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5 – 6 DECEMBER 2019



Our Edinburgh concert is kindly supported by

Anne McFarlane

SEASON 2019/20

A WARM WELCOME ––––– It is my great pleasure to welcome you all to this evening’s celebratory performance with the SCO and SCO Chorus. This evening’s programme is one of exploration and adventure in which we present two contrasting settings of the Mass text. Our hope is to dig deeper into these well-known words which are performed so regularly, and to show how this spiritual text can evoke an array of meanings and responses, even within the secular context of a concert hall. Stravinsky stated that he wanted to write a Mass that didn’t contain any of the flamboyance commonly associated with Mass settings by other well-known composers. He wrote in a letter that he wanted his setting to be “cold, absolutely cold in order for it to appeal directly to the spirit”. Throughout this work Stravinsky uses daring and ambiguous harmony that seldom resolves, leaving the listener with a sense of unease but also portraying a sense of spiritual seduction and fascination. Stravinsky made it clear that his Mass was not to be performed in concert but should be left for use in the church. By starting this evening’s concert without applause, our hope is to capture a more reflective and undisturbed atmosphere which the usual concert-beginning ceremony can sometimes contradict. In complete contrast to the Stravinsky, Haydn’s setting of the Mass text is unashamedly vivacious and radiates joy. It was the last work Haydn completed before his death and he doesn’t hold back in his exuberance of musical colour. As well as these two works, Stephanie Gonley and the SCO Strings perform one of the most playful and uplifting works by Bach. The A Minor concerto provides the programme with an ideal palate cleanser between these contrasting settings of the Mass. This evening I am celebrating 10 years with the SCO. We are all immensely proud of what we have achieved together in this time and are brimming more than ever with excitement about how we can continue to grow and develop into the future. I am grateful to all members of the SCO, SCO Chorus and management for their unwavering support, openness to ideas, friendship and, most importantly, their fearless music making. It is a great privilege to be part of this amazing musical family. As always, I am incredibly grateful to Anne McFarlane for her support and friendship, and I hope you all enjoy tonight's concert experience. Gregory Batsleer | SCO Chorus Director


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.










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.



Colin and Sue Buchan Claire and Anthony Tait Anne and Matthew Richards

Erik Lars Hansen and Vanessa Chang Kenneth and Martha Barker



Colin and Sue Buchan Donald and Louise MacDonald

Claire and Mark Urquhart Paul and Clare Rooney



Gavin and Kate Gemmell David and Maria Cumming

The Usher Family


James and Patricia Cook


Joseph Swensen Donald and Louise MacDonald

CHORUS DIRECTOR Gregory Batsleer Anne McFarlane


Steve King Sir Ewan and Lady Brown

PRINCIPAL CELLO Philip Higham The Thomas Family



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


Louise Goodwin Geoff and Mary Ball

SEASON 2019/20

HAYDN'S HARMONY MASS WITH SCO CHORUS Our Edinburgh concert is kindly supported by Anne McFarlane


––––– STRAVINSKY Mass BACH Violin Concerto in A minor interval of 20 minutes

HAYDN Harmoniemesse ––––– GREGORY BATSLEER – Conductor STEPHANIE GONLEY – Violin / Director MARY BEVAN – Soprano



Thursday 5 December 2019, 7.30pm Edinburgh Queen's Hall


Friday 6 December 2019, 7.30pm Glasgow City Halls



4 Royal Terrace, Edinburgh EH7 5AB +44 (0)131 557 6800 • The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039. Company registration No. SC075079.


YOUR ORCHESTRA FIRST VIOLIN Stephanie Gonley Ruth Crouch Julian Azkoul Kana Kawashima Siún Milne Fiona Alexander Amira BedrushMcDonald Amy Cardigan SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Laura Comini Rachel Spencer Niamh Lyons Rachel Smith VIOLA Felix Tanner Asher Zaccardelli Brian Schiele Steve King CELLO Philip Higham Su-a Lee Donald Gillan Eric de Wit BASS Nikita Naumov Adrian Bornet

FLUTE Stewart McIlwham OBOE Robin Williams Kirstie Logan COR ANGLAIS Peter Facer CLARINET William Stafford Duncan Gould BASSOON Alison Green Anthea Wood HORN Steve Stirling Harry Johnstone TRUMPET Peter Franks Shaun Harrold TROMBONE Duncan Wilson Cillian Ó Ceallacháin Rob Collinson TIMPANI Tom Hunter HARPSICHORD/ ORGAN Michael Bawtree


Rachel Smith Second Violin | Joined August 2014 ––––– SCO Highlight? I will always remember my first stint in the SCO – it began with a week of Mozart recordings with Sir Charles Mackerras, then a tour to the Outer Hebrides (which happened to be enjoying a proper summer – those beaches looked like we were in the Caribbean, my 10 second dip in the ocean reminded me that we weren’t...) and then finally a Prom with Yannick Nézet-Séguin. What a dream. And to top it all off, I met my husband, Eric (SCO cellist). Musical background? I’ve had many musical figures and varied influences in my life which make for a melting pot of experiences. For many years I played first violin in a symphony orchestra, but I feel like I’ve finally ‘come home’ to play 2nd violin in the SCO. The brain has to work in such a particular way, and I feel the inner voices contribute a lot to the unique sound of a group. We sort of lay the carpet for the upper and lower voices to do their thing. I’ve always played a lot of chamber music, and am lucky enough to direct a chamber music festival in Australia (now in its 13th year). I love to teach as well, and having gone through thick and thin with violin playing, I believe it’s important to share these experiences with the next generation of string players.


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.



STRAVINSKY (1882-1971) Mass for mixed chorus and double wind quintet (1944-48) Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

BACH (1685-1750) Violin Concerto in A minor, BWV 1041(1717-23) Allegro Andante Allegro assai

HAYDN (1732-1809) Mass in B-flat Hob XXII:14 'Harmoniemesse' (1802) Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

––––– The Ordinary of the Mass (the unchanging sections of text) has inspired countless composers over the centuries. The earliest complete setting is by Machaut who wrote his Messe de Nostre Dame in the 1360s. Thereafter, numerous settings were made by – to name but a few – Dufay, Josquin, Palestrina (who left over 100 complete masses), Byrd, Bach, Mozart, Haydn, Beethoven and Schubert. Settings continue to appear today, notably those by Arvo Pärt and Sir James MacMillan; and of course many masses (often in English) have been written for use in the Anglican liturgy by Stanford, Wood, Leighton and others. Almost all of these were intended to be performed liturgically in the context of the mass celebration in church, not as concert pieces. It is also worth bearing in mind that, when heard in this context, the movements of the Ordinary are separated by ceremonial, prayers, readings, plainchant and indeed other music, and so are not heard in succession, as in concert performance. Musically we lose something when hearing all the movements lumped together. It is difficult to imagine two mass settings more diametrically opposed in style than those we hear this evening. Stravinsky wrote as follows to his friend Robert Craft, conductor, author and champion of the composer: “My Mass was partly provoked by some Masses of Mozart  that I found at a second-hand store in Los Angeles in 1942 or 1943. As I played through these rococo-operatic sweets-of-sin, I knew I had to write a Mass of my own, but a real one.” It is likely that Stravinsky would have had the same opinion of Haydn’s masses which, like Mozart’s, represent

the cheerful, tuneful Italianate style prevalent in 18th-century Austria and Germany, a musical language equivalent to the elaborate rococo churches in these countries. He would not necessarily have disliked the music as such, but regarded its style as inappropriate to its serious liturgical purpose. Stravinsky had been brought up in the Orthodox faith which he retained throughout his life, but he intended this Mass for the Roman Catholic liturgy; his use of instruments excludes it from the Orthodox tradition, which permits only unaccompanied voices. Unlike much of Stravinsky’s output, it was not commissioned, but written “as the product of a spiritual necessity” (Robert Craft). It dates from 1944-48 and was first performed in Milan (not liturgically) under Ernest Ansermet. The style is austere and bracing, drawing on both Orthodox and Catholic chant traditions, and in the long movements (particularly the Credo) there is much syllabic, harmonically static and declamatory writing which serves to put the text across clearly and objectively, rather than expressively. These rather severe passages alternate with florid solo lines both for voices and instruments, for example at the openings of the Gloria and Sanctus. There are also many passages of simple yet astringent four-part harmony.

Igor Stravinsky

To separate tonight’s disparate mass settings, we hear one of Bach’s bestloved violin concertos. Most of his concertos were performed at the regular meetings of the Leipzig collegium

Much of the flavour of the piece derives from the double wind quintet, comprising two oboes, one cor anglais, two bassoons, two trumpets and three trombones; Stravinsky’s scoring for these forces is imaginative and effective. As in the Symphony of Psalms, he omits clarinets, evidently feeling that their tone is too

musicum throughout the 1730s, when local musicians and visiting virtuosos would perform. Among the regular participants were Bach’s sons and pupils, and the master himself, who would lead the ensemble from the violin or the harpsichord. Bach was greatly impressed and influenced by the structural balance of the Vivaldian concerto with its ritornello (tutti) and solo passages, although his own violin concertos integrate these aspects more closely than Vivaldi ever did. Such complex integration can be heard in the first movement of the Concerto in A minor, where solo and tutti constantly overlap and interrupt each other. The middle movement is based on a repeated melodic pattern in the bass,

sensuous for these works.

supporting the violin soloist’s elaborate

arabesques. The finale is an energetic gigue incorporating fugal writing, and radiating joie de vivre.

By this time, Haydn was over 70 and not in the best of health. He began writing the mass early in 1802, and completed

Haydn, a devout Roman Catholic, left fourteen masses, one of dubious authorship and one unfinished. The twelve remaining works contain some of the finest mass-music in the entire repertoire, especially the final six works, of which the Harmoniemesse is the last Haydn composed (1802); it was his final major work. These masses – contemporary with his two celebrated oratorios, The Creation (1797-8) and The Seasons (1801) – were commissioned by Prince Nikolaus II, Haydn’s employer at Esterházy, to be performed liturgically on the name-day of Nikolaus’s consort, Princess Marie Hermenegild Esterházy. The Harmoniemesse was first heard in the Bergkirche in Eisenstadt on 8 September 1802.

it in August that year. In June he wrote to Nikolaus, confessing that he was ‘labouring wearily’ over its composition – although one would never guess this from the music’s vibrancy and freshness. At this late stage in his career he had behind him the two sets of ‘London’ symphonies – twelve masterworks written between 1792 and 1795 – which had been promoted by Salomon and extremely well received. Haydn’s London visits were among the happiest and most fulfilling periods of his life. His symphonies were performed there with a large band of between 40-60 players, much larger than he had been accustomed to in Esterházy, and his already accomplished orchestration skills were enhanced by his experiences in London. This influenced the scoring of the six late masses, which is bold, innovative and colourful. The Harmoniemesse (‘Wind band mass’) is so-called because it gives particular prominence to the wind ensemble, instruments which Nikolaus had only recently reinstated in his musical establishment, having dismissed his woodwind players in 1798 (this is why the ‘Nelson’ Mass of 1798 uses only strings, trumpets, timpani and organ). Many aristocratic patrons employed a ‘Harmonie’, a small wind ensemble which generally provided outdoor or recreational music, but sometimes joined the main orchestra of strings. Haydn’s rich scoring in this piece, therefore, builds both on this tradition and on his experience of London orchestras.

Johann Sebastian Bach

The winds comprise one flute, and two each of oboes, clarinets, bassoons, horns and trumpets. The ensemble is completed by timpani, strings and organ, the organ part still written in figured bass, as had been traditional for over two centuries. Notable is the inclusion of two clarinets, relative newcomers to the orchestra; Haydn scores for them in four out of the six late masses, and in only four of the ‘London’ symphonies. As was his usual habit, he writes for a four-part choir, with SATB soloists whose contribution is integrated with the full chorus, forming effective solo and tutti passages. Interestingly, Haydn’s last three masses are all in the key of B-flat. It has been suggested that this is because the highest note he expects of choral sopranos is a top B-flat, a note which he uses sparingly, but very effectively. Haydn’s setting divides the mass text into the usual six sections (counting the Sanctus and Benedictus as two). The Kyrie (adagio) is introduced by the orchestra, but the choir’s first entry is particularly striking, as the harmony is a totally unexpected diminished seventh chord – a common enough harmony, but not for a choir’s first chord! Unlike many Kyrie settings, the ‘Christe eleison’ petitions are fully integrated into the whole, rather than making up a separate section. Much of the choral writing is direct and simple, but the soloists have elaborate coloratura passages, redolent of operatic writing (and criticised by some as such). The long text of the Gloria is divided into three sections, the first beginning with a soprano solo, subsequently taken up

Joseph Haydn

by the chorus – music radiating joy and celebration. The texture is generally syllabic, achieving both clarity and brevity. The second section (‘Gratias agimus’) moves to the subdominant key of E-flat, and features each soloist in turn; the woodwinds also play a prominent role here. The mood darkens with the entry of the full chorus at ‘Qui tollis peccata mundi’, reflective of the text, and the music remains relatively muted until the ‘Quoniam tu solus sanctus’ bursts in, with full chorus and orchestra, again in a joyful B-flat major, and ending with the traditional fugue. Haydn divides the even longer text of the Credo into four contrasting sections, again beginning in a mood of cheerful optimism. Mass composers have customarily set apart the words ‘Et incarnatus est’ in order to underline the significance of the Incarnation which

The Harmoniemesse was first heard in the Bergkirche in Eisenstadt (which is also the site of Haydn's tomb – inset) on 8 September 1802.

refers to Christ as both ‘truly God and truly man’; Haydn introduces a new key, a slower tempo, and a beautiful clarinet solo. Solo voices begin the section, the complete choir entering at the ‘Crucifixus’. The mood changes at the bustling ‘Et resurrexit’, and the trumpets play a striking fanfare when judgment is mentioned (‘judicare vivos et mortuos’). The fugue which concludes this grand movement is particularly jaunty. The Sanctus begins as a restrained adagio, quickening at the ‘pleni sunt coeli’ and ending with a joyful ‘hosanna in excelsis’. The Benedictus is astonishing, in that it is a very fast molto allegro movement; it has been described as ‘a kind of tense scherzo’ – a most unusual

approach to these words. The exquisitely scored Agnus Dei begins in the new key of G major, setting it apart from its surroundings; melodically it hints at the famous Agnus Dei from Mozart’s ‘Coronation’ Mass. The music modulates through various flat keys, lending a feeling of unease appropriate to the text. We finally arrive back at the home key of B-flat major for the final triumphant ‘Dona nobis pacem’. Some may raise an eyebrow at the idea of setting the words ‘grant us peace’ in such a way – not everyone approved in Haydn’s own day – but Haydn’s own justification for this sort of writing was that whenever he thought of God, his heart would ‘leap for joy’. © John Kitchen



KYRIE Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy. Christ, have mercy. Lord, have mercy.

GLORIA Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; Adoramus te; Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Glory be to God in the highest. And in earth peace to men of good will. We praise Thee; we bless Thee; we worship Thee; we glorify Thee. We give thanks to Thee for Thy great glory. O Lord God, Heavenly King, God the Father Almighty. O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, Suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have mercy upon us. For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ. Together with the Holy Ghost in the glory of God the Father. Amen.

CREDO Credo in unum Deum; Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum,

I believe in one God; the Father almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all worlds; God of God, light of light, true God of true God, begotten not made;

consubstantialem Patri:

being of one substance with the Father,

per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis.

by Whom all things were made. Who for us men and for our salvation descended from heaven;

Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos: cuius regni non erit finis. Et in Spiritum Sanctum, Dominum, et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et in unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma, in remissionem peccatorum.

and was incarnate by the Holy Ghost, of the Virgin Mary, and was made man. He was crucified also for us, suffered under Pontius Pilate, and was buried. And on the third day He rose again according to the Scriptures: and ascended into heaven. He sitteth at the right hand of the Father; and He shall come again with glory to judge the living and the dead; and His kingdom shall have no end. I believe in the Holy Ghost, the Lord and giver of life, Who proceedeth from the Father and the Son, Who with the Father and the Son together is worshipped and glorified; as it was told by the Prophets. And I believe in one holy catholic and apostolic Church. I acknowledge one baptism for the remission of sins.

Et exspecto resurrectionem mortuorum Et vitam venturi sĂŚculi. Amen.

And I await the resurrection of the dead and the life of the world to come. Amen.

SANCTUS Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest.

BENEDICTUS Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is He that cometh in the name of the Lord. Hosanna in the highest.

AGNUS DEI Agnus Dei, qui tollis peccata mundi, miserere nobis.

Lamb of God, Who takest away the sins of the world, have mercy upon us.

Agnus Dei, dona nobis pacem.

Lamb of God, grant us peace.



––––– Gregory Batsleer is acknowledged as one of the leading choral conductors of his generation. He has held the position of Chorus Director with the Scottish Chamber Orchestra since 2009 and at RSNO and Huddersfield Choral Society since 2015 and 2017 respectively, winning widespread critical acclaim for his work. Over the last ten seasons Batsleer has led the development of SCO Chorus, overseeing the growth of vocal coaching and 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, including the Chorus’ acclaimed debut at the BBC Promenade Concerts this year, he has directed their successful appearances at East Neuk and St Andrews Voices Festivals, and at Greyfriars Kirk. As Guest Conductor, recent and forthcoming highlights include performances with the Royal Northern Sinfonia, RSNO, Hallé Orchestra, Black Dyke, National Youth Choir of Great Britain, Orchestra of Opera North, Manchester Camerata, Toronto Mendelssohn Choir, Academy of Ancient Music. As Guest Chorus Master he has worked with the Royal Liverpool Philharmonic, Toronto and Houston Symphony Orchestras and the Orchestra of Opera North, working with leading conductors including Maxim Emelyanychev, Emmanuel Krivine, Robin Ticciati, Sir Mark Elder, Sir Andrew Davis, Thomas Søndergård, Vassily Petrenko, Sir Roger Norrington, Richard Egarr and Philippe Herreweghe. Batsleer is deeply committed to exploring new ways of presenting music and extending its reach beyond the concert hall. With the SCO Chorus he co-devised and conducted a critically-acclaimed semi-staged performance of Parry’s Songs of Farewell, directed by Jack Furness. In recent seasons he has curated and conducted cross-art performances at the Latitude Festival, Wilderness Festival, Southbank Centre, London Handel Festival and at the Royal Northern College of Music. He has worked as an artistic advisor at the Sam Wanamaker Playhouse and on projects with leading contemporary artists including Elbow, Damon Albarn, David Lang, Carlos Acosta, Clean Bandit, Guy Garvey and Joy Division. Gregory Batsleer’s outstanding work as a choral director was recognised with the 2015 Arts Foundation’s first-ever Fellowship in Choral Conducting. Gregory Batsleer's Chair is kindly supported by Anne McFarlane.



––––– Stephanie Gonley has a wide-ranging career as concerto soloist, director/soloist of chamber orchestras, recitalist and chamber musician. She has appeared as soloist with many of the leading orchestras in the UK, including the Royal Philharmonic Orchestra with Vladimir Ashkenazy, London Philharmonic Orchestra, Philharmonia, BBC Symphony Orchestra, Orchestra of Opera North, Manchester Camerata, Hallé, Royal Liverpool Philharmonic, BBC Scottish Symphony Orchestra, Ulster Orchestra and the Scottish Chamber Orchestra. She is leader of the English Chamber Orchestra and the Scottish Chamber Orchestra. She was the leader of the Vellinger Quartet for some time, and still enjoys performing a wide range of chamber music with such ensembles as the Nash Ensemble and the ECO Ensemble. Gonley's concerto performances abroad have included the Chamber Orchestra of Europe, Hannover Radio Symphony, Orchestre de Chambre de Genève, Noord Nederlands Orkest, RTE National Symphony Orchestra. Regina Symphony (Canada), Norrköping Symphony, Royal Flanders Philharmonic, Hong Kong Philharmonic, Regensburg Philharmonic, and the Norwegian Radio Symphony Orchestra. Her recordings include the Dvořák Romance with the ECO and Sir Charles Mackerras for EMI, the Sibelius' Violin Concerto for BMG/Conifer with conductor Adrian Leaper and a CD of Baroque repertoire which she directed. Stephanie Gonley is currently Professor of Violin at the Guildhall School of Music and Drama, where she studied with David Takeno. She continued her studies with Dorothy DeLay (Juilliard) and Ilan Gronich (Hochschule, Berlin). Amongst other awards, she was a winner of the prestigious Shell-LSO National Scholarship.



––––– Mary Bevan is internationally renowned in baroque, classical and contemporary repertoire. She is a winner of the Royal Philharmonic Society’s Young Artist award and UK Critics’ Circle Award for Exceptional Young Talent in music and was awarded an MBE in 2019. On the concert platform, recent highlights include appearances with the BBC Symphony, BBC Concert Orchestra at the Proms, and with Mirga Gražinytė-Tyla and the CBSO in the world premiere of Roxanna Panufnik’s Faithful Journey. She joined the Orchestra of the Age of Enlightenment as Mary in Sally Beamish's The Judas Passion. She also headlined a tour of Asia with The English Concert and Harry Bicket and made her Carnegie Hall debut with the ensemble as Dalinda in Handel's Ariodante. In 2020 she will make her debut with the London Philharmonic Orchestra. Bevan’s discography includes her art song album Voyages with pianist Joseph Middleton and Handel's Queens with London Early Opera, both released by Signum Records; Mendelssohn songs for Champs Hill Records; Handel: The Triumph of Time and Truth and Handel: Ode for St Cecilia’s Day with Ludus Baroque; and Vaughan Williams's Symphony No 3 and Schubert's Rosamunde with the BBC Philharmonic. In autumn 2019 Signum released her second disc with Joseph Middleton which includes Lieder by Schubert, Haydn and Wolf.



––––– Winner of the Cardiff Singer of the World Main Prize and joint Song Prize 2017, Catriona Morison made her BBC Proms debut in 2019 singing Elgar’s Sea Pictures with the BBC National Orchestra of Wales. She has performed Ravel’s Shéhérazade with the Royal Scottish National Orchestra and Thomas Søndergård, Mahler’s Rückert Lieder with the BBC National Orchestra of Wales and the Sinfonieorchester Wuppertal, and Chausson’s Poème de l’amour et de la mer with the Philharmonisches Orchester Heidelberg. As a recitalist, Morison works regularly with Malcolm Martineau, Simon Lepper, Joseph Middleton and the young Japanese pianist Yuka Beppu, at venues and festivals such as Wigmore Hall, Edinburgh International Festival, Leeds Lieder Festival and Weimarer Meisterkurs. She has performed oratorio across Europe and Russia in repertoire ranging from Bach to Vaughan-Williams. Highlights include a tour of Mozart’s Requiem with Teodor Currentzis and MusicAeterna, Bach’s St Matthew Passion with the MDR Sinfoniker, Duruflé’s Requiem with the Royal Liverpool Symphony Orchestra and Sir Andrew Davis, and Handel’s Messiah with the Royal National Orchestra of Scotland. She recorded Ethel Smyth’s Mass in D for Chandos, and performed the work with Sakari Oramo and the Royal Stockholm Philharmonic Orchestra, as well as with Martyn Brabbins and the BBC Symphony Orchestra at the Barbican. Catriona Morison is a current BBC New Generation Artist and was awarded an Honorary Professorship of the Royal Conservatoire of Scotland (RCS) in 2017. She trained at the RCS, the Universität der Künste in Berlin, Hochschule für Musik Franz Liszt Weimar, and the Thüringer Opernstudio in 2015/16.



––––– Thomas Hobbs is one of the most interesting and significant Bach tenors of his generation and is in high demand with many leading baroque and early music ensembles. Highlights of his 2019/20 season include performances of Bach Cantatas with Gli Angeli Geneva, Dutch Bach Society, laBarocca Orchestra in Milan and Turin and with Le Banquet Céleste, performances of Handel's Messiah with Early Music Vancouver, Sinfonietta Riga, Tafelmusik Toronto, RIAS Kammerchor and Akademie für Alte Musik Berlin, Evangelist in St Matthew Passion with Dutch Bach Society, Vivaldi Venetian Vespers with Kammerchor Stuttgart and various projects with Collegium Vocale Ghent under the baton of Philippe Herreweghe and Gli Angeli Geneve under Stephan McLeod. Recent highlights include Bach B minor mass on a European tour and at the Salzburg Festival with Collegium Vocale Gent and Herreweghe, Haydn Creation with Mirga Gražinytė-Tyla and the CBSO, Schumann Requiem with Richard Egarr and the Scottish Chamber Orchestra, Evangelist in Bach St Matthew Passion on tour with the Netherlands Bach Society, and Messiah with the Academy of Ancient Music at the Barbican. He also sang Bach cantatas with Les Violons du Roy, the Danish National Symphony Orchestra, and travelled to Australia to sing Bach Christmas Oratorio with the Choir of London and Australian Chamber Orchestra. His recent recordings of Handel Chandos Anthems with Stephen Layton and the Orchestra of the Age of Enlightenment and Mozart Requiem with John Butt and the Dunedin Consort have been universally praised, with the latter receiving the 2014 Gramophone Award for best Choral recording.

Collection in aid of






––––– Praised for the power and depth of his voice, British bass Callum Thorpe studied at the Royal Academy of Music. He has performed extensively with William Christie and Les Arts Florissants, including as Valens in Theodora (Théâtre des Champs Elysées, Lincoln Centre New York, Concertgebouw), The Fairy Queen (Glyndebourne Festival, Théâtre des Champs Elysées, Brooklyn Academy of Music), Hippolyte et Aricie (Glydebourne Festival), Polyphemus in Acis and Galatea (Festival de Thiré), Phobetor in Atys (Théâtre des Champs Elysées, Brooklyn Academy of Music), Adonis in Venus & Adonis, Pluto in La Descent d’Orphée aux Enfers, Israel in Egypt (BBC Proms) and The Indian Queen. On the concert platform, recent performances include Messiah (Bath Abbey, Balearic Isles Symphony Orchestra, Royal Northern Sinfonia, Bournemouth Symphony Orchestra), St John Passion and Mozart Requiem (Minkoswki), St Matthew Passion (Symphony Hall, Philharmonie Zuidnederland), Verdi Requiem (Crouch End Festival Chorus), Israel in Egypt (Salisbury Cathedral), Apollo in Apollo e Dafne (Concerto Copenhagen, Lammermuir Festival), Mozart Requiem (Singapore Symphony Orchestra) and Hunding in Die Walküre (Bilbao Symphony Orchestra). Callum Thorpe performs regularly with the Early Opera Company and Christian Curnyn: Jupiter in Platée, Ariodate in Serse, Achilla in Guilio Cesare (St John’s Smith Square) Lucifer in La Resurrezione (Wigmore Hall) and with Arcangelo / Jonathan Cohen: La Senna Festeggiante, The Shakespeare Prom (BBC Proms), Monteverdi – Love and Loss (Wigmore Hall), Masetto in Don Giovanni, Erste Nazarene in Salome, Zuniga in Carmen at the Bayerische Staatsoper, Marti in A Village Romeo & Juliet (Concertgebouw, Sir Mark Elder) and Beethoven Symphony No 9 (Basel Symphony Orchestra, Ivor Bolton).


––––– The Scottish Chamber Orchestra Chorus 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 25th anniversary in 2016. Members enjoy a unique opportunity to perform with one of the world’s leading chamber orchestras, working with international conductors including Maxim Emelyanychev, Robin Ticciati, Harry Bicket, Richard Egarr, Phillipe Herreweghe, Jonathan Cohen, John Storgårds, Emmanuel Krivine and Peter Dijkstra. The Chorus appears regularly with the Orchestra in Scotland’s major cities. Recent concerts have covered a wide range of music including MacMillan Seven Last Words from the Cross, Bach Mass in B minor, Handel Messiah and Theodora, Haydn Creation and Seasons, Beethoven ‘Choral’ Symphony and Missa Solemnis, Berlioz Béatrice et Bénédict, Brahms Ein deutsches Requiem and Schumann Requiem. The Chorus also appears on its own in a capella repertoire. Its annual Christmas concert has quickly established itself as a Season highlight. Recent out-of-Season appearances include the world premiere of David Lang’s RPS Award-winning Memorial Ground at the 2016 East Neuk Festival, and in summer 2017, a dramatised performance of Parry's Songs of Farewell devised by director Jack Furness and Chorus Director Gregory Batsleer. The Chorus made its BBC Promenade Concerts debut at the Royal Albert Hall in August in a performance of Handel's Jephtha conducted by Richard Egarr. The SCO Chorus Young Singers' Programme is kindly supported by The Baird Educational Trust.

YOUR CHORUS GREGORY BATSLEER – Chorus Director STUART HOPE – Associate Chorus Master JENNY SEARLE – Chorus Manager DR PATRICIA MacMAHON – Vocal Coach ALAN BECK – Vocal Coach

SOPRANO Naomi Black Nancy Burns Sally Carr^ Morven Chisholm Mairi Day Joanne Dunwell Ruth Hoare Lesley Mair Katie McGlew Jenny Nex Alison Robson Eilidh Thomson Alison Williams

ALTO Shona Banks Madeleine Baron^ Dinah Bourne Sarah Campbell Judith Colman Liberty Emeny Anne Gallacher Claire Goodenough Caroline Hahn Fiona Haldane Melissa Humphreys Rachel Kemp Helen Leigh Hilde McKenna Jan Raitt Linda Ruxton

^ SCO Chorus Young Singers' Programme

TENOR Matthew Andrews Andrew Carvel David Ferrier Colin French Lewis Gilchrist Brendan Glen Keith Main Anthony Mudge David Nelson Michael Scanlon Paul Vaughan

BASS Mathew Brown Patrick Callaghan Gavin Easton Robin Hiley David Ireland Jamie Lewis^ Donald MacLeod Sandy Matheson Kenneth Murray Douglas Nicholson David Paterson Jonathan Pryce Peter Silver Stephen Todd Roderick Wylie




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.

–––––– Full details, including ticket prices and how to book, can be found on our website: Or you can email: 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


SCO PATRONS ––––– Join our family of Patrons by contacting Laura Hickey on 0131 478 8344 or DIAMOND


Malcolm & Avril Gourlay

The Batsleer Family

Dr Caroline Hahn

Caroline & Colin Bryce

James & Felicity Ivory

Lord Matthew Clarke

Chris Jarvis

Lucinda Coulthard

Sir George & Lady Mathewson

Dr Clive Criper & Mrs Myint-Su

Vincent & Clair Ryan

David & Sheila Ferrier

William Samuel

Iain Gow

Alan & Sue Warner

Judith & David Halkerston Ian Hutton


Gordon Kirk

Eric G Anderson

Roy & Svend McEwan-Brown

David Caldwell in memory of Ann

June Miller

Tom & Alison Cunningham

Alan Moat

Gail & Lindsay Gardiner

John & Liz Murphy

Gordon & Grace Gillespie

Alison & Stephen Rawles

Carola & Martin Gordon

Mr & Mrs J Reid

John & Jane Griffiths

George Rubienski

Carol & Shields Henderson

Irene Smith

J Douglas Home

Ian S Swanson

Audrey Hopkins

John-Paul & Joanna Temperley

Norman & Christine Lessels

Michael & Joan Wareham

Chris & Gill Masters

Catherine Wilson

Duncan & Una McGhie

Neil & Philippa Woodcock

Anne-Marie McQueen

G M Wright

James F Muirhead

Bruce & Lynda Wyer

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


Barry Laurie in memory of Richard Green

Fiona Addison

Mary Law

Roy Alexander

Graham & Elma Leisk

Joseph I Anderson

Geoff Lewis

Pamela Andrews & Alan Norton

Nancy Macneil of Barra

Dr Peter Armit

James McClure in memory of Robert Duncan

Joseph & Patricia Banks

Gavin McCrone

Timothy Barnes & Janet Sidaway

Iain McEwan

Peter & Kay Black

Brian Miller

Alan Borthwick

James & Helen Moir

Jane & Michael Boyle

Margaret Mortimer & Ken Jobling

Mary Brady

Andrew Murchison

John Brownlie

Hugh & Gillian Nimmo

Laura Buist

David & Tanya Parker

Robert Burns

Hilary & Bruce Patrick

Janet Cameron

Maggie Peatfield

Isabel J Clark

Ian & Sheila Percy

Sheila Colvin

Fiona Reith

Tony Cook

Alan Robertson

Lorn & Camilla Cowie

Andrew Robinson

Lord & Lady Cullen of Whitekirk

David Robinson

Jo & Christine Danbolt

Olivia Robinson

Caroline Denison-Pender

Hilary E Ross

Dr Wilma Dickson

Catherine Steel

Jean Donaldson

Jean Sutherland

John Donaldson

Ian Szymanski

Sylvia Dow

Marion Thomson

James Dunbar-Naismith

Douglas & Sandra Tweddle

Dr & Mrs Alan Falconer

Margaretha Walker

Sheila Ferguson

James Wastle

Chris & Claire Fletcher

C S Weir

Dr James W E Forrester

Alan Welsh

Dr William Fortescue

Bill Welsh

James Friend

Professor Frank Whaling & Mrs Margaret Walsh-Whaling

Archie & Ellen Gibson

Andrew Wilson

Andrew Hadden

Roderick Wylie

J Martin Haldane


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.


––––– 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’ – is the first symphony Emelyanychev performed with the Orchestra in March 2018.

Patron HRH The Prince Charles, Duke of Rothesay


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


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 Trusts Officer Rebecca Smith Finance & Administration Director Ian White Finance Officers Mary Gibson Heather Baird


Pick of the week


Huge congratulations to all the young players of the @SCOmusic #StringAcademy who were stunning in their concert today; really beautiful #Elgar Serenade, #Bartok and #Hallgrímsson #HappyAppleyard

Julian Appleyard @JulianAppleyard

THE BEETHOVEN SERIES BEGINS! Looking forward to this first concert of the @SCOmusic #Beethoven series. Symphonies 1 and 3 this evening!! @DouglasAcad

Douglas Academy Music School @DAMusicSchool

We are delighted to announce that our Principal Conductor, Maxim Emelyanychev’s contract has been extended until 2025! We are excited to see what this next chapter brings for Maxim and the Orchestra.

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

Fabulous @SCOmusic Beethoven #1 & #3 last night in Glasgow City Halls. Grandson Calum reckons it's his second best ever concert. (Something involving the Chorus will be #1).

Alex Smith @Infotainer48

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