Mozart, Haydn and Clyne

7 – 8 NOVEMBER 2019

MOZART, HAYDN & CLYNE –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

Our Glasgow concert is proudly sponsored by

SEASON 2019/20

A WARM WELCOME ––––– Dear friends old and new, It’s wonderful to be back in Scotland. This evening’s concert marks the beginning of my three-season role as Associate Composer with the Scottish Chamber Orchestra. It’s an honour to be collaborating with such excellent musicians and an organisation that is committed to commissioning and presenting music composed by living composers. It is also a special opportunity to return to Edinburgh where I studied music from 1998-2002.

Prince of Clouds, which I composed in 2012 for two solo violins and string orchestra takes its title from Baudelaire’s The Albatross. It explores the relationship between mentor and mentee through a dialogue between the soloists, and between the soloists and the orchestra. I was reflecting on musical lineage – the sharing of knowledge and inspiration from one generation to another – a musical family of sorts. I have many fond memories with my mentors at Edinburgh University – in particular my composition teacher, Marina Adamia.

Sound and Fury, which receives its premiere this evening, was composed specifically with the musicians of the SCO and violinist Pekka Kuusisto in mind. The piece leaps into action with a fast figure in the violins, which is then passed amongst the other string sections. This work also draws inspiration, and borrows its title, from Macbeth’s last soliloquy ("Tomorrow, and tomorrow, and tomorrow.") – upon learning of his wife’s death, and Haydn’s 'Il Distratto', which shares this programme. One of the unique opportunities that this collaboration with the SCO allows is the opportunity to work closely with their musicians whilst writing a piece. Special thanks in this case to horn player Harry Johnstone who shared a lot of his time and insights.

I hope you enjoy this evening’s musical journey. Thank you to the wonderful musicians of the SCO for bringing this concert to life, and for their collaborative spirits whilst writing Sound and Fury, and to The Hope Scott Trust and RVW Trust who supported this work. I would also like to thank Turcan Connell for sponsoring this week’s Glasgow’s concert.

Anna Clyne Associate Composer

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 -----

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 -----

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Colin and Sue Buchan Donald and Louise MacDonald

Claire and Mark Urquhart Paul and Clare Rooney

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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

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

SEASON 2019/20

MOZART, HAYDN AND CLYNE Our Glasgow concert is proudly sponsored by

––––– BEETHOVEN Prometheus Overture CLYNE Prince of Clouds UK PREMIERE MOZART Divertimento in D, K136 interval of 20 minutes

CLYNE Sound and Fury WORLD PREMIERE (Co-commissioned by the Scottish Chamber Orchestra and Orchestre National de Lyon) HAYDN Symphony No 60 ‘Il Distratto’ ––––– PEKKA KUUSISTO – Director / Violin BENJAMIN MARQUISE GILMORE – Violin The voice of SIR IAN McKELLEN ––––– Thursday 7 November 2019, 7.30pm Edinburgh Queen's Hall Friday 8 November 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.

#SCO

OUR MUSICIANS

YOUR ORCHESTRA FIRST VIOLIN Pekka Kuusisto Benjamin Marquise Gilmore Ruth Crouch Dániel Máté Mészöly Siún Milne Fiona Alexander Amira BedrushMcDonald Liza Johnson SECOND VIOLIN Gordon Bragg Laura Comini Rachel Smith Lyrit Milgram Niamh Lyons Wen Wang VIOLA David Aspin Felix Tanner Brian Schiele Steve King CELLO Philip Higham Su-a Lee Donald Gillan Eric de Wit BASS Péter Palotai Adrian Bornet

FLUTE André Cebrián Siobhan Grealy OBOE Robin Williams Mary James CLARINET William Stafford James Maltby BASSOON Rie Koyama Alison Green HORN Zoe Tweed Harry Johnstone TRUMPET Peter Franks Shaun Harrold TIMPANI Louise Goodwin

The Orchestra 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.

PLAYER FEATURE:

Kana Kawashima First Violin | Joined March 2019 ––––– Can you tell us a little bit about your musical background prior to the SCO? I began pursuing the violin seriously at eleven years old when I entered the Yehudi Menuhin School, where I quickly realised how much I would have to commit in order to make this my life. Having been in a ‘normal’ school until then, always feeling like I was sacrificing other things to keep up the violin, I found myself finally being surrounded by people just like me, all sharing the same passion. After six years at the school, I went on to study in Vienna (for another six years!) before coming back to London where I freelanced and did a year of studies at the Royal Academy of Music.

What are you most looking forward to in the coming Season?

Probably our first official concert with Maxim Emelyanychev as our new Principal Conductor playing Mozart 'Jupiter’ Symphony – I feel like there is a lot of excitement in the air for his arrival and I think this will be just the beginning of something very special. I’m also looking forward to the concert with Kristian Bezuidenhout; I feel like the Orchestra has a great chemistry with him, and I think the Beethoven Triple Concerto with him, Ben and Philip will be quite a treat. We are so lucky to have incredible Principal players and I’m always so inspired and in awe whenever they play as soloists with us.

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.

TONIGHT'S REPERTOIRE

WHAT YOU ARE ABOUT TO HEAR –––––

BEETHOVEN (1770-1827) Overture to The Creatures of Prometheus, Op 43 (1801) CLYNE (b.1980) Prince of Clouds

(2014)

MOZART (1756-1791) Divertimento in D, K136 (1772) Allegro Andante Presto

CLYNE (b.1980) Sound and Fury

(2019)

WORLD PREMIERE Co-commissioned by the

Scottish Chamber Orchestra and Orchestre National de Lyon

Anna Clyne's new work is kindly supported by The Hope Scott Trust and RVW Trust

HAYDN (1837–1809) Symphony No 60 in C ' Il Distratto' (1774) Adagio – Allegro di molto Andante Menuetto – Trio Presto Adagio di lamentatione Finale: Prestissimo

––––– Tonight’s concert offers thoughtful and playful juxtapositions of comedy and tragedy, theatre and concert hall, convention and deviation.

Beethoven and Haydn wrote tonight’s opening and closing works for courtly theatres, Beethoven in Vienna and Haydn in the ducal palace of Esterháza. For Beethoven, the subject of Prometheus could hardly be more appealing. Pretty much all his great theatrical scores are inspired by tragic, rebellious heroes: Egmont, Coriolanus and Florestan. In classical myth, Prometheus steals fire from the Gods and is punished by having his liver torn out by an eagle every day for eternity; however this Viennese Prometheus was toned down, and the ballet to which the overture belongs offers a paean to Viennese courtly life. Prometheus is a civilising force who brings culture and the arts (two statues that come to life) to humanity with the help of Olympian gods and the muses of Parnassus. As his first theatrical score, Beethoven’s Overture is quite conventional compared with the chamber music he was writing around the same time: dramatic chords to catch your ear, a solemn introduction then a brilliant Allegro. With his opening chord he plays a trick he would return to several times in later works: a piece should open with the main chord of its main key – this one doesn’t!

Anna Clyne is the Scottish Chamber Orchestra's new Associate Composer, and she is introduced tonight with one of her most successful recent pieces, and a brand new work which the SCO has cocommissioned.

Prince of Clouds is a double concerto for violins and strings, and in it she has them create sounds of limpid, arresting beauty, but also rasp, jar, scrape, punch, stamp and interrupt. It is as though two personalities are fighting for dominance here – and duality is a key to the piece. She wrote it for violinist Jennifer Koh playing alongside her teacher (and long-time SCO favourite) Jaime Laredo. Clyne herself says very little about the piece, and listening to it one can understand why: in its single movement, it tells its story with compelling clarity. In contrast, Clyne has written at length about her new work tonight: “Sound and Fury draws upon two great works of art for its inspiration: Haydn’s Symphony No 60 ('Il Distratto') and Shakespeare’s Macbeth… To begin, I listened to 'lI Distratto' many times and

Anna Clyne

on a single sheet of paper, I wrote down the key elements that caught my ear, which ranged from rhythmic gestures to melodic ideas, harmonic progressions, and even a musical joke (Haydn brings the feverish final prestissimo to a grinding halt for the violins to re-tune).

I chose between one and four elements from each of the six movements and developed them through my own lens – layering, stretching, fragmenting and looping. Whilst experienced as one complete movement, Sound and Fury is also structured in six sub-sections that follow the same trajectory of 'll Distratto'.

In the fifth section of Sound and Fury I looped a harmonic progression from Haydn’s Adagio in 'll Distratto', and this provides a bed of sound to support the delivery of “Tomorrow, and tomorrow, and tomorrow…,” the last soliloquy delivered by Macbeth upon learning of his wife’s death,

Ludwig van Beethoven

and from which this work takes its title.

Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day

soliloquy’s imagery and rhythmic use of language. Time lies at the heart of it – “hereafter… time… tomorrow… day to

to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle!

Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

day… yesterday…” and music provides us with this framework. The last line of this soliloquy (“Signifying nothing.”) is incomplete; McKellen explains “the beats of the rest of that pentameter are not there – because the end of the speech is total silence – total oblivion – total emptiness.” So rich in imagery and metaphor, I also found inspiration in Shakespeare’s rhythmic use of language.

For example, before delivering this soliloquy, and after learning of his wife’s death Macbeth says, “She should have died hereafter; There would have been a time for such a word.” McKellen says: “There’s something about that line which trips – in Hamlet’s words – tick tocks like a clock.” This is something that I play with also – layering rhythmic fragments that repeat and mark the passage of time.”

The connection to Shakespeare’s play emerged gradually during the writing process, but especially after watching a recording of a 1979 masterclass with Sir Ian McKellen analysing this

Our final two pieces tonight were written about the same time – 1772-1774 – and they are both symphonies, one by sixteen year old Mozart, the other by seasoned old hand, Haydn. Hearing them together illustrates how flexible a term ‘symphony’ could be at that time. K136 is the first of Mozart’s 'Salzburg' symphonies, written for strings alone in three movements.

It was common practice at the time for composers to write a score like this and add other instruments as necessary to turn it from what was essentially a string quartet into a symphony, overture or divertimento at high speed on demand.

This is an exceptional example of Mozart’s work at the time, beautiful and charming.

The finale opens with its own little joke – a faux-tentative start before the main tune Wolfgang Amadeus Mozart

crude fanfare. (Haydn would use a similar effect twenty years later in his 'Military' Symphony.) Elsewhere, the winds behave just as badly, intruding on the gentle Andante. The absentminded man of the play’s title turns up in the first movement.

Quite simply the music grinds to a halt as it forgets what it was doing. There is a similarly scatty moment in the Adagio di lamentatione, when the music suddenly accelerates for no apparent reason. There is nothing more tedious than musical jokes told badly, but Haydn’s timing is superb, and each of these gags hits its mark. He scored a huge success with this music, both in the theatre and in the concert hall. © Svend McEwan-Brown Franz Joseph Haydn

kicks in. When it does it turns out to be the first appearance of a theme that Mozart would return to several times over the years, most famously fourteen years later in his piano Rondo in D, K485.

Haydn’s Symphony No 60 (which inspired Anna Clyne’s new piece) is arguably nothing of the kind. It started life as the incidental music to a play, Le Distrait (The Absentminded Man), by Jean-François Regnard. Clearly, Haydn loved it since he made little attempt to trim his score into a conventional three or four movements symphony format – instead there are six. One change he did make was to add trumpets. He generally used them (and the key of C) for music of ceremonial brilliance, which this piece certainly has.

But the brass can also be clowns and here they burst unceremoniously into the solemn Adagio di lamentatione with a

DIRECTOR / VIOLIN

PEKKA KUUSISTO

––––– Pekka Kuusisto is renowned for his fresh approach to repertoire. An advocate of new music, Kuusisto’s recent premieres include concerti by Sauli Zinovjev, Anders Hillborg, Andrea Tarrodi and Philip Venables. This season he performs Daníel Bjarnason’s Violin Concerto with the Iceland and Detroit Symphony Orchestras, and its Finnish premiere with the Finnish Radio Symphony Orchestra as well as the Austrian premiere of Hillborg’s Bach Materia with the Camerata Salzburg. Other highlights include debuts with the Rotterdam Philharmonic Orchestra and Aurora Orchestra with whom he tours to Singapore and the UK. He returns to the Philharmonia and Helsinki Philharmonic Orchestras, Deutsches Symphonie-Orchester Berlin, and WDR Sinfonieorchester Köln. He also takes up a season-long residency at Wigmore Hall.

Kuusisto is a gifted improviser and regularly engages with people across the artistic spectrum, most recently with Hauschka and Samuli Kosminen, neurologist Erik Scherder, electronic music pioneer Brian Crabtree, and folk artist Sam Amidon.

Widely recognised for his flair in directing ensembles from the violin, Kuusisto is Artistic Partner with The Saint Paul Chamber Orchestra, Artistic Director of the ACO Collective and Artistic Partner of the Mahler Chamber Orchestra. He also directs ensembles including Deutsche Kammerphilharmonie Bremen, the Scottish and Norwegian Chamber Orchestras.

Kuusisto has released several recordings, notably for Ondine and BIS. This season he records Hillborg’s Bach Materia and Bach’s Brandenburg Concertos 3 and 4 with the Swedish Chamber Orchestra and Thomas Dausgaard.

Pekka Kuusisto plays a fine Italian violin by Francesco Stradivari circa 1738, on loan from Mr Peter Biddulph.

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.

He has appeared at festivals such as Kuhmo, IMS Prussia Cove, Ravinia's Steans Music Institute and Styriarte, and his chamber music partners have included Frans Helmerson, Janine Jansen, Natalia Gutman, Gary Hoffman, Elisabeth Leonskaja, Benjamin Schmid, Mischa Maisky and Gerhard Schulz.

He has also worked with composers such as Giya Kancheli, Bernhard Lang, Guus Jansen, Gavin Bryars and Frank Denyer. As a soloist he has performed with the Amsterdam Sinfonietta, the NDR Hannover, the Rotterdam Philharmonic and the Munich Chamber Orchestra, as well as the SCO. He has been the recipient of several awards, including 1st prize at the Oskar Back violin competition in Amsterdam, 4th prize at the Joseph Joachim violin competition in Hannover, and 3rd prize at the Mozart competition in Salzburg. Since 2011 Benjamin Marquise Gilmore has been a member of the Chamber Orchestra of Europe, and was appointed Leader of the Scottish Chamber Orchestra in 2016. He took up the shared role of Concert Master of the Philharmonia at the start of this Season.

— Collection in aid of

JOSEPH SWENSEN CONDUCTS

NEW YEAR GALA CONCERT INCLUDING MUSIC BY J STRAUSS II, GRIEG, NIELSEN and LUMBYE HARRIET EYLEY – Soprano

1,3,4 & 5 JANUARY 2020 EDINBURGH | DUMFRIES | AYR | DUNDEE BOOK NOW AT SCO.ORG.UK

COMPOSER

ANNA CLYNE

––––– London-born Anna Clyne is a Grammy-nominated composer of acoustic and electro-acoustic music. Described as a "composer of uncommon gifts and unusual methods" in a New York Times profile and as "dazzlingly inventive" by Time Out New York, her work often includes collaborations with cutting-edge choreographers, visual artists, filmmakers and musicians worldwide.

Appointed by Music Director Riccardo Muti, Clyne served as a Mead Composer in Residence for the Chicago Symphony from 2010-15. She also served as Composer in Residence for the Baltimore Symphony during the 2015/16 season and for L’Orchestre national d’Île-de-France from 2014-16. This season, she is an Artist in Residence at National Sawdust. She was additionally selected by the League of American Orchestras and New Music USA to serve as the Music Alive Composer-in-Residence with the Berkeley Symphony through the 2018/19 season.

Clyne has been commissioned by such renowned organisations as the American Composers Orchestra, BBC Radio 3, BBC Scottish Symphony Orchestra, Carnegie Hall, Chicago Symphony, Houston Ballet, London Sinfonietta, Los Angeles Philharmonic, Seattle Symphony, and the Southbank Centre, and her work has been championed by such world-renowned conductors as Marin Alsop, Pablo Heras-Casado, Riccardo Muti, Leonard Slatkin and Esa-Pekka Salonen.

She was nominated for the 2015 Grammy Award for Best Contemporary Classical Composition for her double violin concerto, Prince of Clouds. She is also the recipient of several prestigious awards including the 2016 Hindemith Prize; a Charles Ives Fellowship from the American Academy of Arts and Letters; awards from Meet the Composer, the American Music Centre, the Foundation for Contemporary Arts, and the Jerome Foundation; and prizes from ASCAP and SEAMUS. She was nominated for the 2014 Times Breakthrough Award (UK) and is the recipient of a grant from Opera America to develop a new opera, Eva. During the 2017/18 season, the BBC Scottish Symphony Orchestra and Thomas Dausgaard performed the world premiere of Clyne’s Beltane in Glasgow. Recent highlights include the premiere of her mandolin concerto for Avi Avital, Three Sisters, performed with the Kremerata Baltica; Masquerade for the BBCSO and Marin Alsop at the Last Night of the Proms; This Lunar Beauty for Britten Sinfonia and soprano Julia Doyle; RIFT, a symphonic ballet in collaboration with choreographer Kitty McNamee for Marin Alsop and the Cabrillo Festival Orchestra; Pocket Book VIII for Roomful of Teeth; and her violin concerto, The Seamstress, performed by Jennifer Koh with the Chicago Symphony Orchestra.

Her music is published exclusively by Boosey & Hawkes. boosey.com/clyne

INTRODUCING

NEW VIBE SCO’S SOCIAL PRESCRIBING PROJECT FOR TEENAGERS Creative Learning Partner

––––– "We were blown away by the positive impact that NEW VIBE has had on the young people who took part."

CAMHS team member In October 2019, with the support of our Creative Learning Partner Baillie Gifford, the Scottish Chamber Orchestra launched NEW VIBE in partnership with the Child and Adolescent Mental Health Service (CAMHS). NEW VIBE is designed for teenagers with moderate to severe mental health difficulties who are referred into the project by CAMHS. Led by a team of specially trained musicians, the project is supported by peer mentors drawn from other SCO projects and members of the CAMHS team.

What is social prescribing?

Social prescribing is designed to support people with a wide range of social, emotional or practical needs, and many schemes are focussed on improving mental health and physical well-being. Social prescribing enables GPs, nurses and other primary care professionals to refer people to a range of local, non-clinical services.

Those who could benefit from social prescribing schemes include people with

mild or long-term mental health problems, vulnerable groups, and people who are socially isolated.

Why are we focusing on mental health?

Mental health is one of the major public health challenges in Scotland today, and unfortunately there are growing numbers of young people struggling with a lack of mental wellbeing. It is estimated that around one in ten children and young people aged between 5 and 16 years old have a clinically diagnosable mental health problem (www.seemescotland.org/).

How might NEW VIBE help?

We know that music can bring people together to create positive, shared experiences. According to project leader Paul Griffiths, “VIBE aims to create an atmosphere of trust, patience and absolute positive regard for all. My hope for the NEW VIBE project is that we can find spaces for these young people to explore their creative voices. We aim to listen to them, find ways to work as artists together, and to provide a place for them to feel heard, supported and encouraged to develop musically and socially.’’

Find out more at sco.org.uk/joinin

EXPLORE BEETHOVEN | MUSICAL CREATIVITY AND DEAFNESS SATURDAY 22 FEBRUARY, 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: sco.org.uk Or you can email: joanna.burns@sco.org.uk or call Joanna on 0131 478 8342

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 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

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–––––

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 release their first album together (Linn Records) this 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. 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

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 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

YOUR SAY WESTER HAILES RESIDENCY

PICK OF THE WEEK

Had the best time working with @SCOmusic Wester Hailes Residency over the past three days. The students came up with a Peace Anthem and I can’t stop singing it. #WeNeedPeace @WHEC_Edin

SCO Vibe headed to Aberdeen last week for a weekend of improvisation, creativity and collaboration with talented young musicians.

Ankna Arockiam, @anknaarockiam

Did you know that @SCOmusic has a residency at WHEC? This week we had a fantastic showcase after a three-day workshop! Make sure to get your ticket to our #WHECWonderland concert to hear the full version. Details coming soon! #Learning #MusicEducation @Edinburgh_CC

WHEC Edinburgh, @WHEC_Edin

HAYDN & SCHUMANN WITH PIOTR ANDERSZEWSKI Friday night with the Scottish Chamber Orchestra. Loved it. #livemusic #glasgow

Joanna Wallace, @JoAhead

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