BENEDETTI PLAYS MENDELSSOHN & MOZART

12 – 14 MARCH 2020

BENEDETTI PLAYS MENDELSSOHN & MOZART –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

The Quilter Cheviot Benedetti Series

SEASON 2019/20

A WARM WELCOME ––––– Welcome to this evening’s concert!

We are so lucky to have Nicky, our national treasure, playing with us this week. This lady is as fiercely passionate about nurturing and inspiring the next generation of musicians as she is about performing.

I clearly remember the day when I first met Nicky almost twenty years ago. I was on the panel for the Scottish Regional round of the BBC Young Musician of the Year. As soon as Nicky started to play it was very clear that she was a major talent! I was delighted to follow her progress to become overall winner that year. Since then she has returned many times to the Scottish Chamber Orchestra and is now a firm friend of ours.

This year she launched the Benedetti Foundation which addresses all aspects of music-making with a very holistic approach for teachers and young people alike. I feel very lucky to be part of the tutor team for her “Benedetti Sessions” weekends, held throughout the year across the UK. Tonight’s concert will be directed by our wonderful Leader Ben Gilmore. Nicky will play as the soloist for the popular Mendelssohn Concerto and also in a duo with Lawrence Power, performing the sublime Mozart Sinfonia Concertante.

All in all, with the music of young Mendelssohn and Mozart, it’s going to be a tremendous night celebrating virtuoso talent, past and present! On behalf of the SCO, I would like to thank Quilter Cheviot for their ongoing, invaluable sponsorship of The Quilter Cheviot Benedetti Series.

Su-a Lee Sub-Principal Cello

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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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 -----

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VIOLA

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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

BENEDETTI PLAYS MENDELSSOHN & MOZART The Quilter Cheviot Benedetti Series

––––– MENDELSSOHN Sinfonia No 10 in B minor

#SCO

MENDELSSOHN Violin Concerto interval of 20 minutes

MOZART Overture, La clemenza di Tito MOZART Sinfonia Concertante ––––– NICOLA BENEDETTI – Violin / Director BENJAMIN MARQUISE GILMORE – Violin / Director LAWRENCE POWER – Viola ––––– Thursday 12 March 2020, 7.30pm Edinburgh Usher Hall *Friday 13 March 2020, 7.30pm

Glasgow City Halls

Saturday 14 March 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.

*This performance will be recorded by BBC Radio 3 and broadcast on 18 March 2020 on ‘Radio 3 In Concert’

OUR MUSICIANS

YOUR ORCHESTRA FIRST VIOLIN Benjamin Marquise Gilmore Bas Treub Kana Kawashima Siún Milne Fiona Alexander Amira BedrushMcDonald Sarah Bevan-Baker Carole Howat

FLUTE Fiona Fulton Hannah Foster

SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Laura Comini Rachel Spencer Niamh Lyons Rachel Smith

BASSOON Alexandru Cozma Alison Green

VIOLA Nicholas Bootiman Felix Tanner Brian Schiele Steve King

OBOE Robin Williams Katherine Bryer CLARINET Maximiliano Martín Ross Montgomery

PLAYER FEATURE:

Harry Johnstone Sub-Principal Horn | Joined January 1981 ––––– Background

HORN Anna Douglass Harry Johnstone

After an early start playing in a brass band, I’ve spent my life playing orchestral and chamber music with regular educational/ teaching experience.

TRUMPET Peter Franks Shaun Harrold

SCO Highlight?

TIMPANI Louise Goodwin

CELLO Su-a Lee Donald Gillan Christoff Fourie Sonia Cromarty BASS Nikita Naumov Adrian Bornet

SCO Mackerras opera productions at Edinburgh International Festival and recordings and concerts with SCO Wind Soloists.

What makes the SCO unique?

The size of the orchestra, at 37 players, allows for a friendly cooperative atmosphere where players from all sections mix well without cliques. In addition, we cover a wider range of music from Baroque to contemporary than most music groups.

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 –––––

MENDELSSOHN (1809–1847) Sinfonia No 10 in B minor (1823) Adagio – Allegro – più presto

Violin Concerto in E minor Op 64 (1844) Allegro molto appassionato Andante Allegretto non troppo – Allegro molto vivace

MOZART (1756-1791) Overture, La clemenza di Tito K621 (1791)

Sinfonia Concertante, K364 (1779) Allegro maestoso Andante Presto

––––– It’s not a competition, obviously. But should we care to line up Mozart and Mendelssohn in the child prodigy stakes, it’s Mendelssohn who would surely win hands down. You might find that surprising, especially since notions of Mozart as a prolific child genius, from whom masterpieces flowed like water, are so firmly etched in our collective unconscious. But in terms of sheer quality and sophistication, the music that Mendelssohn produced as a teenager far outstrips that of Mozart.

Just think of the Octet for strings, written when Mendessohn was 16, or the Overture to A Midsummer Night’s Dream from the 17-year-old composer – works that have become so firmly established in their concert repertoires that we forget they’re the products of an astonishingly gifted child. Mendelssohn’s earliest compositions date from 1820, when he was just 11 (they include – deep breath – a violin sonata, a piano trio, several songs, three piano sonatas, choral works and even an opera), and tonight’s opening piece is one of 12 String Symphonies that Mendelssohn composed between the ages of 12 and 14.

At that time, he was a pupil of Carl Zelter, and these String Symphonies inevitably display the influence of Zelter’s rather conservative teaching, not least in their backward glances to the music of CPE Bach.

But they’re no mere childhood exercises.

The String Symphony No 10, completed in May 1823 when Mendessohn was 14, is a single-movement work (it’s been suggested it may originally have been joined by two complementary movements, though they’ve never been unearthed) of enormous confidence and sophistication,

whose solemn, Haydn-inspired introduction is followed by a dashing faster section that’s Mendelssohn through and through.

We leap to the other end of Mendelssohn’s 38-year life for his second work in tonight’s programme. The Violin Concerto was the last major orchestral piece he produced, and, unlike the childhood music he wrote at a rate of knots, it took him a while – six years, in fact, though Mendelssohn has the excuse of directing Leipzig’s Gewandhaus Orchestra and founding the city’s Music Conservatoire. The Concerto is rooted in friendship, that between Mendelssohn and violinist Ferdinand David, who first became friends and chamber music collaborators as far back as 1825, when David was 15 and Mendelssohn 16.

When Mendelssohn founded the Leipzig Conservatoire, he soon enlisted David as its inaugural violin professor, and when he took on the directorship of the Gewandhaus Orchestra, no prizes for guessing who he hurried to appoint as its concertmaster.

Felix Mendelssohn

David (who else?) premiered the Concerto in Leipzig on 13 March 1845. It was an immediate hit, and has remained popular ever since.

The first inklings of a Violin Concerto came in 1838, when Mendelssohn wrote to David: ‘I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace.’ In the end, Mendelssohn only completed the work on 16 September 1844, and worked closely with his friend on it. One of David’s specific requests was that the Concerto should avoid virtuoso display for its own sake, with the result that, though the piece is hardly without its difficulties, it remains relatively playable, and a favourite for younger violinists (incidentally, tonight’s soloist, Nicola Benedetti, recorded it as just

Nonetheless, it’s a quietly innovative piece.

Mendelssohn the conductor wasn’t fond of applause between movements of a longer work, so composed links joining the Concerto’s three movements: a solo bassoon that refuses to be quiet once the haunting first movement has ended; then a more elaborate dialogue between the soloist and orchestra to launch the scherzolike finale. Furthermore, Mendelssohn breaks Classical convention by placing the violinist’s solo cadenza, not towards the end of the first movement, but at the climax of its central development section, an innovation that was picked up and copied by composers including Tchaikovsky and

her second CD release, at the age of 18).

Sibelius.

Another ‘last piece’ opens the second half of tonight’s concert. La clemenza di Tito was the final opera Mozart completed, notoriously interrupting work on the Requiem and The Magic Flute. It was a bit of a last-minute commission, but coming from the Estates of Bohemia, and intended for a grand celebration of Leopold II’s coronation as King of Bohemia in September 1791, Mozart could hardly refuse (though Salieri had – Mozart was second choice to set the libretto by Metastasio). La clemenza di Tito focuses on Roman Emperor Titus and his apparent capacity for forgiveness towards all those who have conspired against him – the message for the incoming Holy Roman Emperor can’t have been clearer.

Mozart’s opera wasn’t much of a success. In fact, the Empress summed up her reaction in a succinct, two-word review: ‘German rubbish.’ Its Overture, however, shows all the nobility you might expect for an opera dealing with such a lofty figure.

Wolfgang Amadeus Mozart

instrument in chamber works because of its role in the ‘middle’ of the music. In his Sinfonia concertante, there’s no sense of

Though the specific reasons he wrote the work aren’t known, it’s clear that the Sinfonia Concertante meant a lot to Mozart, possibly because of his love for the viola. He was an accomplished violinist, but

the viola playing second fiddle: Mozart builds a remarkable partnership between his two soloists, who copy and chase each other through the work’s copious melodic invention, as well as blending together with astonishing beauty. Just listen to their stealthy first entry, if you can hear it – on a long-held, high E flat, disguised by the noise of the orchestra so that you barely register they’re there. The long, heartfelt slow movement may have been Mozart’s musical response to the death of his mother, who had passed away in Paris during the family’s European tour: here, the two soloists seem to play balancing roles, one lamenting while the other consoles. Mozart closes, however, with a return to highspirited joy in his lively rondo finale.

particularly enjoyed playing the deeper

©David Kettle

Mozart’s Sinfonia Concertante K364 takes us back to much earlier in his career, when the 23-year-old was feeling stifled and underused in his employment with PrinceArchbishop Hieronymus Colloredo in Salzburg. He’d just come back from a tour taking in Munich, Mannheim and Paris, however, and his joy and sense of freedom at the new discoveries he made are plain to see (or hear) in this remarkably buoyant, inventive piece.

VIOLIN / DIRECTOR

NICOLA BENEDETTI

––––– Nicola Benedetti is one of the most sought-after violinists of her generation. Her ability to captivate audiences with her innate musicianship and dynamic presence, coupled with her wide appeal as a high-profile advocate for classical music, has made her one of the most influential classical artists of today.

With concerto performances at the heart of her career, Nicola is in much demand with major orchestras and conductors across the globe. Conductors with whom Nicola has worked include Vladimir Ashkenazy, Jiří Bělohlávek, Stéphane Denève, Christoph Eschenbach, James Gaffigan, Hans Graf, Valery Gergiev, Alan Gilbert, Jakub Hrůša, Kirill Karabits, Andrew Litton, Kristjan Järvi, Vladimir Jurowski, Cristian Măcelaru, Zubin Mehta, Andrea Marcon, Peter Oundjian, Vasily Petrenko, Donald Runnicles, Thomas Søndergård, Krzysztof Urbanski, Juraj Valcua, Edo de Waart, Pinchas Zukerman and Jaap van Zweden.

Nicola enjoys working with the highest level of orchestras including collaborations with the London Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, National Symphony Orchestra of Washington D.C., Orchestra of the Mariinsky Theatre, Leipzig Gewandhausorchester, Frankfurt Radio Symphony, Camerata Salzburg, Czech Philharmonic, Danish National Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony and the Chicago Symphony at the Ravinia Festival.

VIOLIN

BENJAMIN MARQUISE GILMORE ––––– Benjamin Marquise Gilmore grew up in England and studied with Natalia Boyarskaya at the Yehudi Menuhin School and Pavel Vernikov at the Vienna Conservatory, as well as with Julian Rachlin, Miriam Fried, and members of the Artis Quartet and the Altenberg Trio.

His father was the musicologist Bob Gilmore, from whom he received instruction in music theory at a young age, and his grandfather is the conductor Lev Markiz, with whom he has performed on many occasions.

He has appeared at festivals such as Kuhmo, IMS Prussia Cove, Ravinia's Steans Music Institute and Styriarte, and his chamber music partners have included Frans Helmerson, Janine Jansen, Natalia Gutman, Gary Hoffman, Elisabeth Leonskaja, Benjamin Schmid, Mischa Maisky and Gerhard Schulz.

He has also worked with composers such as Giya Kancheli, Bernhard Lang, Guus Jansen, Gavin Bryars and Frank Denyer. As a soloist he has performed with the Amsterdam Sinfonietta, the NDR Hannover, the Rotterdam Philharmonic and the Munich Chamber Orchestra, as well as the SCO. He has been the recipient of several awards, including 1st prize at the Oskar Back violin competition in Amsterdam, 4th prize at the Joseph Joachim violin competition in Hannover, and 3rd prize at the Mozart competition in Salzburg.

Since 2011 Benjamin Marquise Gilmore has been a member of the Chamber Orchestra of Europe, and was appointed Leader of the Scottish Chamber Orchestra in 2016. He took up the shared role of Concert Master of the Philharmonia at the start of this Season.

VIOLA

LAWRENCE POWER

––––– Lawrence Power is one of today’s foremost violists, in demand worldwide as a recitalist, concerto soloist and chamber music partner. His artistry and penetrating musicianship gain him constant plaudits around the world.

Over the past decade, he has become a regular guest performer with orchestras of the highest calibre, from the Chicago Symphony, Boston Symphony, Royal Concertgebouw, Bayerischer Rundfunk, Stockholm, Bergen and Warsaw Philharmonic orchestras to the Philharmonia, BBC Scottish Symphony and Royal Liverpool Philharmonic orchestras. In addition, as a guest soloist with the Melbourne and Adelaide Symphony orchestras, he has established a strong presence in Australia where he returns regularly to ‘play direct’ at the Australian National Academy of Music. Recent highlights include his debut with the Swedish Radio Symphony Orchestra and the Staatsoper Kassel, Mozart’s Sinfonia Concertante with Daniel Hope at the Zurich Chamber Orchestra Season opening concert, his Salzburg Festival debut with Vilde Frang, as well as recitals in at the Dresden Music Festival, USA Savannah Festival and a concert series at London’s Kings Place.

As a fervent champion of contemporary music, Lawrence has developed a large repertoire of new works. He gave the world premiere of Gerald Barry’s Viola Concerto, UK premiere of Olga Neuwirth’s concerto Remnants of Song at the 2012 BBC Proms, and the world premieres of scores written for him, including Salonen’s Pentatonic Étude, Turnage’s Power Play, Anderson’s Prayer, Goehr’s Hymn to Night, MacMillan’s Viola Concerto and Watkins’ Fantasy. He has recently started the Viola Commissioning Circle, a scheme created to help commission new music from today’s leading composers. This has already led to new works by Thomas Adès and Gerald Barry, with many others in the coming seasons.

His recital credits include performances at Wigmore Hall, LSO St Luke’s and Lincoln Centre NY. He has developed an acclaimed partnership with pianist Simon CrawfordPhillips, collaborates with musicians such as violinists MaximVengerov and Joshua Bell. A former Artist in Residence with the Bergen Philharmonic Orchestra,he has also forged a close relationship with the London Philharmonic Orchestra.

Lawrence Power is founder and Artistic Director of West Wycombe Chamber Music Festival.

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’ – was 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, Laura Comini, 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 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

YOUR SAY SCO CHORUS PERFORM SPEM IN ALIUM AT GREYFRIARS KIRK

PICK OF THE WEEK 20/21 CONCERT SEASON LAUNCHED!

Ears fully ravished at tonight’s exquisite performance by the @SCOmusic Chorus at @greyfriars_kirk with an astonishing surround sound version of Tallis’ epic 'Spem in Alium’.

Andy Catlin @andycatlincom Extraordinary and I’m still quite lost for words.

Simply the most staggeringly beautiful thing I’ve been witness to in some time. My vigorous clapping, testimony to the incredible experience.

Iain Craig @iainmcraig

EMELYANYCHEV CONDUCTS BEETHOVEN 6 & 7 Brilliant concert last night by the wonderful @SCOmusic & #MaximEmelyanychev of Beethoven's 6th & 7th symphonies. The performances were full of effervescence and beauty, absolutely loved it!

Johnny C Murty @JcsmMurty Absolutely outstanding evening of Beethoven from @SCOmusic in Glasgow tonight! Favourite thing was watching two young lads sitting in the balcony conducting #Beethoven7 along with Maestro!

đ&#x;‘Œđ&#x;‘?♼

Caz Cockburn @CazCo The @SCOmusic never disappoint but they found a new top gear at @HorsecrossPerth last night. Everything I'd heard about Maxim Emelyanychev was true! Beethoven which was raw, magisterial, revolutionary and elegant all at once. Magnificent!

Raymond Ellis, @RaymondEllis2

We are thrilled to announce our 20/21 Concert Season. Look out for our new Brochure or find out what you can expect next Season on our website!

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