay

BOARD

Life President Donald MacDonald CBE

Chairman Colin Buchan

Principal Conductor Maxim Emelyanychev

Joanna Baker

––––– –––––

Principal Guest Conductor Emmanuel Krivine

Cllr Christina Cannon Glasgow City Council

Conductor Emeritus Joseph Swensen

Rachael Erskine

David Cumming Cllr Rosemary Liewald Fife Council

Chorus Director Gregory Batsleer

Cllr Donald Wilson City of Edinburgh Council Zoë van Zwanenberg

Associate Composer Anna Clyne

ORCHESTRA ADVISORS TO THE BOARD Adrian Bornet, Peter Franks, Donald Gillan and Su-a Lee

MANAGEMENT –––––

Chief Executive Gavin Reid Projects and Administrative Assistant Elsa Morin Concerts Director Judith Colman Concerts & Projects Manager Louisa Stanway Orchestra Manager Laura Kernohan Stage Manager Pete Deane Orchestra Librarian Amy Brown Chorus Manager Jenny Searle Marketing & Communications Director Gareth Beedie Data Services Manager Adam James Marketing and Press Officer Catherine Gillespie Marketing Officer Sophie Sim

Design & Publications Magnus Fraser Creative Learning Director Kirsteen Davidson Kelly Education Officer Atzi Muramatsu Community Engagement Officer Joanna Burns SCO and University of St Andrews Graduate Trainee Fiona Croal Head of Development Lucinda Coulthard Partnerships Manager David Nelson Development Officer Laura Hickey Trusts Officer Rebecca Smith Finance & Administration Director Ian White Finance Officers Mary Gibson Heather Baird

PICK OF THE WEEK

YOUR SAY NEW YEAR GALA CONCERT Thank you @SCOmusic for wonderful New Years Day Gala concert at the @theusherhall #Edinburgh the extracts from Grieg’s Peer Gynt Suite we’re particularly lovely. The rapport between conductor, Joseph Swenson and the SCO produced dynamics of real emotion and breathtaking beauty.

We are delighted to be welcoming children’s TV presenter, Chris Jarvis, back as the host for our Family Festival in February. Stan and Mabel and the Race for Space will come to Glasgow, Perth and Edinburgh – the Purrrrfect family outing this mid-term!

Richardpie, @richardpie One thing I did NOT expect from this year’s @SCOmusic New Year’s Day concert was to get shivers down my spine from #InTheHallOfTheMountainKing.

Anthony Mudge, @awmudge #SCO New Year Gala Concert -/5.

A relaxing galop, lyric and waltz into 2020 @TheUsherHall. #Strauss #Grieg #Lehar #Lumbye #Nielsen @SCOmusic @JosephSwensen #HarrietEyley @MarieCurieSCO @frozendreamer

Bryan @edi1981

SCO CHRISTMAS CHORUS CONCERT @SCOmusic SCO Chorus’s Christmas concert had some of their finest ever singing. Never heard Oh Radiant Dawn bigger and more emotional. Rebecca Wilkie’s readings a perfect punctuation. Well done all & Ben Parry @benparrymusic

SHARE YOUR CONCERT EXPERIENCE –––––– Sign up for our email newsletter For all our latest news, films, photos, blogs and special offers, visit SCO.ORG.UK/LATEST Email us Sophie Sim, Marketing Officer sophie.sim@sco.org.uk Comment on Facebook facebook.com/scottishchamberorchestra Share your experience on Twitter @SCOmusic Share your experience on Instagram @scottishchamberorchestra #SCO

Kate Main, @tramcat Bravo @SCOmusic choir for the exquisite Christmas concert last night. Magical as always.

I especially appreciated this year's femaledominated programme (both music and readings).

Dr Lisa McCormick, @llhmc

#SCO