Bohemian Rhapsodies

30 OCTOBER – 1 NOVEMBER 2019

BOHEMIAN RHAPSODIES WITH JOSEPH SWENSEN –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

Kindly supported by

Donald and Louise MacDonald

SEASON 2019/20

A WARM WELCOME ––––– As Conductor Emeritus of the Scottish Chamber Orchestra, I am very happy to welcome you to this concert.

It is difficult to imagine what American music might sound like if it weren’t for Antonin Dvořák.

For me personally, there isn’t a musician for whom I feel a deeper gratitude. I grew up only a few miles from the site of the old National Conservatory of Music on East 17th Street where Dvořák was the schools‘ Director from 1892-1895. It was, at that time, the centre of a budding culture where his ideas, encouragement and enthusiasm changed the future of America’s music life forever.

Soon after Dvořák's death and the closing of the National Conservatory, the Juilliard School was established to carry on the great quest. Juilliard was also the place where I received my music education from the age of seven in 1967 until the mid-1980s. When I now think of my teachers there, I can sense the power of Dvořák's influence on their vision for a unique and vibrant music culture in the New World.

Obviously, Dvořák's dream for America is still a work in progress. To me, his influence is most clearly exemplified by how African-American music, especially Jazz, continues to be a vital source of inspiration for almost all American composers. Dvořák directly encouraged this path saying: “In the Negro melodies of America I find all that is needed for a great and noble school of music.”

I suspect he also unwittingly inspired what would become the wildly successful commercial industry we know as American Popular Music offering this strangely prophetic warning: “It cannot be emphasised too strongly that art, as such, does not 'pay', to use an American expression... and that the art that has to pay its own way is apt to become vitiated and cheap.”

Before I wish you all an enjoyable evening, I would like to thank dear friends, Donald and Louise MacDonald, who have generously sponsored this week’s concerts. Their support and friendship are truly valued and very much appreciated.

Joseph Swensen SCO Conductor Emeritus

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.

CORE FUNDING -----

BENEFACTOR -----

LOCAL AUTHORITIES ----

SISTER ORGANISATION -----

SCO AMERICA sco-america.org

MAJOR PARTNER -----

CREATIVE LEARNING PARTNER -----

BUSINESS PARTNERS -----

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

Claire and Mark Urquhart Paul and Clare Rooney

INTERNATIONAL TOURING FUND -----

PRODUCTIONS FUND -----

Gavin and Kate Gemmell David and Maria Cumming

The Usher Family

ANNUAL FUND -----

James and Patricia Cook

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

PRINCIPAL FLUTE Geoff and Mary Ball

SUB-PRINCIPAL FLUTE Claire and Mark Urquhart

Eric de Wit Jasmine Macquaker Charitable Fund

PRINCIPAL OBOE

SUB-PRINCIPAL DOUBLE BASS

PRINCIPAL CLARINET

Adrian Bornet Jo and Alison Elliot

Robin Williams Hedley G Wright

Maximiliano Martín Stuart and Alison Paul

SEASON 2019/20

BOHEMIAN RHAPSODIES WITH JOSEPH SWENSEN Kindly supported by Donald and Louise MacDonald

––––– SUK Serenade for Strings JANÁČEK The Fiddler’s Child interval of 20 minutes

DVOŘÁK Symphony No 5 ––––– JOSEPH SWENSEN – Conductor STEPHANIE GONLEY – Violin ––––– Wednesday 30 October 2019, 7.30pm St Andrews Younger Hall Thursday 31 October 2019, 7.30pm Edinburgh Queen's Hall Friday 1 November 2019, 7.30pm Glasgow City Halls –––––

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 Stephanie Gonley Ruth Crouch Alexandra Lomeiko Siún Milne Amira Bedrush-McDonald Sarah Bevan-Baker Liza Johnson Catherine James SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Laura Comini Bethan Allmand Niamh Lyons Laura Ghiro VIOLA David Aspin Zoe Matthews Brian Schiele Steve King CELLO Su-a Lee Donald Gillan Eric de Wit Robert Anderson

FLUTE André Cebrián June Scott

TRUMPET Peter Franks Simon Bird

OBOE Robin Williams Kirstie Logan

TROMBONE Duncan Wilson Nigel Cox Rob Collinson

CLARINET Nick Cox William Stafford Rebecca Whitener BASS CLARINET William Stafford BASSOON Paul Boyes Alison Green

TUBA John Whitener TIMPANI Louise Goodwin PERCUSSION Colin Hyson HARP Eleanor Hudson

HORN Anna Douglass Harry Johnstone Andrew Saunders Fergus Kerr

BASS Péter Palotai Adrian Bornet Kirsty Matheson

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

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 –––––

SUK (1874-1935) Serenade for Strings in E-Flat, Op 6 (1892) Andante con moto Allegro ma non troppo e grazioso Adagio Allegro giocoso, ma non troppo presto

JANÁČEK (1854-1928) The Fiddler’s Child (1913)

DVOŘÁK (1841-1904) Symphony No 5 in F, Op 76 (1875) Allegro ma non troppo Andante con moto Andante con moto, quasi l'istesso tempo – Allegro scherzando Finale: Allegro molto

––––– What makes Czech music sound Czech?

Tonight you have the chance to discern it for yourself in the music of three composers working in the high summer of Czech nationalism (say, the 1870s-1930s).

We hear them in a sort of reverse chronological order: the youngest, Suk, would have been around one year old as Dvořák was writing his 5th symphony.

He went on to become both his pupil and son-in-law. He and Janáček were polar opposites – while he was a precocious youngster, Janáček (though 20 years his senior) truly got into his stride in middle age, so Suk’s Serenade was written two decades before Janáček’s The Fiddler’s Child. By sad coincidence, Janáček achieved wide recognition as a composer in 1904, which was also the year of Dvořák’s death. Dvořák, more than any other, put Czech music on the international map thanks to his stellar, globe-trotting career.

Hemmed in – politically and artistically – by powerful neighbours, and often treated high-handedly by German and Austrian colleagues (Dvořák owed much to his German publisher, but endured petty humiliations at their hands, including a refusal to use his actual Czech name in print), it is not hard to sympathise with Czech artists’ acute urge to assert their national identity. Yet, in their time and in ours, the question of what makes Czech music so distinctive has never been satisfactorily resolved, beyond a few long-standing generalisations. ‘Czech’ music reflects the influence of folk music and culture; it often takes inspiration from daily life or (auto-) biography; it dwells on a magnificent national history. There are characteristic dance forms (furiant, dumky,

polka) which feature in many Czech works; and just as the Czech language accentuates the first syllable of a word,

and over, always putting emphasis on the ‘one’ you are making hemiola rhythms).

The Czech love of alternating slower and

so do many Czech tunes. As ever with generalisations, it is fatally easy to find exceptions, but all of these observations have truth in them.

faster sections is also there in the Adagio third movement which some have called a ‘dumky’: a kind of lament in which emotional slower sections are alternated with faster upbeat sections.

The ‘Czechness’ of Suk and Dvořák has much in common. Listening with an innocent ear to Suk’s Serenade, you could be forgiven for believing that it is by his father-in-law. It has the warmth and melodious, untroubled geniality you will hear later in Dvořák’s 5th Symphony.

Suk was 18 when he wrote it in response to Dvořák’s instructon: "It's summertime now, so go and make something lively for a change." Like his teacher, he was a string player and you can sense at once how much at home he is with a string orchestra.

If you know Dvořák’s Slavonic Dances, many idioms will be familiar. The 2nd and 4th movements are awash with hemiola rhythms (if you say ‘one-two-one-two-onetwo, one-two-three-one-two-three” over

Josef Suk

Leoš Janáček

Suk’s Serenade is a young man’s work as is Dvořák’s 5th Symphony. It is at once thoroughly Romantic and rather Classical.

Its sense of freedom, its harmony and orchestral sound all belong to the later 19th century; yet it is on the same scale as a classical symphony, and there are sections that could almost have been written by Mozart or early Beethoven: in both the first and final movements you hear sections of development which are essentially euphonious chord sequences, embellished very simply by arpeggios: very classical.

In the first three movements, Dvořák seems fascinated with juxtaposing very

Antonín Dvořák

dynamic and rather static music. The opening two minutes have irresistible flow: melodies leap upwards and harmony

than sing at each other. Beneath their exchanges, the orchestra is always rich in layers of transient ideas which create

repeatedly turns corners into ever warmer and brighter chords. Then Dvořák reins it all in for a tune that turns round and in on itself: the tension between the two inspires the rest of the movement. The Andante con moto has two outer sections which have the same flowing, falling melody (if it sounds reminiscent of Tchaikovsky’s famous Piano Concerto in B minor, that is pure coincidence); they frame a central section dominated by simple falling chords. Look at the movement list and you see that the third movement starts with the same speed indication as the second movement; Dvořák deliberately blurs the line between them – perhaps taking a leaf out of Beethoven’s book. Beethoven may be behind what is the big mystery of Dvořák’s 5th too: why, after more than 20 minutes of warm, mostly major key music, he suddenly turns to the dark side in his finale. Some have suggested it is like the

a kind of restless train of thought. Some of that finds its way into The Fiddler’s Child, written in 1913. It was inspired by a poem by the nationalist writer, Svatopluk Cech, though Cech might be forgiven for not recognising it. His folksy tale tells of a destitute fiddler who dies leaving his sickly child and fiddle in the care of an old woman. Come midnight, she sees his ghost playing to the child and lulling it into death – a better world. She scares him off, but when the mayor of the village visits the next morning, he finds her cradling he child’s lifeless body; the fiddle has disappeared. Janáček gets rid of the old woman, and instead makes the Mayor a villain who causes all the fiddler’s woes and possibly death. The fiddler is still alive at the start (you hear him in the solo), but the child is ailing, hence the poignant tone. The cruelty of the Mayor is not hard to hear in the violent interruptions. This dichotomy that Janáček establishes at the start (tenderness versus harshness) runs through the whole piece.

storm in Beethoven’s 'Pastoral' Symphony: a tumultuous drama from which Dvořák will eventually escape to end on a note of joy.

© Svend McEwan-Brown 2019 Hearing Janáček between Dvořák and Suk highlights how individual and distinctive his musical voice was. Arguably the most maverick Czech composer, he was also one of the most maverick composers in the entire history of Western music. In his writings you discover that his ears were always open to the music around him: in speech, animal and bird calls, even in banal sounds like a door creaking.

He would turn these into tiny motifs that found their way into his music. This contributes powerfully to his operas: his characters really talk to each other, rather

PLAYER FEATURE:

NAME: Amira Bedrush-Mcdonald POSITION: First Violin MEMBER SINCE: 2015 ––––– Three words to describe the Scottish Chamber Orchestra? Vibrant. Unified.

Inspiring.

What are you most looking forward to in the Season? This will be the first time I get the chance to play all the Beethoven Symphonies in one Season and I can’t wait to see what differences and perhaps even similarities each conductor will bring to these pieces.

What can you expect from an SCO concert?

Direct, committed playing, where we are all completely engaged. I think the camaraderie on stage always comes across.

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

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:

Tom Bruce-Jones, Glasgow Helen Caldwell, Edinburgh Joyce Denovan, Glasgow Robert Durham, Dundee Herman Gawlik, Glasgow Ian Hogarth, Edinburgh Mattie Hutchinson, Glasgow Helen Kelbie, Aberdeen David Lee, Glasgow Evelyn McNab, Glasgow Ian Mitchell, Glasgow Judith Pickles, Edinburgh Alice Woodward, Aberdeenshire

CONDUCTOR

JOSEPH SWENSEN

––––– Joseph Swensen is Artistic Director of the NFM Leopoldinum Orchestra Wrocław, Conductor Emeritus of the Scottish Chamber Orchestra and Principal Guest Conductor of the Orquesta Ciudad de Granada. He has previously served as Principal Guest Conductor and Artistic Advisor of the Orchestre de Chambre de Paris (2009-2012), Principal Conductor of the Scottish Chamber Orchestra (1996-2005) and Principal Conductor of Malmö Opera (2005-2011). A sought-after pedagogue, Joseph Swensen teaches conducting, violin and chamber music at the Royal Conservatoire of Scotland in Glasgow.

Recognised for forging solid bonds with orchestras, he is regularly invited to conduct the Orchestre National du Capitole de Toulouse, BBC National Orchestra of Wales, Orquestra Sinfónica do Porto Casa da Música and the Estonian National Symphony Orchestra.

Swensen has toured extensively in the US, UK, Europe and the Far East appearing at the Mostly Mozart Festival in New York, Tanglewood and Ravinia Festivals, the BBC Proms, 'Festival de Radio France' and 'La Folle Journée' of Nantes and Tokyo.

Before launching his conducting career in the mid 1990s, Swensen enjoyed a highly successful career as a violin soloist appearing with the world’s major orchestras and conductors while recording exclusively for BMG Classics. More recently, his series for Linn Records playing and directing Brahms, Mendelssohn, Dvořák and Prokofiev’s second concerto, alongside symphonic works with the Scottish Chamber Orchestra won international acclaim and have just been re-released in a beautiful box set.

A multifaceted musician, Swensen is an active composer and arranger. This season will include performances of Beethoven String Quartet Op 131, Debussy Quartet for String Orchestra as well as the premiere of his Sinfonietta.

Joseph and Victoria Swensen present summer workshops at their 250 -year-old, 15-room farmhouse in Vermont.

An American of Norwegian and Japanese descent, Joseph Swensen was born in Hoboken, New Jersey and grew up in Harlem, New York City.

Joseph's Conductor Emeritus Chair is kindly supported by Donald and Louise MacDonald.

VIOLIN

STEPHANIE GONLEY

––––– Stephanie Gonley has a wide-ranging career as concerto soloist, director/soloist of chamber orchestras, recitalist and chamber musician. She has appeared as soloist with many of the leading orchestras in the UK, including the Royal Philharmonic Orchestra with Vladimir Ashkenazy, London Philharmonic Orchestra, Philharmonia, BBC Symphony Orchestra, Orchestra of Opera North, Manchester Camerata, Hallé, Royal Liverpool Philharmonic, BBC Scottish Symphony Orchestra, Ulster Orchestra and the Scottish Chamber Orchestra.

She is leader of the English Chamber Orchestra and the Scottish Chamber Orchestra. She was the leader of the Vellinger Quartet for some time, and she still enjoys performing a wide range of chamber music with such ensembles as the Nash Ensemble and the ECO Ensemble.

Gonley's concerto performances abroad have included the Chamber Orchestra of Europe, Hannover Radio Symphony, Orchestre de Chambre de Genève, Noord Nederlands Orkest, RTE National Symphony Orchestra. Regina Symphony (Canada), Norrköping Symphony, Royal Flanders Philharmonic, Hong Kong Philharmonic, Regensburg Philharmonic, and the Norwegian Radio Symphony Orchestra.

Her recordings include the Dvořák Romance with the ECO and Sir Charles Mackerras for EMI, the Sibelius' Violin Concerto for BMG/Conifer with conductor Adrian Leaper and a CD of Baroque repertoire which she directed.

Stephanie Gonley is currently Professor of Violin at the Guildhall School of Music and Drama, where she studied with David Takeno. She continued her studies with Dorothy DeLay (Juilliard) and Ilan Gronich (Hochschule, Berlin).

Amongst other awards, she was a winner of the prestigious Shell-LSO National Scholarship.

THANK YOU

SCO PATRONS ––––– Join our family of Patrons by contacting Laura Hickey on 0131 478 8344 or laura.hickey@sco.org.uk DIAMOND

GOLD

Malcolm & Avril Gourlay

The Batsleer Family

Dr Caroline Hahn

Caroline & Colin Bryce

James & Felicity Ivory

Lord Matthew Clarke

Chris Jarvis

Lucinda Coulthard

Sir George & Lady Mathewson

Dr Clive Criper & Mrs Myint-Su

Vincent & Clair Ryan

David & Sheila Ferrier

William Samuel

Iain Gow

Alan & Sue Warner

Judith & David Halkerston Ian Hutton

PLATINUM

Gordon Kirk

Eric G Anderson

Roy & Svend McEwan-Brown

David Caldwell in memory of Ann

June Miller

Tom & Alison Cunningham

Alan Moat

Gail & Lindsay Gardiner

John & Liz Murphy

Gordon & Grace Gillespie

Alison & Stephen Rawles

Carola & Martin Gordon

Mr & Mrs J Reid

John & Jane Griffiths

George Rubienski

Carol & Shields Henderson

Irene Smith

J Douglas Home

Ian S Swanson

Audrey Hopkins

John-Paul & Joanna Temperley

Norman & Christine Lessels

Michael & Joan Wareham

Chris & Gill Masters

Catherine Wilson

Duncan & Una McGhie

Neil & Philippa Woodcock

Anne-Marie McQueen

G M Wright

James F Muirhead

Bruce & Lynda Wyer

Patrick & Susan Prenter George Ritchie Martin & Mairi Ritchie Colin & Elaine Ross Jill & Brian Sandford Ian Stewart & Family Michael & Elizabeth Sudlow Robert & Elizabeth Turcan Tom & Natalie Usher Anny & Bobby White Ruth Woodburn

SILVER

Barry Laurie in memory of Richard Green

Fiona Addison

Mary Law

Roy Alexander

Graham & Elma Leisk

Joseph I Anderson

Geoff Lewis

Pamela Andrews & Alan Norton

Alan Macfarlane

Dr Peter Armit

Nancy Macneil of Barra

Joseph & Patricia Banks

James McClure in memory of Robert Duncan

Timothy Barnes & Janet Sidaway

Gavin McCrone

Peter & Kay Black

Iain McEwan

Alan Borthwick

Brian Miller

Jane & Michael Boyle

James & Helen Moir

Mary Brady

Margaret Mortimer & Ken Jobling

John Brownlie

Andrew Murchison

Laura Buist

Hugh & Gillian Nimmo

Robert Burns

David & Tanya Parker

Janet Cameron

Hilary & Bruce Patrick

Isabel J Clark

Maggie Peatfield

Sheila Colvin

Ian & Sheila Percy

Tony Cook

Fiona Reith

Lorn & Camilla Cowie

Alan Robertson

Lord & Lady Cullen of Whitekirk

Andrew Robinson

Jo & Christine Danbolt

David Robinson

Caroline Denison-Pender

Olivia Robinson

Dr Wilma Dickson

Hilary E Ross

Jean Donaldson

Catherine Steel

John Donaldson

Jean Sutherland

Sylvia Dow

Ian Szymanski

James Dunbar-Naismith

Marion Thomson

Dr & Mrs Alan Falconer

Douglas & Sandra Tweddle

Sheila Ferguson

Margaretha Walker

Chris & Claire Fletcher

James Wastle

Dr James W E Forrester

C S Weir

Dr William Fortescue

Alan Welsh

James Friend

Bill Welsh

Archie & Ellen Gibson

Professor Frank Whaling & Mrs Margaret Walsh-Whaling

Andrew Hadden

Andrew Wilson

J Martin Haldane

Roderick Wylie

Ronnie & Ann Hanna

–––––

Ruth Hannah Robin Harding Norman Hazelton Ron & Evelynne Hill Clephane Hume Archie & Pat Hunter Robert & Leila Inglis David & Pamela Jenkins Sir Raymond & Lady Johnstone Marty Kehoe Professor Christopher & Mrs Alison Kelnar David Kerr Allan Kirton Dr & Mrs Ian Laing Janey & Barrie Lambie

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 begins 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 are to release their first album together (Linn Records) in November 2019. 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

––––– –––––

Cllr Christina Cannon Glasgow City Council

Principal Guest Conductor Emmanuel Krivine

David Cumming

Conductor Emeritus Joseph Swensen

Jo Elliot Rachael Erskine

Chorus Director Gregory Batsleer

Cllr Rosemary Liewald Fife Council

Associate Composer Anna Clyne

Cllr Donald Wilson City of Edinburgh Council

Alison Paul Zoë van Zwanenberg 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 Finance & Administration Director Ian White Finance Officers Mary Gibson Heather Baird

PICK OF THE WEEK

YOUR SAY

To mark the 40th Anniversary of the Queen’s Hall, we searched through the archives and found a photo from its opening in 1979 featuring Queen Elizabeth, then Principal Conductor Roderick Brydon, and SCO Leader John Tunnell.

SCO STRING ACADEMY What a fab afternoon working with @SCOmusic String Academy, great to see such a big turn out with talented young people coming from far and wide to join us! Shout out to @stmarys_music Peer Mentors who helped out all day!

Rachel Spencer @rspencer_music

QUEEN’S HALL 40TH BIRTHDAY Birthday Cake courtesy of our good friends at the @SCOmusic - Can’t wait to get stuck in!

Queens Hall @queens_hall

ANDERSZEWSKI PLAYS HAYDN AND SCHUMANN @SCOmusic are just fabulous as demonstrated tonight @queens_hall. Great music. Great orchestra. Energetic. Joyous.

Derek Zuckert @derekz1 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

MAXIM’S FIRST CONCERT Who spotted @SCOmusic and Maxim Emelyanychev in this month's @GramophoneMag? We're counting down to next month which sees the release of their debut recording and Maxim's first concerts as Principal Conductor.

@LinnRecords

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