MAXIM CONDUCTS MOZART’S ‘JUPITER’

14 – 16 NOVEMBER 2019

MOZART ‘JUPITER’ SYMPHONY –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

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SEASON 2019/20

A WARM WELCOME ––––– Welcome, readers (and listeners!) I hope you'll agree it’s been a thrilling Season so far.

Tonight marks the beginning of a new chapter for the Orchestra, with the official debut of our Principal Conductor, Maxim Emelyanychev. Even a brief perusal of the Season brochure might give you a sense of the depth and diversity of Maxim’s musical passions, but will say little of his extraordinary talent, ingenuity and unique musical temperament, and what that means to the Scottish Chamber Orchestra – that you must come and experience for yourselves! His musical background – an exquisite mosaic of Russian-schooled conducting, piano playing (both modern and historical instruments), period performance, opera and chamber music – seems to instantaneously ignite the full potential of the Orchestra, something that was apparent to all of us even after his first day of rehearsal on the Schubert C-major Symphony, back in March 2018.

Those of you who recently heard, whether live or on radio, the SCO chamber concert in this year’s Edinburgh International Festival will already have a sense of Maxim’s mercurial piano playing, its finesse and freedom every bit as compelling as his conducting. (Not to mention his humour: remember the 'encore' after the Dohnanyi Sextet..?) He appears at the keyboard again as soloist in a Mozart Concerto in May and in Schubert’s 'Trout' Quintet with SCO players in March.

As well as some lesser-known works throughout the season, it seems fitting that he includes Mozart in tonight’s programme, and especially the 'Jupiter' symphony, surely one of the composer’s supreme achievements. In a mostly C-major symphony he seems to reveal all our depths and heights, all facets of his musical language beautifully contrasted and integrated throughout. In the joyous, life-affirming Finale, the musical rigour is of a staggering order – I can’t help but think he’s saying (with humility) “Just look how good all of this can be!” And although a long and fruitful journey with Maxim lies ahead, it’s hard to imagine a more meaningful combination of repertoire, orchestra and conductor than this.

Our thanks to you, the audience, for joining us this evening, and especially to Capital Document Solutions, for supporting the concert.

Philip Higham Principal Cello

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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PRINCIPAL CELLO Philip Higham The Thomas Family

SUB-PRINCIPAL CELLO Su-a Lee Bryan Wade

CELLO

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SEASON 2019/20

MAXIM CONDUCTS MOZART'S JUPITER Proudly sponsored by

––––– HERSANT Five Pieces for Orchestra UK PREMIERE PROKOFIEV Violin Concerto No 2 interval of 20 minutes

MOZART Symphony No 41 ‘Jupiter’, K551 ––––– MAXIM EMELYANYCHEV – Conductor CAROLIN WIDMANN – Violin ––––– Thursday 14 November 2019, 7.30pm Edinburgh Queen's Hall Friday 15 November 2019, 7.30pm Glasgow City Halls Saturday 16 November 2019, 7.30pm Aberdeen Music Hall –––––

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 Stephanie Gonley Ruth Crouch Gent Koço Kana Kawashima Siún Milne Amira BedrushMcDonald Fiona Murdoch Carole Howat SECOND VIOLIN Gordon Bragg Laura Comini Sarah Bevan- Baker Stewart Webster Niamh Lyons Ruth Slater Carole Howat

FLUTE Fiona Kelly June Scott OBOE Robin Williams Mary James CLARINET Chi-Yu Mo William Stafford BASSOON Higinio Arrue Alison Green HORN Huw Evans Harry Johnstone

VIOLA Garfield Jackson Felix Tanner Brian Schiele Asher Zaccardelli Kathryn Jourdan

TRUMPET Peter Franks Shaun Harrold

CELLO Philip Higham Su-a Lee Donald Gillan Eric de Wit

PERCUSSION Tom Hunter

TIMPANI Louise Goodwin

PIANO Peter Evans

BASS Nikita Naumov Adrian Bornet 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: Su-a Lee Sub Principal Cello –––––

Three words to describe the the SCO: 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?

Anything featuring the inspirational Pekka Kuusisto, closely followed by a Baroque Dance programme with our fresh new Principal Conductor Maxim Emelyanychev.

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 –––––

HERSANT (b.1948) Five Pieces for Orchestra (1997) SERGEY PROKOFIEV (1891-1953) Violin Concerto No 2 in G minor, Op 63 (1935) Allegro moderato Andante assai Allegro, ben marcato

MOZART (1756-1791) Symphony No 41 in C major, K551 'Jupiter' (1778) Allegro vivace Andante cantabile Menuetto: Allegro Molto allegro

––––– Five Pieces for Orchestra In the last few years I have adopted a short form for some of my solo works (Southern Songs for violin) and chamber music works (Eight pieces for bassoon and instrumental ensemble). My cycle of five pieces for a 'Mozart' orchestra is part of this tendency and is part of the same process: to make use of a motif, a rhythm, a colour and an instrumental combination in a reduced period of time and without developing them.

The first piece is mechanical: squared rhythms, repeated forms, ostinati…

The second is the most simple: for the strings, several chords in thirds (which open out like a fan), several solos for the first chairs (cello, viola, first violin) and several interventions by the woodwinds, once again mechanical. One can detect along the way a short homage to the first of Schönberg's Five Pieces Op 16.

The third is the shortest, lasting barely one minute. It is a Scherzo – or a Toccata – in the form of perpetual movement.

The fourth piece is the most developed.

It is an orchestration of my Elégie for string quartet and for this purpose I have substantially reworked the page written in 1990.

The final piece appears as a grand crescendo leading to the repetition (modified and shortened) of the first piece. In a certain sense, this piece plays a recapitulative role in this cycle.

The Five Pieces for Orchestra were commissioned by Musique Nouvelle en

Philipe Hersant

Sergei Prokofiev

Liberté (Free New Music) and were written in 1997 for the Symphonic Orchestra of Nancy. They are dedicated to Jérôme

it a more intimate work than his more obviously virtuosic First Violin Concerto of 1917, saying later that he had originally

Kaltenbach.

conceived it as a "concert sonata for violin and orchestra".

© Philippe Hersant

Prokofiev’s Second Violin Concerto was commissioned in 1935 for the violinist Robert Soetens by a group of his admirers.

He gave the premiere of the concerto in Madrid in December 1935, as part of a concert tour with the composer, which also took in Portugal and North Africa.

It is one of the first products of a move towards greater lyricism and simplicity on Prokofiev’s part. The soloist’s unaccompanied opening melody was one which the composer first noted down in December 1934. It was typical of his method of working that he should write ideas down as they occurred to him and only later consider how they would fit in to a larger work.

It was the last work Prokofiev completed before leaving Paris, where he had spent most of the 1920s, to return to his native Russia early the following year.

The second important theme is also played by the solo violin, after a short linking passage which provides a glimpse of Prokofiev’s characteristic quick, nervous

He began it with the intention of making

energy. The interplay between the two

Violin Concerto No 2 in G minor

contrasting sorts of material forms the basis for the whole first movement.

A delicate arpeggio figure from woodwind and pizzicato strings provides the backdrop to the second movement’s main theme, another expansively lyrical tune for the soloist. The fragile beauty of this music is breathtaking, with subtle, finely-shaded writing for both soloist and orchestra.

The finale is a complete contrast, a tripletime piece whose robust energy maintains a virtually unbroken span. As usual in a concerto finale, the writing for the soloist is at its most virtuosic, though it is not so overtly flamboyant as to detract from the purely musical processes at work.

Extra percussion instruments add colour to the scoring, with Prokofiev giving a masterclass in the art of using castanets without the music acquiring a bogus Spanish flavour.

Commemorative plaque placed on Teatro Monumental in Madrid.

© Mike Wheeler

Symphony No 41 in C major, 'Jupiter' C major is Mozart’s Olympian key, nowhere more so than in the last and most dazzling of his symphonies, K551, traditionally known as the 'Jupiter'. Though the title was not Mozart’s – the astute Johann Salomon, Haydn’s London impresario, is said to have thought of it – it is thoroughly in keeping with a work which progresses from a seemingly simple opening flourish to a finale which is an unsurpassed example of sustained polyphonic panache.

financial reasons, he had moved house to the Viennese suburbs, though he could still, as he said, afford a cab into town. However, in spite of what he called "black thoughts", inspiration was running high. The superb symphonic triptych of which the 'Jupiter' forms the completion was composed – for no obvious reason – between June and August, though some of the music was probably already in his head, along with the great C minor Adagio and Fugue for strings and two of his finest piano trios.

During the summer of 1788, when it was

But if the use of conventional eighteenthcentury odds and ends in the 'Jupiter' Symphony – the first movement’s initial call to attention and the four notes which

written, all was not well with Mozart. For

launch and propel the finale – suggest

Johann Peter Salomon

Wolfgang Amadeus Mozart

that it was written in haste, what Mozart does with these seems anything but rushed. Everything, indeed, is fashioned with the utmost poise, and with the most precise sense of timing. The way the first movement’s opening phrase returns, after a mere twenty bars, in counterpoint with a chirpy woodwind overlay and a glowing horn part is an example of how classical formality in this symphony becomes witty and sublime. Even the insertion, at one point in the movement, of what sounds like a merry little afterthought of a melody – it was written earlier that year for a baritone friend (the first Viennese Don Giovanni) to sing in another composer’s opera – is transformed into a stroke of genius.

atmospherically muted strings, exquisite wind parts, and moods gradually less calm than they are at the start, maintains the inspiration. Even the silky opening theme proves subject to disruption. The idiosyncratic Minuet, too, has something unstable about its stomping dance-beat, puncturing the suavity of the violin line.

The central Trio section is notable for its preliminary use of the four-note motif which will serve as the finale's launchingpad. But it is in the finale as a whole – a contrapuntal juggling act in which more and more balls are tossed into the air and effortlessly spun – that the symphony conspicuously reaches its exhilaratingly relentless apotheosis.

The nocturnal slow movement, with its

© Conrad Wilson

CONDUCTOR

MAXIM EMELYANYCHEV

––––– An outstanding representative of the younger generation of Russian conductors, Maxim Emelyanychev was born in 1988 to a family of musicians. He received his music education in Nizhny Novgorod (conducting and piano) and in Gennady Rozhdestvensky’s conducting class at the Moscow Tchaikovsky Conservatory.

He is a winner of numerous international awards. In 2013 he was awarded the highest Russian theatre prize, The Golden Mask, for his participation as the fortepianist in a stage production of Le nozze di Figaro at the Perm Opera Theatre, conducted by Teodor Currentzis and recorded by Sony Classical. In 2019 he won the Newcomer category in the prestigious International Opera Awards.

Since his conducting debut at 12, he has worked with many Russian and international orchestras both baroque and symphonic. In the last six years he has become the Principal Conductor of the Scottish Chamber Orchestra, Il Pomo d’Oro Orchestra and the NizhnyNovgorod Soloists Chamber Orchestra.

He collaborates with such renowned artists as Joyce DiDonato, Franco Fagioli, Riccardo Minasi, Max Emanuel Cencic, Xavier Sabata, Dmitry Sinkovsky, Marie-Nicole Lemieux, Alexei Lubimov, Teodor Currentzis, Patrizia Ciofi, Stephen Hough, Richard Goode and Katia and Marielle Labèque.

In 2019/20, as well as taking up his position as Principal Conductor of the SCO, he conducts the Orchestra of the Age of Enlightenment in two of the major international opera institutions: Glyndebourne Festival (Handel Rinaldo, with Jakub Orlinski in the title role) and the Royal Opera House (Handel Agrippina, with Joyce DiDonato in the title role).

January 2020 sees him make his North American guest conducting debut in Seattle, and other engagements include Berliner Konzerhausorchester, Iceland Symphony and St Petersburg Philharmonic.

Maxim Emelyanychev’s CD of Mozart Sonatas on fortepiano (Aparté) has won several prestigious awards, including a Choc of Classica 2018 and the ICMA 2019. In October 2018, his CD of Beethoven Symphony No 3 and Brahms Haydn Variations with the Nizhny-Novgorod Soloists Chamber Orchestra was released on Aparté. His first recording with the Scottish Chamber Orchestra, Schubert Symphony No 9 (Linn), was released in 2019.

VIOLIN

CAROLIN WIDMANN

––––– A wonderfully versatile musician, Carolin Widmann’s activities span the great classical concerti, new commissions specially written for her, solo recitals, a wide variety of chamber music and, increasingly, period instrument performances, including play/direction from the violin.

Widmann was awarded the Bayerischer Staatspreis for music in 2017, honouring her individuality and exceptional musicianship. Widmann was also the recipient of an International Classical Music Award (Concerto category) for her critically-acclaimed recording of both Mendelssohn’s and Schumann’s Violin Concertos with the Chamber Orchestra of Europe, released in August 2016 by ECM and which Widmann herself directed from the violin.

Named ‘Musician of the Year’ at the International Classical Music Awards 2013, Widmann has enjoyed collaborations with some of the world’s leading orchestras including the Berliner Philharmoniker, Orchestre de Paris, Symphonieorchester des Bayerischen Rundfunks, Royal Stockholm Philharmonic, Seattle Symphony, Sydney Symphony, Deutsches SymphonieOrchester Berlin, Leipzig Gewandhaus, Tonhalle Orchester Zurich, Czech Philharmonic and Philharmonia Orchestra, with distinguished conductors such as Sir Simon Rattle, Riccardo Chailly, Sir Roger Norrington, Edward Gardner, Sakari Oramo, Vladimir Jurowski, Daniel Harding, Christoph von Dohnányi and François-Xavier Roth. She has also appeared at such widely known festivals as Berliner Festspiele, Salzburg, Lucerne, Festival d' Automne Paris, Ravinia Festival and Mecklenburg-Vorpommern.

Highlights of Widmann’s 2019/20 season include return invitations to Deutsches SymphonieOrchester Berlin, Dresden Philharmoniker, BBC Symphony Orchestra London and NDR Elbphilharmonie Orchester with Alan Gilbert at the Elbphilharmonie Hamburg and Beethovenfest Bonn. Widmann will also return to the São Paulo Symphony for a play/direct project, as well as to the Alte Oper Frankfurt for her debut with Accademia Bizantia on baroque violin. Other debuts this season include the Orchestre de Chambre de Paris, Los Angeles Philharmonic, Mahler Chamber and Scottish Chamber Orchestras, as well as the Orpheus Chamber Orchestra for her New York concerto debut.

Since 2006, she has been professor of violin at Leipzig’s University of Music and Theatre “Felix Mendelssohn-Bartholdy”.

— 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

PHILIPPE HERSANT

––––– Born in Rome in 1948, French composer Philippe Hersant studied at the Paris Conservatory under André Jolivet. Following this, he received bursaries to work at the Casa Velazquez, Madrid (1970-72) and the Villa Médici, Rome (1978-80). In 1973 he became a producer for Radio France. Over the course of his career, he has won many awards, including the Prix Arthur Honegger in (1994) and the Prix Maurice Ravel (1996), as well as three SACEM awards, including the Grand Prix de la Musique Symphonique (1998). He also acted as composer-in-residence for the Orchestra National de Lyon between 1998 and 2000.

Renowned for his lyricism and originality of his imagination, Hersant has composed works in a wide variety of genres. His works often have neo-Classical and neo-Baroque elements, making references to the styles of composers in the past. He is often noted for his talents in orchestration, with musicologist Myriam Soumagnac saying "he has developed a mastery of orchestration which is as apparent in his handling of the full orchestra as in his skilful and often original exploitations of specific instrumental groups".

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 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: 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

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Thanks also to our Bronze Patrons and Patrons, and to all those who wish to remain anonymous.

ABOUT US

––––– The internationally celebrated Scottish Chamber Orchestra is one of Scotland’s National Performing Companies.

Formed in 1974 and core funded by the Scottish Government, the SCO aims to provide as many opportunities as possible for people to hear great music by touring the length and breadth of Scotland, appearing regularly at major national and international festivals including the Edinburgh International Festival, BBC Proms, and by touring internationally, as proud ambassadors for Scottish cultural excellence.

Making a significant contribution to Scottish life beyond the concert platform, the Orchestra works in schools, universities, colleges, hospitals, care homes, places of work and community centres through its extensive Creative Learning programme.

The SCO has long-standing associations with many eminent guest conductors including Conductor Emeritus Joseph Swensen, Principal Guest Conductor Emmanuel Krivine, François Leleux, Pekka Kuusisto, Richard Egarr, Andrew Manze and John Storgårds.

The Orchestra also enjoys close relationships with many leading composers and has commissioned almost 200 new works, including pieces by the late Sir Peter Maxwell Davies, Sir James MacMillan, Martin Suckling, Einojuhani Rautavaara, Mark-Anthony Turnage, Nico Muhly and Associate Composer Anna Clyne.

An exciting new chapter for the SCO 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 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 MOZART, HAYDN & CLYNE

NEW SCO RECORDING IS NOW AVAILABLE! The Orchestra’s first recording with Maxim Emelyanychev – Schubert: Symphony No 9 in C major 'The Great' – is now available to stream on Apple Music and to download on iTunes.

@SCOmusic super concert of Clyne & Haydn.

How daring Haydn’s 60th must have seemed in 18th century – and a great inspiration for @annaclyne who has created a wonderful piece of music. Orchestra rose to the challenge.

Fantastic evening.

Kate Main @tram_cat Another joy of an evening @SCOmusic including premiere of new @annaclyne work. @queens_hall Just fabulous.

Andrew Wilson @Andrew Wilson

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

Wow, what a fantastic evening from @SCOmusic. Beethoven, Mozart and Haydn, plus two pieces from @annaclyne – loved both.

So much music and all brought to excited life by Pekka Kuusisto.

@WeeKeef

FREE CONCERT TICKETS FOR UNDER 18S I assumed my children would not like classical music until my son visited a concert with school and all my children wanted to go. They loved it so much four of them now play musical instruments.

Who knows what a concert can do for your kids? @SCOmusic

Gilly Herbert @GillyHerbert

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