CHAMBER SUNDAY WITH SCO WIND SOLOISTS

1 DECEMBER 2019

CHAMBER SUNDAY WITH SCO WIND SOLOISTS –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

SEASON 2019/20

CHAMBER SUNDAY WITH SCO WIND SOLOISTS

––––– NIELSEN Wind Quintet, Op 43 SEIBER Serenade for Wind Sextet interval of 20 minutes

BRITTEN Movement for Wind Sextet STRAUSS Suite in B-flat, Op 4 ––––– SCO WIND SOLOISTS RCS WIND STUDENTS ––––– Sunday 1 December 2019, 3pm The Queen's Hall, Edinburgh –––––

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

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

SCO WIND SOLOISTS FLUTE Ahran Kim OBOE Robin Williams COR ANGLAIS Rosie Staniforth CLARINET Maximiliano Martín CLARINET & BASS CLARINET William Stafford BASSOON Paul Boyes BASSOON + CONTRA BASSOON Alison Green HORN Patrick Broderick Harry Johnstone

Alison Green Sub-Principal Bassoon ––––– Joined the Orchestra? In June (I think) 1990 after a few years freelancing and playing with Scottish Ballet.

RCS MUSICIANS CONDUCTOR Joel Sandelson FLUTE Chris Mitchie

SCO Highlight? Impossible to choose one. I loved recording the Mozart operas with Sir Charles and our trips to Istanbul.

Playing Il Seraglio in Topkapi Palace was memorable and getting to explore Istanbul in our time off was lovely.

Our trip to India in 2009 as a member of the LAB group – what a treat that was.

OBOE Irene Rodriguez Garcia

Also, our time with Joseph Swensen as Principal Conductor and the many concerts and recordings we have done with him.

CLARINET Jaimee Pickard BASSOON Douglas McDonald HORN Peter McNeill Jacob Nelson

PLAYER FEATURE:

The player 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.

What makes the SCO unique? My colleagues – the musicians around me. I sit in the back row and can see most of them and I love how we play together.

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.

TODAY'S REPERTOIRE

WHAT YOU ARE ABOUT TO HEAR –––––

NIELSEN (1865-1931) Wind Quintet, Op 43 (1922) Allegro ben moderato Menuetto Praeludium: Adagio

SEIBER (1905-1960) Serenade for six wind instruments (1925) Allegro moderato

––––– For Carl Nielsen (1865-1931), music was indivisible from nature and from its relationship to the human condition.

He considered them so intertwined that he invented the term ‘objektivering’ – an approach to composition that enables the performer to assert their own personality through the music. In the case of his Wind Quintet, Op 43 (1922), the work was written with five specific players in mind, and Nielsen wrote each part to convey both the idiosyncrasies of their instruments and the characters of the five performers.

His inspiration for the piece came during a phone call to the pianist Christian Christiansen, who was rehearsing Mozart’s Sinfonia Concertante with members of the Copenhagen Wind Quintet. Hearing the wind players practising in the background, Nielsen resolved to write them a new piece of chamber music – and, eventually,

Lento Allegro vivace

BRITTEN (1913-1976) Movement for Wind Sextet (1930) STRAUSS (1864-1949) Suite in B-flat major, Op 4

(1884)

Praeludium Romanze Gavotte Introduction und Fuge

Carl Nielsen

to write each of the players a concerto too. While only two of the five concertos (for flute and clarinet) were completed before his death in 1931, the wind quintet has become a staple of the woodwind repertoire.

In its structure, it owes much to its original Mozartean inspiration, featuring an opening Allegro, a graceful central Minuet, and a spirited theme and variations Finale that Nielsen described as "now merry and quirky, now elegiac and serious, ending with the theme in all its simplicity and very quietly expressed". But this neoclassical backdrop meets an altogether more modern character in Nielsen’s melodic and harmonic writing, a style that is tinged with the influences of folksong from his native Denmark. Nielsen’s triumph is to create a work whose timbre is as successfully homogenous as it is distinct. As Nielsen himself described it: "At one moment they are all talking at once, at another they are quite alone."

Although Hungarian-born Mátyás Seiber (1905-1960) belongs both to a different musical tradition and to a different generation to Nielsen, their works converge around the early part of the twentieth century, and their pieces featured today were composed just three years apart. They were also united in their use of traditional folksong. Seiber was a pupil of Kodály and a student of the Budapest Academy, he had a particular interest in languages and in making vocal transcriptions of the nation’s folksongs.

In time he would become famous for his eclectic projects, which included the film scores for Animal Farm and A Town Like Alice, as well as collaborations with

Mátyás Seiber

guitarist John Williams, percussionist James Blades, and jazz pioneer John Dankworth. He was also a respected teacher of some renown, as composer Francis Routh writes: "He was a complete teacher equally at home in the disciplines of Bach or Schoenberg. He particularly loved Bach. His teaching methods encouraged students to realise the reasons for every note that they wrote and every harmony that they produced. He was a genuine inspiration."

But not all of Seiber’s forays into composition were met with such enthusiasm. When he entered his Serenade for six wind instruments (1925) into a competition in Budapest in 1927, for which both Bartók and Kodály were serving on the jury, he was denied first prize.

Bartók was so disgusted that he resigned

from the jury in protest. It is not difficult to understand Bartók’s position: the Serenade is an elegant work that shows

Like Seiber, Benjamin Britten (19131976) began composing when he was still remarkably young. "It was the pattern on

a composer mature beyond his years.

Scored for two clarinets, two horns and two bassoons, its three movements present Seiber’s own renderings of different Hungarian folksongs – authentic in their origin, but transformed anew as the subject of this suite of dances. Here, the hallmarks of the ‘Gypsy style’ – such as the florid, improvisatory solo for clarinet in the first movement and the traditional dotted rhythms and syncopations of the opening dance – are given a neoclassical twist, with canonic imitation, rhythmic interplay and sharp textures. A melancholic central movement gives way to an energetic finale – a traditional march that becomes increasingly intricate and syncopated as the movement progresses, eventually bursting out into a triumphant conclusion.

the paper which interested me", he recalls of his first works, composed when he was just five years old, "and when I asked my mother to play it, her look of horror upset me considerably." At the age of fourteen, Britten fell in love with the music of Frank Bridge, and was soon lucky enough to begin composition lessons with him. This was a significant milestone, signalling the beginning of a prodigious outpouring of new works which experimented with a whole array of different instrumental combinations. In these early years, he wrote his first symphony, numerous suites for solo piano, many songs and even the drafts for some masses.

Benjamin Britten

In May of 1930, aged sixteen and still a student at Gresham’s School in Holt, Britten began work on what was to become his only composition for wind ensemble. He completed just two movements of what might have become a complete wind sextet – but after the summer he took up a place at London’s Royal College of Music and the score’s completion seems to have fallen by the wayside. The first movement has since assumed a life of its own, performed in isolation as the Movement for Wind Sextet (1930). As a piece of ‘juvenalia’ it is remarkably revealing, demonstrating not only Britten’s astonishing craftsmanship at such a young age, but also his musical leanings. Its unusual scoring – for flute, oboe, clarinet, bass clarinet, bassoon and horn – seems likely to have been inspired

by Janáček's Mládí of 1924. Its harmonies, however, like his Sinfonietta, Op 1, of two years later, belong firmly to Britten’s Schoenberg years.

While Britten never again composed for wind ensemble, Richard Strauss’s (18641949) career is book-ended by music for wind. His Serenade, Op 7 for thirteen instruments was composed when he was just 18 years old and his Suite in B-flat major, Op 4 (1884) followed soon after.

It would be another 60 years before he returned to the genre again, but in a surprise burst of creativity following his self-declared retirement, he added another two works for wind ensemble to his catalogue: the Sonatina No 1 (1943) and Sonatina No 2 (1946).

Strauss would later declare that his Serenade had been "nothing more than the respectable work of a music student", but in fact it was a turning point in his career. The renowned conductor Hans von Bülow included this one-movement work on the Meiningen Orchestra programme in the winter of 1883, and was so impressed with the rapturous response that he commissioned Strauss to compose another. Strauss responded the following year with the B-flat major Suite, a work that is scored for the same thirteen instruments but which is expanded to form a complete, multi-movement suite.

Stylistically, the four movements are grouped into two distinct parts, which veer between the romantic (Praeludium and Romanze) and the baroque (Gavotte and Fuge), apparently in an attempt to satisfy von Bülow’s request for a baroqueinspired suite. But while on paper this sounds somewhat disjunct, the reality is rather more integrated, with the second theme of the Romanze resurfacing in the Introduction that precedes the closing Fuge. The lyrical, soloistic writing that saturates the Suite also ties the four movements across the stylistic divides.

Richard Strauss

Von Bülow invited Strauss to conduct the work at its premiere – his first professional appearance at the podium – and Strauss seems to have done such a good job that six months later he was invited to take the post of Assistant Conductor at Meiningen.

In doing so, van Bülow single-handedly launched Strauss’s conducting career – all thanks to that unassuming, "respectable work" for wind instruments that Strauss composed in 1882. © Jo Kirkbride

SCO WIND SOLOISTS

––––– The Scottish Chamber Orchestra Wind Soloists charm audiences throughout Scotland and further afield with stylish and exuberant performances of repertoire ranging from the celebrated divertimenti and wind serenades of the 18th century to music of the present day.

The SCO Wind Soloists regularly perform in Scotland's main cities and further afield, including the Highlands and Islands. To celebrate the 40th anniversary of the Scottish Chamber Orchestra, they performed a concert at the Palace of Holyroodhouse in the presence of HRH The Prince Charles. Other recent invitations include the East Neuk Festival and Aix-en-Provence Easter Festival.

Inspired by the legacy of Sir Charles Mackerras, the Wind Soloists have since 2012 made a particular exploration of Harmoniemusik repertoire. Their debut album, Mozart Divertimenti (Linn) made a fine contribution to the Orchestra’s distinguished Mozart discography. Their second successful album, Beethoven Music for Winds, was launched in 2018 with a concert tour including Glasgow, Ayr, Edinburgh and London (Wigmore Hall).

RCS CONDUCTOR

JOEL SANDELSON

––––– Joel Sandelson is currently Leverhulme Fellow at the Royal Conservatoire of Scotland and assistant to Thomas Dausgaard at the BBC Scottish Symphony Orchestra, as well as holding the post of Director of the London-based period instrument orchestra Wond’rous Machine. He graduated with a double starred first in music from Cambridge University in 2016, where he was Conducting Scholar, and then studied conducting at the Royal Academy of Music with Sian Edwards, gaining the DipRAM prize.

In various settings he has conducted orchestras including the Danish National Symphony Orchestra, BBC National Orchestra of Wales, Cincinnati Symphony, Jacksonville Symphony, Stavanger Symphony, Sofia Philharmonic, Royal Scottish National Orchestra, Scottish Opera and Orchestra of St John’s. He has studied at Tanglewood as well as with Martyn Brabbins, Sir Roger Norrington, Thomas Søndergård, Jorma Panula and Joseph Swensen, and has assisted Thomas Dausgaard, Sir Mark Elder, Jac van Steen, Edward Gardner and Trevor Pinnock. He reached the final 12 of the Malko Competition in 2018 and won the Cambridge University Conducting Competition in 2014 and 2015.

Originally a cellist, early highlights included his solo Wigmore Hall debut at age 15, reaching the strings final of BBC Young Musician, and performances with some of the UK’s leading early music ensembles as a baroque cellist.

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.

––––––us for a morning of talks and Join performances by a Scottish Chamber Full details, including ticket prices and how to Orchestra string quartet as we explore book, can be found on our website: Beethoven’s life as a deaf musician and sco.org.uk composer.

Or you can email: joanna.burns@sco.org.uk There or call Joanna is a loopon system 0131 478 in the 8342 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

LEGACIES

Or you can email: joanna.burns@sco.org.uk or call Joanna on 0131 478 8342

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

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

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PLATINUM

Gordon Kirk

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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

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Mary Law

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Graham & Elma Leisk

Joseph I Anderson

Geoff Lewis

Pamela Andrews & Alan Norton

Alan Macfarlane

Dr Peter Armit

Nancy Macneil of Barra

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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

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Robert Burns

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Lord & Lady Cullen of Whitekirk

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Dr Wilma Dickson

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Dr & Mrs Alan Falconer

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Professor Frank Whaling & Mrs Margaret Walsh-Whaling

Andrew Hadden

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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 released their first album together (Linn Records) last month. The repertoire – Schubert’s Symphony No 9 in C major ‘The Great’ – is the first symphony Emelyanychev performed with the Orchestra in March 2018.

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

Design & Publications Magnus Fraser

Projects and Administrative Assistant Elsa Morin

Creative Learning Director Kirsteen Davidson Kelly

Concerts Director Judith Colman

Education Officer Atzi Muramatsu

Concerts & Projects Manager Louisa Stanway

Community Engagement Officer Joanna Burns

Orchestra Manager Laura Kernohan

SCO and University of St Andrews Graduate Trainee Fiona Croal

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

Head of Development Lucinda Coulthard Partnerships Manager David Nelson Development Officer Laura Hickey Finance & Administration Director Ian White Finance Officers Mary Gibson Heather Baird

YOUR SAY MAXIM PERFORMS MOZART’S ‘JUPITER’ Excellent @SCOmusic Jupiter symphony tonight. Orchestra played out of their skins spurred on by Maxim turning the pages of his score with feral intensity. Added to the mother of Mozart’s (many)earworms, what was there not to like.

PICK OF THE WEEK At SCO String Academy first desk first violins Ryan and Lachlan get ready to rehearse ‘’Daydreams in Number’ by Icelandic composer, Hafliði Hallgrimsson.

Philip Whitley @PhilipWhitley13 Fantastic first concert from Maxim Emelyanychev and @SCOmusic! Loved the whole programme but particularly special for me was the duet Carol Widmann did with Maxim on the piano as an encore. What a wonderful evening!

Ruth Knight @ClassicalRuth No baton. No podium. No stage (not much anyway). Just love. Emelyanchev and orchestra. Fabulous. Can’t wait for rest of this series!

Derek Zuckert @derekz1

LAUNCH OF OUR SCHUBERT RECORDING Lovely to hear @SCOmusic’s new Schubert 9 get such a good review on @BBCRadio3 just now. I love the way it trips along without any of the ponderous self-importance that is common to most interpretations.

Anthony Mudge @awmudge

#SCO

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