Anderszewski Plays Haydn and Schumann

24 – 25 OCTOBER 2019

ANDERSZEWSKI PLAYS HAYDN AND SCHUMANN –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

Proudly sponsored by

SEASON 2019/20

A WARM WELCOME ––––– Welcome to a double celebration!

This week we toast Edinburgh’s Queen’s Hall in its 40th year and our guest soloist Pianist Piotr Anderszewski marks his 50th birthday with a pair of magnificent piano concertos.

The SCO was ‘born’ at 3pm on Sunday 27th January 1974 in Glasgow’s City Halls. However, finding a suitable rehearsal and performance venue in Edinburgh would take a further three years, before the chance came to transform the Georgian Church of Newington St Leonards into the SCO’s Edinburgh ‘home’. The Queen’s Hall, as it became known, opened its doors with an inaugural concert given by the SCO in the presence of Her Majesty, on 6th July 1979 and this week’s performances are almost 40 years to the day from the opening concert of the SCO’s first Queen’s Hall concert Season.

My family and I moved to Edinburgh in 1983, so this is ‘only’ our 37th SCO season. Highlights from all these years? Too many to mention individually but, if pressed, Mozart, Beethoven and Janáček with Sir Charles Mackerras, Berlioz and Mahler with Robin Ticciati, virtually everything with Olly Knussen, and new Principal Conductor Maxim Emelyanychev’s Schubert ‘Great’ C major Symphony.

Over forty years on, what continues to make an SCO performance so special? For me, it’s a unique feeling of audience immersion and intimacy with the music-making, that wonderful sensation of jointly experiencing something of exceptional quality, performed with enthusiasm and love. Tonight, with Haydn, Mozart and Schumann in the company of Alexander Janiczek (the SCO’s former leader and Associate Artist), and Piotr Anderszewski, a pianist of rare sensitivity who celebrated his own ‘special’ (50th) birthday on 4th April this year, should be no exception.

My next SCO highlight? Bohemian Rhapsodies featuring Janáček’s The Fiddler’s Child with Stephanie Gonley and Joseph Swensen next week. Not long to wait!

Chris Kelnar SCO Patron, subscriber and volunteer

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SEASON 2019/20

ANDERSZEWSKI PLAYS HAYDN AND SCHUMANN Proudly sponsored by

––––– MOZART Symphony No 36 ‘Linz’, K425 HAYDN Keyboard Concerto in D, Hob XVIII interval of 20 minutes

SCHUMANN Piano Concerto in A minor ––––– PIOTR ANDERSZEWSKI – Director / Piano ALEXANDER JANICZEK – Director / Violin ––––– Thursday 24 October 2019, 7.30pm Edinburgh Queen's Hall Friday 25 October 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.

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OUR MUSICIANS

YOUR ORCHESTRA FIRST VIOLIN Alexander Janiczek Ruth Crouch Tijmen Huisingh Siún Milne Fiona Alexander Amira BedrushMcDonald Liza Johnson Carole Howat SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Laura Comini Rachel Spencer Niamh Lyons Rachel Smith VIOLA Fiona Winning Felix Tanner Brian Schiele Steve King CELLO Philip Higham Su-a Lee Donald Gillan Eric de Wit

FLUTE Silvija Scerbaviciute June Scott

PLAYER FEATURE:

OBOE Robin Williams Mary James

Three words to describe the the SCO:

CLARINET Jean Johnson William Stafford BASSOON Gretha Tuls Alison Green HORN Jacob Dean Harry Johnstone TRUMPET Peter Franks Simon Bird TIMPANI Tom Hunter

BASS David Stark Adrian Bornet

Su-a Lee Sub Principal Cello –––––

Vibrant. Intimate. Fun. What do you enjoy most about performing in an orchestra?

The sense that you're never alone. Even in the scariest solo you are supported by colleagues.

I love the fellowship and fun.

What can you expect from a SCO concert?

Every night is different, even with repeat performances. The dynamic between everyone on stage is always at play.

Whatever the weather, we are constantly striving for excellence and the common goal of making music, which comes with a sense of fun and sometimes lightning electricity!

What are you most looking forward to this Season?

My top two programmes both happen to be headed by the inspirational Pekka Kuusisto, closely followed by a Baroque Dance programme with our fresh new Principal Conductor Maxim Emelyanychev.

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 –––––

MOZART (1756-1791) Symphony No 36 'Linz', K425 (1783) Adagio – Allegro spiritoso Andante Menuetto Finale: Presto

HAYDN (1732-1809) Piano Concerto in D major, Hob XVIII: 11 (1780-3) Vivace Un poco adagio Rondo all'Ungarese

SCHUMANN (1810-1856) Piano Concerto in A minor (1845) Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace

––––– Symphony No 36 'Linz', K425 (1783) Mozart married the soprano Constanza Weber in 1782 despite his father Leopold’s agitated objections. By this time Mozart was living in Vienna having been dismissed acrimoniously from the musical activities of the Salzburg Court. It took over a year before Wolfgang and Constanza made a reconciliatory trip to Salzburg in 1783. After three months of rather terse relations they were on their way back to Vienna via Linz.

Things began to brighten when they arrived at the gates of Linz. Count Thun (a friend of the Mozart family) had his servant waylay them and insist that they come to stay at his palace – which they did for three weeks. But there was a catch! Count Thun was hoping to hear a symphony by Mozart performed by his own excellent court orchestra. There was just one problem – Mozart did not have a symphony in his baggage. Mozart had arrived on 31st October. The symphonic performance was scheduled for 4th November. Mozart took a deep breath and then, at breakneck speed, created a brand new symphony (which we now call the 'Linz').

Count Thun’s orchestra was first rate but it lacked flutes and clarinets – so Mozart went with what was available – which included oboes, bassoons, horns, trumpets, timpani and strings.

But his symphony wasn’t a repeat of his just completed 'Haffner' symphony from the previous year – this one was completely new.

For starters it begins with a slow introduction – a favourite device of his older friend Haydn (but new for Mozart) in terms of how to introduce a symphony. Its declaratory opening bars demand our attention. Mozart then finds a more inward mood that creates suspense before we reach the festive first

movement proper (Allegro spiritoso). In sonata form, there is lots of work for the strings, which, with the help of trumpets and drums, takes on a martial air. The short development shows Mozart being even more original. Rather than elaborate on the basic thematic material of the exposition, Mozart instead elects to play with the passagework of the less obvious linking passages. The recapitulation is a straight-forward repeat of the exposition – there was no time for extra ideas or lengthy codas. He had the urgent look of the copyist’s eyes in front of his desk to remind him that this was not the moment for yet another astonishing idea!

The Andante is a gentle Siciliano in 6/8. It sways elegantly yet is, unusually for a slow movement, reinforced by trumpets and drums and has a tendency to favour the minor keys.

Then follows a courtly Minuet. It has a gracious Trio which is demurely rustic as the oboes and bassoon share the honours.

Joseph Haydn

The exuberant Presto finale is again in sonata form. It is fecund with thematic motifs. The development exploits the chatter between the strings and winds and is full of surprises. Again the recapitulation is strictly according to the book – those copyist’s eyes were still desperately hovering!

And it was all completed and ready to go within four days. That is a breathtaking display of genius!

Piano Concerto in D major, Hob. XVIII: 11 (1780-3) Concertos were not a large feature of Haydn’s creative output. We know him better for his symphonies and string quartets. And there was a reason for that.

Haydn was an adequate performer on the violin and keyboard but was no virtuoso. So, unlike Mozart and Beethoven, who wrote concertos to display their own virtuosic

Wolfgang Amadeus Mozart

talents, Haydn only wrote concertos

when there was a virtuoso requesting an outpouring of his imagination for their instrument. A few have survived – for instance, there are two outstanding cello concertos and a trumpet concerto – and this piano concerto. We have little idea of why he wrote the D major Piano Concerto. We don’t know who gave it its first performance or even, precisely, when he wrote it. Stylistically it belongs to the early 1780s (when Haydn still reigned as Kapellmeister at Esterházy).

It was published in 1784 as a concerto for fortepiano or harpsichord.

Whichever instrument is used, the music leaps out like a colt with intent! The opening movement (Vivace) is in a simplified sonata form (relying on just one main theme rather than two). It sparkles with such vivacity that a smile on your face is guaranteed!

Haydn loved to surprise – so there is an extended development section that keeps us on the edge of our seats wondering if we have finally arrived at the concluding recapitulation. And there is room for a cadenza – time for the soloist to show off.

The middle movement is an Adagio. It is a reflective aria. The orchestra has a short introduction before the soloist enters to sing expressively. There is also space for another cadenza. The Rondo finale is a complete contrast. The recurring refrain fizzes straight out of the starting gate. The alternating episodes are contrasting but equally lively.

The movement concludes with a short coda.

This D major Piano Concerto appears to have been Haydn’s last keyboard concerto: it is definitely a winner!

Robert Schumann

no flashy arabesques, broken strings or moist brows with this one. Robert Schumann abhorred the emptiness of such ‘show-pieces’ which were all the rage in the mid-nineteenth century. Rather, Schumann composed a musician’s concerto (for his wife Clara), in which the solo part is integral to the musical thought, not merely a spectacular frill vaguely attached to a humdrum orchestral part. His intent becomes particularly apparent in the many chamber music-like passages of dialogue between the piano and the solo woodwinds.

This concerto is not for the smash-

With this concerto, Schumann managed to fulfil his own perceptive comment, published in his famous music journal, Neue Zeitschrift für Musik, in 1839: “And so we must await the genius who will show us [in] a newer and more brilliant

and-grab school of pianists: there are

way, how orchestra and piano may be

Piano Concerto in A minor (1845)

combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the

history may come as something of a surprise, but Schumann ensured a sense of unity throughout the work by

orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.”

recalling the first movement’s theme in the transition between the second and third movements, and by the obvious relationship of the finale’s main theme to that of the opening Allegro.

Yet what appeared in 1841 was a one – movement Phantasie in A minor for piano and orchestra. It was not until 1845 that Schumann composed an Intermezzo and Finale to create the concerto as we know it (bar a few, not insignificant, changes in the orchestra parts and a different ending to the first movement cadenza).

Given the current familiarity with this most popular concerto, its disjointed

The concerto was given its premiere in December 1845 by Clara Schumann, with whom it became closely associated, and through whom it found a popularity with audiences that it has retained ever since. © David Gardner

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

DIRECTOR / PIANO

PIOTR ANDERSZEWSKI

––––– Piotr Anderszewski is regarded as one of the outstanding musicians of his generation.

This season he will appear with (among others) the Chicago Symphony, the Deutsches Symphonie-Orchester Berlin, Warsaw Philharmonic and Orchestre de Paris. His play/ direct collaborations will include concerts with his regular partners the Scottish Chamber Orchestra and a European tour with the Kammerorchester Basel. In recital he can be heard at the Elbphilharmonie in Hamburg, the Philharmonie in Cologne, the Alte Oper Frankfurt, and the Tchaikovsky Concert Hall in Moscow.

Anderszewski has been an exclusive artist with Warner Classics/Erato (previously Virgin Classics) since 2000. His first recording for the label was Beethoven's Diabelli Variations, which went on to receive a number of prizes. He has also recorded Grammy-nominated discs of Bach's Partitas 1, 3 and 6 and Szymanowski's solo piano works, the latter also receiving a Gramophone award in 2006. His recording devoted to works by Robert Schumann received the BBC Music Magazine's Recording of the Year award in 2012.

Anderszewski's disc of Bach's English Suites nos. 1, 3 and 5, released in November 2014, went on to win both a Gramophone award and an ECHO Klassik award in 2015. His most recent recording of two late Mozart concertos with the Chamber Orchestra of Europe was released in January 2018.

Recognised for the intensity and originality of his interpretations, Piotr Anderszewski has been a recipient of the Gilmore award, the Szymanowski Prize and a Royal Philharmonic Society award.

He has also been the subject of several documentaries by the film maker Bruno Monsaingeon. Piotr Anderszewski plays Diabelli Variations (2001) explores Anderszewski's particular relationship with Beethoven's iconic work. Unquiet Traveller (2008) is an unusual artist portrait, capturing Anderszewski's reflections on music, performance and his PolishHungarian roots.

In 2016 Anderszewski got behind the camera himself to explore his relationship with his native Warsaw, creating a film entitled Je m'appelle Varsovie.

DIRECTOR / VIOLIN

ALEXANDER JANICZEK

––––– Alexander Janiczek's early musical life began in Salzburg, born into a musical family of Polish and Czech descent. Studying with Helmuth Zehetmair, Max Rostal, Nathan Milstein, Ruggiero Ricci and Dorothy DeLay, the young Janiczek won the National Competition of Austria at the age of nine.

International attention first came to be focused on Janiczek as a result of his work with his legendary teacher, Sándor Végh. A profound and formative mentor to the young artist, Végh appointed Janiczek as concertmaster of his Camerata Salzburg. Since then, Janiczek has gone on to appear as a guest director with all of the notable chamber orchestras in Europe.

In 2011, the Scottish Chamber Orchestra appointed Alexander as Associate Artist, cementing an already extensive creative partnership. Previously concertmaster of the SCO, Janiczek continues to direct them on a regular basis, both in Scotland and abroad. As a recording artist, his catalogue with the SCO is distinguished, directing them in a highly respected series of Mozart Serenades for Linn Records and for a disc of Weber concerti.

Among his extensive discography are many other notable recordings, including the Beethoven Symphonies recorded live with La Chambre Philharmonique and Emmanuel Krivine, Sir Simon Rattle's disc of Mahler 8 with the City of Birmingham Symphony, and projects with Sir Colin Davis and the London Symphony as part of the Berlioz centenary.

Completing his encyclopaedic knowledge of the violin repertoire, Janiczek plays extensively as a chamber musician. Highlights include being invited by Mitsuko Uchida and Richard Goode to the Marlboro Music Festival, Janiczek has also appeared in chamber partnerships with artists such as Thomas Adés, Yuri Bashmet, Miklós Perényi, Heinz Holliger and András Schiff.

As the complete modern artist, Janiczek is notably committed to exploring 19th century performance practice, an interest that was established during the years working with Sir Roger Norrington at Camerata Salzburg. In this field he works with fellow musicians and scholars such as Robert Levin and Philippe Herreweghe.

Alexander plays the ex-‘Sorkin’ Giuseppe Guarneri, del Gesù, Cremona 1731, which is on loan to him from the National Bank of Austria.

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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

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Jo Elliot Rachael Erskine

Chorus Director Gregory Batsleer

Cllr Rosemary Liewald Fife Council

Associate Composer Anna Clyne

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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

INTRODUCING ANNA CLYNE

YOUR SAY SCO PERFORM MOZART REQUIEM Well, that was simply outstanding. The power, the passion...the attention to the smallest detail.

Thank you @SCOmusic for a lovely evening – good for the soul. #MusicHall looking not too bad either ;).

Planning Claire @PlanningClaire

Associate Composer, Anne Clyne, shares some of the inspirations behind her distinctive sound in the lead up to the November premiere of her latest commission, Sound and Fury.

Full interview available on 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

Mozart’s Requiem tonight in Edinburgh @theusherhall, tomorrow in Glasgow and on Saturday in Aberdeen. Can’t wait to perform one of the greatest works of the repertoire with brilliant @SCOmusic, great chorus and a wonderful cast.

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Can confirm listening to the @SCOmusic perform Mozart's Requiem at @theusherhall is an excellent way to spend £6. (Seriously, if you're under 26 and not making the most of those discounted tickets, I don't understand you).

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