CHAMBER SUNDAY WITH KRISTIAN BEZUIDENHOUT

23 FEBRUARY 2020

CHAMBER SUNDAY WITH KRISTIAN BEZUIDENHOUT –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

SEASON 2019/20

CHAMBER SUNDAY WITH KRISTIAN BEZUIDENHOUT ––––– MOZART Piano Sonata No 10 in C, K330 BEETHOVEN Trio in C minor, Op 1 No 3 interval of 20 minutes

MOZART Piano Concerto in A, K414 ––––– KRISTIAN BEZUIDENHOUT – Fortepiano

#SCO

BENJAMIN MARQUISE GILMORE – Violin MARCUS BARCHAM STEVENS – Violin CATHERINE BULLOCK – Viola SU-A LEE – Cello NIKITA NAUMOV – Double Bass –––––

This performance will be recorded by BBC Radio 3 and broadcast on 16 March 2020 on ‘Radio 3 In Concert’

Sunday 23 February 2020, 3pm Edinburgh Queen's Hall –––––

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.

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.

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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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 -----

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CHAIR SPONSORS ----CONDUCTOR EMERITUS

Joseph Swensen Donald and Louise MacDonald

CHORUS DIRECTOR Gregory Batsleer Anne McFarlane

VIOLA

Steve King Sir Ewan and Lady Brown

PRINCIPAL CELLO Philip Higham The Thomas Family

SUB-PRINCIPAL CELLO Su-a Lee Bryan Wade

CELLO

Eric de Wit Jasmine Macquaker Charitable Fund

SUB-PRINCIPAL DOUBLE BASS Adrian Bornet Jo and Alison Elliot

SUB-PRINCIPAL FLUTE Claire and Mark Urquhart

PRINCIPAL OBOE Robin Williams Hedley G Wright

PRINCIPAL CLARINET Maximiliano Martín Stuart and Alison Paul

PRINCIPAL TIMPANI Louise Goodwin Geoff and Mary Ball

TODAY'S REPERTOIRE

WHAT YOU ARE ABOUT TO HEAR –––––

MOZART (1756-1791) Piano Sonata No 10 in C, K330 (1783) Allegro moderato Andante cantabile Allegretto

BEETHOVEN (1770–1827) Trio in C minor, Op 1 No 3 (1795) Allegro con brio Andante cantabile con 5 variazioni Minuet: Quasi Allegro – Trio Finale: Prestissimo

MOZART (1756-1791) Piano Concerto in A, K414 (String Quintet version) (1782) Allegro Andante Allegretto

––––– Vienna is the city that brings together all three of this afternoon’s works – imperial capital, musical capital, and adopted home of the concert’s two composers, who moved from the cities of their births to forge their musical careers among Vienna’s rich and influential music lovers.

Salzburg-born Mozart couldn’t wait to head towards the bright lights and glamour of Vienna, and to be free of the overbearing demands of his father Leopold and of the stultifying strictures of his former employer, Prince-Archbishop Heironymus von Colloredo. Mozart disembarked in Vienna on 16 March 1781 and soon set about getting to know the local nobility, performing in their houses and teaching them piano. He succeeded remarkably well, writing home to his father: "My speciality is too popular here for me not to be able to support myself. This is without doubt the land of the piano."

This afternoon’s first piece – Mozart’s Keyboard Sonata in C, K330, from 1783 – is almost certainly one of the works he wrote for his mainly aristocratic piano pupils, along with the two other sonatas it joins in an informal trio, K331 in A and K332 in F. Those intended players may well explain the first movement’s rather flashy keyboard figurations that (with the greatest respect to today’s eminent performer) are somewhat easier to pull off than they sound. No harm in flattering well-heeled clients by allowing them to show off their new-found keyboard mastery, after all. The Sonata continues with a thoughtful slow movement, complete with a dusky, mysterious central episode, and a perky, concerto-like finale that makes great play of contrasts between ‘solo’ and ‘tutti’ writing.

Ludwig van Beethoven

Wolfgang Amadeus Mozart

You might not expect to encounter a piano concerto in a concert of chamber music, but Mozart intentionally composed his A major Concerto, K414, so that it could be played by just keyboard and string quartet.

Indeed, you could even argue that the wind parts in his full-orchestra version are slightly redundant. Composed in 1782, it’s

past today’s advertising standards: strictly speaking, Mozart was never Kapellmeister of anywhere.)

another work from his early years in Vienna, and another from an informal set of three, alongside the F major Concerto, K413, and the C major, K415 (and, indeed, one of a remarkable seventeen that he wrote while living in the city). Mozart intended to sell this trio of concertos to the Viennese public by subscription for home performance – hence the string quartet performing option – and even took out an ad in the Wiener Zeitung on 15 January 1783 announcing: ‘Herr Kapellmeister Mozart herewith apprises the highly honoured public of the publication of three new, recently finished pianoforte concertos. These three concertos may be performed either with a large orchestra with wind instruments or merely a quattro, that is with two violins, one viola and violoncello’.

"a happy medium between too heavy and too light. They are very brilliant, pleasing to the ear, and natural, without being insipid.

There are parts here and there from which connoisseurs alone can derive satisfaction, but these passages are written in such a way that the less learned cannot fail to be pleased, albeit without knowing why."

Despite requesting that anybody interested in the new works should bring four ducats to Mozart’s house, however, almost nobody did, though Viennese publishing house Artaria eventually published them instead.

(That Kapellmeister mention wouldn’t get

scampering finale. Most memorable,

Indeed, Mozart was eager to please as broad an audience as he could with the works. He wrote to his father in December 1782, describing the new trio of pieces as

It’s hard not to be immediately enamoured of this charming, intimate Concerto, from the remarkable profusion of themes in its opening movement to its graceful but

saw his Op 1 as an opportunity to make his mark, set out his stall, and impress the capital’s musical elite.

Karl Alois, Prince Lichnowsky

however, is the Concerto’s solemn central Andante, which quotes a theme from the overture to the opera La calamita de’ cuori

by JC Bach (JS’s youngest son, and teacher of the eight-year-old Mozart on an earlier trip to London), who had died on 1 January 1782. Mozart thereby offers an unofficial musical memorial to a composer and mentor he clearly loved and admired.

Born in Bonn, Beethoven moved for good to Vienna in 1792 (following an aborted visit five years earlier to study with Mozart, cut abruptly short by the death of his mother). And, like Mozart, he quickly set about establishing himself among the imperial capital’s well-to-do and influential figures. Chief among them was Prince Karl Lichnowsky, who quickly took a shine to the ambitious young composer and put him up in his immense Viennese palace. And it was there that all three of Beethoven’s Op 1 Piano Trios received their premieres in (probably) 1793. But here, the story diverges markedly from that of Mozart. Rather than creating works to entertain and delight the Viennese, the younger Beethoven evidently

And he seemed intent, too, on exploding any preconceptions of what a piano trio could be. Rather than what had been a rather intimate, domestic genre in the hands of Mozart and Haydn, Beethoven made his Op 1 trios into four- rather than threemovement works, using weighty musical structures and urgent musical arguments – virtually creating symphonies for just three instruments – and playing up the roles of the violin and cello to give them equal status with the piano. Those developments are nowhere more evident than in this afternoon’s Trio Op 1 No 3. Joseph Haydn himself was present at the three trios’ premiere and, though full of praise for Nos 1 and 2, he (at least according to Beethoven’s pupil Ferdinand Ries) hesitated over No 3, praising its ambition, but warning the composer not to publish it, lest it should not be understood by the Viennese public.

Beethoven put the remark down to jealousy or ill will, and went ahead with publication anyway.

Op 1 No 3 is also – significantly – the first work to be written in what would become Beethoven’s most characteristic key: C minor, the tonality of later works including the Fifth Symphony, Pathétique Sonata, Third Piano Concerto and many others. And in its urgent, restless opening movement, its spiky minuet (which feels more like a protoscherzo) and its surging finale (marked, in a sure sign of the composer stressing the extremes of his thinking, prestissimo), it’s hard not to see many characteristics of the composer’s later, heroic middle period in this work of a pioneering, ambitious 23-year-old. © David Kettle

FORTEPIANO

KRISTIAN BEZUIDENHOUT

––––– Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London.

Kristian is a regular guest with the world’s leading ensembles including the Freiburger Barockorchester, Les Arts Florissants, Orchestre des Champs Elysées, Chicago Symphony Orchestra and the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) The English Concert, Orchestra of the Eighteenth Century, Collegium Vocale and Dunedin Consort.

He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Isabelle Faust, Alina Ibragimova, Rachel Podger, Carolyn Sampson, Anne Sofie von Otter and Mark Padmore.

In the 2019-20 season, Kristian play-directs programmes with the Handel & Haydn Society, Scottish Chamber Orchestra and Kammerorchester Basel as well as Freiburger Barockorchester and The English Concert. He features as a Portrait Artist for the 19-20 season at BOZAR and is Artist in Residence at Köln Philharmonie. He has recitals and chamber music performances with Anne Sofie von Otter, Mark Padmore, Benjamin Appl, Carolyn Sampson in concert halls and festivals in Seattle, New York, Amsterdam, Paris, Frankfurt, Madrid and Salzburg.

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.

Benjamin Marquise Gilmore was appointed Leader of the Scottish Chamber Orchestra in 2016 and has appeared frequently with the Orechtra as soloist and director. He took up the shared role of Concert-Master of the Philharmonia at the start of this Season.

VIOLIN 2

MARCUS BARCHAM STEVENS ––––– Marcus joined the SCO in 2016 and also holds the position of Co-Leader with the Britten Sinfonia. He was in the Fitzwilliam String Quartet for 7 years.

He has guest led the City of Birmingham Symphony Orchestra, Orchestra of the Age of Enlightenment, Aurora Orchestra and Royal Liverpool Philharmonic Orchestra, and played as Principal 2nd violin for Sir John Eliot Gardiner's Orchestre Révolutionnaire et Romantique.

He has broadcast as a soloist on BBC Radio 3. Other groups with which Marcus has played include the Nash Ensemble, Arcangelo, King's Consort, Ensemble Modern, Birmingham Contemporary Music Group and the English Chamber Orchestra.

VIOLA

CATHERINE BULLOCK ––––– Catherine is a British viola player based in Norway, where she is the principal viola of the Oslo Philharmonic. She was previously the principal viola of the Philharmonia Orchestra, Norwegian Chamber Orchestra and Camerata Nordica.

Catherine has performed as a soloist with the Oslo Philharmonic, the Norwegian Chamber Orchestra and Kristiansand Symphony Orchestra with André Previn, Marin Alsop, Terje Tønnesen and Herbert Blomstedt. She was a soloist in the 2013 BBC Proms at Cadogan Hall playing Britten's Lachrymae, and has recorded Lachrymae and Britten's Two Portraits with Camerata Nordica.

Catherine has recorded a number of contemporary works for Simax, and most recently recorded Richard Strauss' Don Quixote with Louisa Tuck, Vasiliy Petrenko and the Oslo Philharmonic. She plays on a Guadagnini viola, very kindly loaned by the Dextra Foundation.

CELLO

SU-A LEE

––––– Korean born cellist Su-a Lee is one of the highlights of the Scottish music scene. She stands out for her versatility, popularity, and appetite for musical adventure.

With the SCO, Su-a performs regular classical music concerts throughout the year and throughout Scotland, as well as making international tours. As an SCO member for 24 years, Su-a has recorded many award winning classical music discs with among others, Sir Charles Mackerras, Alfred Brendel, Robin Ticciati, Joseph Swensen, and Alexander Janiczek. She has appeared in recital with her sister, Songa Lee, at Carnegie Hall in New York, as well as in chamber music concerts across Scotland with her SCO colleagues.

DOUBLE BASS

NIKITA NAUMOV ––––– Nikita is has held the position of Principal Double Bass with the Scottish Chamber Orchestra since 2010. He has played as a guest principal with many of the finest orchestras including London Symphony Orchestra, BBC Symphony Orchestra, Royal Northern Sinfonia, Royal Scottish National Orchestra, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, BBC National Orchestra of Wales, Netherlands Philharmonic Orchestra, Amsterdam Sinfonietta and the Stavanger Symphony Orchestra. He is a member of the London Conchord Ensemble, one of Europe's leading chamber groups.

Next month he will give the UK premiere of Péter Eötvös' Double Bass Concerto 'Aurora' with the SCO conducted by Thomas Zehetmair.

LEGACIES

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

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

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

Mattie Hutchinson, Glasgow

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

Steven McLean, Glasgow

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

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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

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––––– –––––

Principal Guest Conductor Emmanuel Krivine

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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

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YOUR SAY

PICK OF THE WEEK SUMMER TOUR 2020

STAN AND MABEL FAMILY FESTIVAL P1-3G – getting ready for @SCOmusic Stan and Mabel, not only practising the songs but sorting foods and creating a Venn diagram, then making a savoury Mabel and a sweet Stan snack. Will be ready for the show on Friday! @HorsecrossPerth @realchrisjarvis

Goodlyburn Primary, @GoodlyburnPS Primary 1 to 4 really enjoyed the story of Stan and Mabel accompanied by the @SCOMusic.

Thank you to all the musicians, @realchrisjarvis and @HorsecrossPerth.

Muthill Primary @muthillPS

We’re delighted to be visiting 25 different Scottish towns and cities this summer with some fabulous musicians.

All dates on sale now at SCO.ORG.UK

SHARE YOUR CONCERT EXPERIENCE –––––– Sign up for our email newsletter For all our latest news, films, photos, blogs and special offers, visit SCO.ORG.UK/LATEST Email us Sophie Sim, Marketing Officer sophie.sim@sco.org.uk

@SCOmusic fantastic performance today @perthconcerthal, we loved it  and a joy to bump into you @realchrisjarvis before the concert, I have one star struck 8-year-old  #stanandmabel @jasonchapmanart @PaulRissman

@lucy_drever, Lucy Drever

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KAREN CARGILL SINGS ALMA AND GUSTAV MAHLER Fabulous @SCOmusic concert tonight under @KenshoWatanabe with divine mezzo Karen Cargill @theusherhall #AlmaMahler #Mahler4

Sally @sallyswann_

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