Brahms Requiem – Season 22/23 – Programme note

BRAHMS REQUIEM

11-12 May 2023

Season 2022/23 BRAHMS REQUIEM

* Please note that this is a change to the previously advertised programme. The SCO is extremely grateful to Louise Alder for replacing Sophie Bevan at very short notice for health reasons.

Thursday 11 May, 7.30pm Usher Hall, Edinburgh

Friday 12 May, 7.30pm City Halls, Glasgow

Brahms Ein deutsches Requiem (A German Requiem)

Please note there will be no interval in this concert.

Maxim Emelyanychev Conductor

* Louise Alder Soprano

Hanno Müller-Brachmann Bass Baritone

SCO Chorus

Gregory Batsleer Chorus Director

Maxim Emelyanychev

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WHAT YOU ARE ABOUT TO HEAR

Brahms (1833-1897)

Ein deutsches Requiem, Op 45 (1865–1868)

I. Selig sind, die da Leid tragen

II. Denn alles Fleisch es ist wie Gras

III. Herr, lehre doch mich

IV. Wie lieblich sind deine Wohnungen

V. Ihr habt nun Traurigkeit

VI. Denn wir haben hie keine bleibende Statt

VII. Selig sind die Toten

Johannes Brahms wasn’t a religious man. Despite his traditional Protestant upbringing, and despite faithfully reading the Bible throughout his life –for consolation and insight, he said – he described himself as an agnostic and a humanist. He even admitted to his biographer Max Kalbeck in the last year of his life that he had never believed in life after death. So why would he write a Christian mass for the dead? To answer that, we need to look at both the background and the unusual form of Ein deutsches Requiem.

Brahms composed the work from 1865 to 1868, when he was in his mid-30s. In other words, this isn’t the work of an old man contemplating his own mortality. Indeed, the piece’s origins go back even further, to 1857, the year after the tragic early death of Brahms’ great friend and mentor Robert Schumann. It was Schumann who had hailed Brahms in print as ‘the saviour of German music’, and it was to the Schumanns – Robert and his wife Clara – that the young Brahms looked for constructive criticism of his music, as well as encouragement and compositional inspiration.

Following Schumann’s death, Brahms began work on a symphony. He never completed it, but he resurrected its slow movement for a choral work, ‘Denn alles Fleisch, es ist wie Gras’, which later became the second movement of Ein deutsches Requiem. In some senses, at least, Brahms began his Requiem with the memory of his cherished champion fresh in his mind.

It was another death – of his beloved mother in February 1865 – and Brahms’

subsequent period of deep mourning that spurred the composer on to resume work on what would become Ein deutsches Requiem. He completed three of its movements before the end of the year. In many ways, therefore, the work can be seen as a memorial to two of the most influential people in Brahms’s life: his biological mother and, we could plausibly argue, his artistic father.

The piece’s first three movements were premiered in Vienna in December 1867, and the first performance of a sixmovement version (missing what’s now the fifth movement) was given on Good Friday 1868 in Bremen Cathedral. The first performance of the work in its final version took place in February 1869 at the Leipzig Gewandhaus, to great acclaim: the piece was performed more than 20 times throughout Europe in the year following its premiere, and its success catapulted Brahms to international fame.

But what of its unusual title? Brahms didn’t intend to convey any narrow-minded nationalism in his Requiem. Instead, to him, it was a ‘German’ Requiem simply because its text was in his native tongue rather than in Latin. (In fact, he told the director of music at Bremen Cathedral that he would happily have called the work ‘A Human Requiem’.)

But it’s not quite as simple as just a choice of language. The texts that Brahms himself selected from the German Lutheran Bible stand in stark contrast to the traditional words of the Catholic Requiem. There’s no mention of the horrors of the Last Judgement, nor any pleas for mercy from God or prayers for the dead. Indeed, there’s only a passing reference (in the final movement) to redemption through the death of Christ. While the Latin Requiem text focuses on the dead, Brahms’ text selection is aimed very much at the living, offering encouragement and hope to those

Inmanyways, therefore,theworkcan beseenasamemorialto twoofthemostinfluential peopleinBrahms’life: hisbiologicalmotherand, wecouldplausiblyargue, hisartisticfather.

Johannes Brahms c. 1866

grieving, and presenting God as a source of comfort. Brahms saw the work as providing a universal, non-denominational response to the inevitability and sorrow of death. His piece charts a journey from anxiety to comfort, and each of its seven movements ends in a mood of confidence or loving promise.

Not everybody approved, of course. So worried were the clergy at Bremen Cathedral by Ein deutsche Requiem’s lack of Christian dogma that they insisted on adding the aria ‘I know that my redeemer liveth’ from Handel’s Messiah to the 1868 performance. Critic George Bernard Shaw was less than impressed by the work, writing: ‘It could only have come from the establishment of a first-class undertaker.’ And Richard Wagner, Brahms’ great rival, was outraged by what he saw as the bourgeois Protestant ethics of the piece. Brahms refused to be drawn into a fight, though: in response, he simply praised Wagner as a composer of genius.

The influence of Ein deutsches Requiem has been profound. Its focus on consolation and comfort can be felt in later Requiems by Duruflé and Fauré, and the freedom with which Brahms approached his text is even echoed in such a forward-looking work as Britten’s War Requiem. Rather than staying within the confines of tradition, in offering his personal message of hope and comfort at a time of sorrow – a feeling he knew well himself – Brahms created a work of glowing warmth and universal relevance.

like phrases, and, aside from a couple of more animated episodes, the movement maintains its opening mood of restraint and consolation throughout.

Beginning as a slow-moving funeral march with a distinctive timpani rhythm, the second movement considers the transience of human life, building to two climaxes as if the mourning procession were passing by in front of us. The pace suddenly quickens, however, as the chorus reports the word of God, and the sombre atmosphere of its opening is replaced by one of unbridled joy.

The bass soloist delivers a troubled recitative on the impermanence of existence in the third movement, with interjections from the chorus, before a sudden swerve into the major as the chorus explains that all hope is with God. The brief fourth movement is a gently flowing chorale yearning for everlasting life in the house of God, and in the fifth movement, the soprano soloist ponders current sorrow and future joy in music of gentle acceptance.

The sixth movement is the closest Brahms comes to depicting the horrors of the Last Judgement, in an anxious opening for bass soloist and chorus. A sudden change to the major marks God’s victory over death, however, and the movement ends with a celebratory fugue.

The first movement is a gentle lament for those in mourning, beginning with a caressing melody that goes on to form the basis for the rest of the movement.

The chorus enters in prayerful, hymn-

There’s a distinctly Bachian feel to the opening of the seventh movement, which quotes from the earlier composer’s St Matthew Passion in its orchestral writing. It’s a broad, expansive movement that offers comfort and reassurance to the dead, ending in peace and acceptance.

© David Kettle

Brahms (1833-1897)

Ein deutsches Requiem, Op 45 (1865-68)

I

Matthew 5:4

Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Psalm 126:5,6

Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

II

1 Peter 1:24

Denn alles Fleisch, es ist wie Gras, und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

James 5:7

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

1 Peter 1:25

Aber des Herrn Wort bleibet in Ewigkeit.

Isaiah 35:10

Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

Matthew 5:4

Blessed are they that mourn, for they shall be comforted.

Psalm 126:5,6

They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

II

1 Peter 1:24

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.

James 5:7

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the morning and evening rain.

1 Peter 1:25

But the word of the Lord endureth for ever.

Isaiah 35:10

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

Psalm 39:4-7

Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen vird. Nun Herr, wes soll ich mich trösten? Ich hoffe auf dich.

Wisdom of Solomon 3:1

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

IV

Psalm 84:1,2,4

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

V

John 16:22

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen.

Ecclesiasticus 51:27

Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Isaiah 66:13

Ich will euch trösten, wie einen seine Mutter tröstet.

III

Psalm 39:4-7

Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and my life is as nothing before thee. Surely every man walketh in a vain show: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them. And now, Lord, how can I console myself? my hope is in thee.

Wisdom of Solomon 3:1

But the souls of the righteous are in the hand of God, and there shall no torment touch them.

IV

Psalm 84:1,2,4

How lovely are thy dwelling places, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh rejoice in for the living God. Blessed are they that dwell in thy house: they will praise thee forever.

V

John 16:22

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man shall take from you.

Ecclesiasticus 51:27

Ye see how for a little while I labour and toil, yet have I found much consolation.

Isaiah 66:13

As one whom his mother comforteth, so will I comfort you.

VI

Hebrews 13:14

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

1 Corinthians 15:51,52,54,55

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod is verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?

Revelation 4:11

Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben,sie das Wesen und sind geschaffen.

VII

Revelation 14:13

Selig sind die Toten, die in dem Herren sterben, von nun an. Ja, der Geist spricht, dass sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

VI

Hebrews 13:14

For here have we no continuing city, but we seek one to come.

1 Corinthians 15:51,52,54,55

Behold, I show you a mystery: We shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. . . . then shall be brought to pass the saying that is written: Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

Revelation 4:11

Thou art worthy, O Lord, to receive glory and honour and power; for thou hast created all things, and for thy pleasure they are and were created.

VII

Revelation 14:13

Blessed are the dead which die in the Lord from henceforth. Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.

Conductor MAXIM EMELYANYCHEV

At the Scottish Chamber Orchestra Maxim Emelyanychev follows in the footsteps of just five previous Principal Conductors in the Orchestra’s 49-year history; Roderick Brydon (1974-1983), Jukka-Pekka Saraste (1987-1991), Ivor Bolton (1994-1996), Joseph Swensen (1996-2005) and Robin Ticciati (20092018).

Recent highlights have included debuts with some of the most prestigious international orchestras: Accademia Nazionale di Santa Cecilia, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Deutsches Symphonie-Orchester, Toronto Symphony and Swedish Radio Symphony Orchestra, as well as returns to the Antwerp Symphony, the Orchestre National du Capitole de Toulouse, the Royal Liverpool Philharmonic and a European tour with the Scottish Chamber Orchestra, followed by appearances at the Radio-France Montpellier Festival and the Edinburgh International Festival.

In October 2022, Maxim toured the USA with the Scottish Chamber Orchestra and made his debut with the Berlin Philharmonic. Other touring in 2022/23 includes the New Japan Philharmonic, the Osaka Kansai Philharmonic, the Bergen Philharmonic Orchestra, the Helsinki Radio Symphony Orchestra, the Czech Philharmonic Orchestra and the Rotterdam Philharmonic Orchestra. He also returns to the Orchestre National du Capitole de Toulouse and to the Royal Opera House in Mozart's Die Zauberflöte.

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

Maxim is also a highly respected chamber musician. His most recent recording, of Brahms Violin Sonatas with long-time collaborator and friend Aylen Pritchin, was released on Aparté in December 2021 and has attracted outstanding reviews internationally. With the Scottish Chamber Orchestra, Maxim has recorded Schubert Symphony No 9 – the symphony with which he made his debut with the orchestra – which was released on Linn Records in November 2019.

For full biography please visit sco.org.uk

Soprano LOUISE ALDER

Louise Alder studied at the Royal College of Music International Opera School where she was the inaugural Kiri Te Kanawa Scholar.

Her engagements in the 2022/23 season include Fiordiligi in a new production of Così fan tutte for the Bayerische Staatsoper, Munich, and a return to the Glyndebourne Festival as Anne Trulove The Rake’s Progress. On the concert platform she sings Mahler’s Symphony No 2 with the London Symphony Orchestra/Sir Simon Rattle and his Symphony No 4 with the Bayerisches Statsorchester/Vladimir Jurowski, Janáček’s The Cunning Little Vixen with Accademia Nazionale di Santa Cecilia/Jakub Hrůša and Mozart’s Exsultate, jubilate with the Berlin Philharmonic Orchestra/Kirill Petrenko.

Previous highlights have included Susanna for the Wiener Staatsoper, the Bayerische Staatsoper, Munich and the Opernhaus Zürich; Zerlina Don Giovanni for the Royal Opera House, Covent Garden and the Teatro Real in Madrid; Gretel Hänsel und Gretel and Marzelline Fidelio for the Bayerische Staatsoper, Munich; Sophie Der Rosenkavalier for the Wiener Staatsoper and the Glyndebourne Festival and Cleopatra Giulio Cesare for the Theater an der Wien and Oper Frankfurt.

Her recital appearances include the BBC Proms, Graz Musikverein and the Oper Frankfurt with Gary Matthewman, Wigmore Hall with both Joseph Middleton and James Baillieu, the Schubertiade Schwarzenberg with Daniel Heide and the Oxford Lieder Festival and Fundación Privada Victoria de los Ángeles in Barcelona with Sholto Kynoch.

For full biography please visit sco.org.uk

Bass Baritone HANNO MÜLLERBRACHMANN

Hanno has sung with the London, Radio France, Wiener and Berliner Philharmonic Orchestras, the Berlin and Dresden Staatskapelle, Orchestra National de France, and the Boston and Los Angeles Symphony Orchestras under conductors including Thielemann, Haitink, Barenboim, Welser-Möst, Harnoncourt, Luisi, von Dohnányi, Labadie, Nelsons and Gardiner. He made his Carnegie Hall debut with the Chicago Symphony Orchestra under Barenboim. Hanno was a member of the ensemble of the Berlin State Opera from 1998 until 2011 and has also appeared at the Bayerische, Hamburgische and Wiener Staatsoper and San Francisco Opera.

He has given recitals in Berlin, Graz, Amsterdam, Hamburg, Paris and Lausanne, at London’s Wigmore Hall and at the Schwarzenberg Schubertiade, Berlin Festwochen and the Edinburgh Festival.

Hanno is a Professor at the Musikhochschule Karlsruhe.

For full biography please visit sco.org.uk

Chorus Director

GREGORY BATSLEER

Gregory Batsleer is acknowledged as one of the leading choral conductors of his generation, winning widespread recognition for his creativity and vision. Since taking on the role of SCO Chorus Director in 2009 he has led the development of the Chorus, overseeing vocal coaching, the SCO Young Singers’ Programme and the emergence of regular a capella concerts. As well as preparing the Chorus for regular performances with the Orchestra, he has directed their recent successful appearances at the East Neuk, Glasgow Cathedral and St Andrews Voices Festivals, at Greyfriars Kirk, and on the SCO’s 2022 Summer Tour.

In 2021 Gregory took up the position of Festival Director for the London Handel Festival. He leads the programming and development of the Festival, fulfilling its mission to bring Handel’s music to the widest possible audiences. Since 2017 he has been Artistic Director of Huddersfield Choral Society and was Chorus Director with the Royal Scottish National Orchestra from 2015 - 2021.

As Guest Conductor Gregory has worked with many of the UK’s leading orchestras and ensembles. Recent highlights include performances with the Royal Northern Sinfonia, RSNO, National Youth Choir of Great Britain, Orchestra of Opera North, Manchester Camerata, Royal Liverpool Philharmonic Orchestra, English Chamber Orchestra and London Symphony Chorus, as well as SCO.

From 2012 to 2017, he was Artistic Director of the National Portrait Gallery’s Choir in Residence programme, the first ever in-house music programme of any gallery or museum in the world. He has curated and devised performances for the Southbank Centre, Wilderness Festival and Latitude and collaborated with leading cultural figures across a variety of different art forms. Gregory is the co-founder and conductor of Festival Voices, a versatile ensemble dedicated to cross-art collaboration.

As a non-executive director, Gregory sits on the boards of Manchester Camerata and Charades Theatre Company. His outstanding work as a choral director was recognised with the 2015 Arts Foundation’s first-ever Fellowship in Choral Conducting.

Gregory’s Chair is kindly supported by Anne McFarlane

SCO CHORUS

The Scottish Chamber Orchestra Chorus, under the direction of Gregory Batsleer since 2009, has built a reputation as one of Scotland’s most vibrant and versatile choirs. Widely regarded as one of the finest orchestral choruses in the UK, it celebrated its 30th anniversary in 2021.

Members enjoy the unique opportunity to perform with one of the world’s leading chamber orchestras, working with international conductors including Maxim Emelyanychev, Harry Christophers, Richard Egarr, Andrew Manze, John Storgårds and Sir James MacMillan.

The Chorus appears regularly with the Orchestra in Scotland’s major cities. Recent concerts have covered a wide range of music including Handel Coronation Anthems, MacMillan Seven Last Words from the Cross, Stravinsky Mass, Handel Messiah and Theodora, Haydn Seasons and Creation, a rare performance of Vaughan Williams Flos Campi and the premiere of The Years by Anna Clyne, SCO Associate Composer 2019-2022.

The SCO Chorus also appears on its own in a cappella repertoire, both digital and live, including an acclaimed performance of Tallis’ Spem in Alium at Greyfriars Kirk and concerts as part of the SCO’s 2022 Summer Tour including the premiere of Anna Clyne’s The Heart of Night. Its annual Christmas concerts have quickly established themselves as a Season highlight.

Other notable out-of-Season appearances have included a critically-acclaimed debut at the BBC Proms in Handel’s Jephtha in 2019 and a dramatised performance of Parry’s Songs of Farewell in 2017, devised by stage director Jack Furness and Chorus Director Gregory Batsleer. The Chorus will join the SCO and Maxim Emelyanychev for Mendelssohn's Elijah at the 2023 BBC Proms.

Our Young Singers' Programme was established in 2015 to nurture and develop aspiring young singers. It is designed for young people with a high level of choral experience and ambitions to further their singing with a world-class ensemble.

Further information at sco.org.uk

The SCO Chorus Young Singers' Programme is kindly supported by the Baird Educational Trust.

YOUR CHORUS TONIGHT

Gregory Batsleer

Chorus Director

Stuart Hope

Associate Chorusmaster

Alan Beck

Voice Coach

Emma Morwood

Voice Coach

Norbert Meyn

Language Coach

Susan White

Chorus Manager

* Young Singers' Programme

SOPRANO

Kirstin Anderson

Naomi Black

Nancy Burns

Joanna Burns

Morven Chisholm

Mairi Day

Lucy Forde

Emily Gifford

Nicola Henderson

Lisa Johnston

Lesley Mair

Katie McGlew

Jenny Nex

Annike Petin

Alison Robson

Alison Williams

Emily Zehetmayr*

ALTO

Shona Banks

Dinah Bourne

Sarah Campbell

Gill Cloke

Judith Colman

Liberty Emeny

Anne Gallacher

Jennie Gardner

Claire Goodenough

Holly Gowen*

Anne Grindley

Caroline Hahn

Fiona Haldane

Lorna Htet-Khin

Melissa Humphreys

Rachel Kemp

Elizabeth McColl

Charlotte Perkins

Jan Raitt

Linda Ruxton

Anna Yule

TENOR

Matthew Andrews

Andrew Carvel

David Ferrier

Colin French

Peter Hanman

Fraser Macdonald*

Keith Main

David Nelson

Matt Norriss

Michael Scanlon

Paul Vaughan

Alexander Vonderschmidt

BASS

Mathew Brown

Gavin Easton

Robin Hiley

David Ireland

Sandy Matheson

Richard Murphy

Kenneth Murray

Douglas Nicholson

David Paterson

Jonathan Pryce

Fraser Riddell

Peter Silver

Stephen Todd

Roderick Wylie

Information correct at the time of going to print

Biography

SCOTTISH CHAMBER ORCHESTRA

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 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 is also proud to engage with online audiences across the globe via its innovative Digital Season.

An exciting new chapter for the SCO began in September 2019 with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor.

The SCO and Emelyanychev released their first album together (Linn Records) in November 2019 to widespread 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.

The SCO also has long-standing associations with many eminent guest conductors and directors including Conductor Emeritus Joseph Swensen, François Leleux, Pekka Kuusisto, Nicola Benedetti, Richard Egarr, Andrew Manze and John Storgårds.

The Orchestra 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, Sally Beamish, Martin Suckling, Einojuhani Rautavaara, Karin Rehnqvist, Mark-Anthony Turnage, Nico Muhly, Anna Clyne and Associate Composer Jay Capperauld.

For full biography please visit sco.org.uk

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BE PART OF OUR FUTURE

A warm welcome to everyone who has recently joined our family of donors, and a big thank you to everyone who is helping to secure our future.

Monthly or annual contributions from our donors make a real difference to the SCO’s ability to budget and plan ahead with more confidence. Each and every contribution is crucial, and your support is truly appreciated.

For more information on how you can become a regular donor, please get in touch with Hannah Wilkinson on 0131 478 8364 or hannah.wilkinson@sco.org.uk.

SCO.ORG.UK/SUPPORT-US