Mozart Requiem

10 – 12 OCTOBER 2019

MOZART REQUIEM WITH SCO CHORUS –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

Our Edinburgh concert is proudly sponsored by

SEASON 2019/20

A WARM WELCOME

––––– It is a real pleasure to welcome you to tonight's concert.

What a year 2019 is turning out to be for the SCO Chorus! From working with Sir James MacMillan on his highly emotional Seven Last Words from the Cross to experiencing our debut at the BBC Proms in the Royal Albert Hall with Richard Egarr in Handel's Jephtha, this has certainly been a year to remember.

Another first this year will be the conducting debut with the Orchestra of our Chorus Director, Gregory Batsleer, in a programme of Stravinsky and Haydn in December. Greg has done an exceptional job with the Chorus over the last 10 years and we all feel a great sense of camaraderie and pride in being a part of what he has built during his time at the SCO so far.

Tonight is the Mozart Requiem and it was in fact my very first project with the SCO back in May 2006 with Andrew Manze. I vividly remember the first rehearsal with the Orchestra and feeling so honoured to be sharing the stage with this incredible group of musicians and, some 13 years later, that feeling has not changed!

Something I did not understand back in 2006 was the generous support that many people, businesses, charitable trusts and the government give the SCO to help it continue doing all the amazing things it does. I would like to say thank you to Virgin Money for its sponsorship of our Edinburgh concert and to Anne McFarlane for her investment in Greg's work with the Chorus.

I hope you all enjoy tonight's performance as much as we will!

With very best wishes, David Nelson SCO Chorus Tenor and SCO Partnerships Manager

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 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.

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PRINCIPAL OBOE

SUB-PRINCIPAL DOUBLE BASS

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Adrian Bornet Jo and Alison Elliot

Robin Williams Hedley G Wright

Maximiliano Martín Stuart and Alison Paul

SEASON 2019/20

MOZART REQUIEM WITH SCO CHORUS Our Edinburgh concert is proudly sponsored by

––––– Please note, the first half of this evening's concert will be played without a break.

#mySCO

MOZART Symphony No 1 in E-flat, K16 MOZART Adagio and Fugue in C minor, K546 MOZART Masonic Funeral Music, K477 interval of 20 minutes

MOZART Requiem in D minor, K626 (Süssmayr Completion) ––––– KLAUS MÄKELÄ – Conductor SIMONE KERMES – Soprano HANNA HIPP – Mezzo-Soprano MARKUS BRUTSCHER – Tenor MARKUS SUIHKONEN – Bass SCO CHORUS

––––– Thursday 10 October 2019, 7.30pm Edinburgh Usher Hall Friday 11 October 2019, 7.30pm Glasgow City Halls Saturday 12 October 2019, 7.30pm Aberdeen Music Hall –––––

GREGORY BATSLEER – Chorus Director –––––

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.

OUR MUSICIANS

YOUR ORCHESTRA FIRST VIOLIN Stephanie Gonley Mary Ellen Woodside Sophie Mather Kana Kawashima Siún Milne Fiona Alexander Amira BedrushMcDonald Wen Wang SECOND VIOLIN Gordon Bragg Laura Comini Rachel Smith Sarah Bevan Baker Niamh Lyons Catherine James VIOLA Loan Cazal Felix Tanner Brian Schiele Steve King CELLO Su-a Lee Donald Gillan Niamh Molloy Christoff Fourie BASS Nikita Naumov Adrian Bornet Stewart Wilson

OBOE Robin Williams Mary James CLARINET Maximiliano Martín William Stafford BASSOON Javier Biosca Alison Green HORN Gavin Edwards Harry Johnstone TRUMPET Peter Franks Shaun Harrold TROMBONE Duncan Wilson Helen Vollam Rob Collinson TIMPANI Alasdair Kelly ORGAN Tom Wilkinson

PLAYER FEATURE: Nikita Naumov Principal Double Bass –––––

You’ve performed internationally with many incredible orchestras and ensembles, what makes performing with the SCO different?

I remember the first time I played with the SCO, I couldn’t believe the sound of the Orchestra, it was such an incredible standard of music-making. There’s a real passion and energy in the Orchestra, people really care about the musical details.

What do you enjoy most about performing?

It’s all about communicating with my colleagues and friends, who I have huge respect for... making beautiful and exhilarating music together and getting a unique result.

What can you expect from an SCO concert?

Quality! Real feelings, sharing a love of music with our audiences, and real care from the musicians.

What are you most looking forward to this Season?

Playing with our new Principal Conductor Maxim Emelyanychev! He is bringing a huge variety of interesting programmes for us to explore!

ARE YOU A HEARING AID USER?

Please use the Induction Loop systems provided by the venues if available. Hearing aids can cause feedback (a whistling effect) which may be heard by the musicians and other members of the audience.

MOBILE PHONES AND ELECTRONIC DEVICES The Orchestra list was correct at the time of going to print.

Please ensure your mobile phone and any electronic devices are switched off during the concert. The use of cameras and recording equipment is forbidden.

TONIGHT'S REPERTOIRE

WHAT YOU ARE ABOUT TO HEAR –––––

MOZART (1756-1791) Symphony No 1 in E-flat, K16 (1764) Molto allegro Andante Presto

Adagio and Fugue in C minor, K546 (1788)

Masonic Funeral Music, K477 (1785) Requiem in D minor, K626 (1791) completed Franz Xaver Süssmayr I Introitus: Requiem II Kyrie III Sequentia: Dies irae; Tuba mirum; Rex tremendae; Recordare; Confutatis; Lacrimosa IV Offertorium: Domine Jesu; Hostias V Sanctus VI Benedictus VII Agnus Dei VIII Communio: Lux aeterna;

––––– Tonight’s concert begins with one of Mozart’s earliest works, his first symphony, and concludes with the unfinished Requiem, written at the end of his short life. Between these, we hear music which reflects other aspects of his life and work: remarkable contrapuntal skill, seen in the highly accomplished Fugue in C minor; and his involvement in Freemasonry.

On 9 June 1763 the Mozart family set out on a Grand Tour of Europe, which lasted three and a half years, during which time they visited Germany, France, the Low Countries, England and Switzerland.

In each of these places the children performed at court or gave public concerts; Wolfgang’s sister Nannerl was 11 or 12 and Wolfgang was eight years old. Tonight’s symphony was written at their lodgings at 180 Ebury Street in London at some point in 1764, and first performed on 21 February 1765. (The house, now in the borough of Westminster, is marked with a plaque noting the Mozarts’ residence there.)

Their father Leopold had been taken quite seriously ill in 1764, and his doctor’s orders demanded absolute silence, not easy for the two children. During the period of enforced quietness, however, Wolfgang set about writing this, his first symphony.

He had met and spent time with Johann Christian Bach, who had moved to London in 1762. Bach, arguably the most significant of the early classical symphonists, encouraged and inspired the young composer, instructing him in composition and in aspects of orchestral writing. But like all gifted musicians – and Wolfgang was phenomenally gifted at eight years old – he no doubt absorbed and assimilated everything he heard. This would have been as important in his development as any

specific instruction offered him by Bach. No wonder Bach apparently treated him as an equal; their conversations must have been fascinating.

The Symphony in E-flat exhibits considerable technical skill, assured tonal architecture, freshness, vitality and infectious energy. There is no great complexity – but that was not a characteristic of the early classical style in any case. This piece could be readily accepted as the work of any adult symphonist of the period, and shows a remarkable grasp of the symphonic principles of JC Bach. Leopold Mozart sometimes had a hand in his son’s early efforts; we will never know the extent of his involvement, but I like to think Wolfgang did this on his own.

Wolfgang Amadeus Mozart

Like his other very early symphonies, it is in three movements with no minuet and trio, and scored for two oboes, two horns (favoured, apparently by his sister Nannerl)

In December 1783 Mozart wrote the Fugue in C minor K426 for two pianos; in 1788 he prefaced it with an Adagio for strings, and scored the four-voice fugue for the same resources. This is the work we hear tonight;

and strings. The first movement is an expanded binary form, and in some ways reminiscent of Viennese symphonies with which he must have been familiar; dynamic contrast is an important feature. The highly expressive central Andante in the relative key of C minor scores for the instruments in a particularly felicitous way, with sustained chords in the oboes and horns supporting the string textures; the harmonic assurance is remarkable. (Compare the wind scoring in the Masonic Funeral Music.) The final Presto returns to the vigour and ebullience of the opening movement. The whole symphony lasts little more than twelve minutes, but that was standard in early symphonies; it is not short just because it is the work of a child.

it can be played by a string quartet, or by string orchestra. The Adagio contrasts sharply dotted and angular writing with ominous-sounding quiet sections; the Fugue is a brilliant display of traditional contrapuntal skills (seen also in movements of the Requiem, most notably in the Kyrie fugue, repeated as the ‘Cum sanctis tuis’). In the late 1780s Mozart was busily engaged in exploring fugal writing, and of course studied JS Bach. The theme (or ‘subject’) of this C minor fugue is similar in shape to Bach’s Musical Offering subject, in the same key; but there is no evidence that Mozart knew this particular work of Bach, and the theme follows patterns which were standard in 18th-century fugal writing – so there may be no connection. Both subjects begin by outlining a C minor triad, followed by a

falling diminished seventh, and completed by a chromatic melodic phrase. This subject offers opportunities for introducing

completion. The extent of his work has for long been disputed, and undoubtedly there are un-Mozartian infelicities in scoring,

contrapuntal ‘devices’ (as fugal analysts call them) which Mozart explores with great skill and resource. Such ‘devices’ include inversion (turning the theme upside-down), stretto (telescoping entries of the theme so that they overlap) and combining stretto and inversion in various ways and in various keys.

Such cleverness is all very well if interesting music is the result – as it patently is here. In his scholarly book on fugue, Roger Bullivant aptly describes Mozart’s piece as "a tour-deforce in an archaic idiom".

harmony, part-writing and structure which must be laid at Süssmayr’s door. After Mozart’s death, his wife Constanze asked several composers to complete the piece: first Joseph Eybler, who, however, found that the task was too time-consuming, and so returned the score. Constanze then approached several other musicians to do the job, coming to Süssmayr only eventually. We do not know the truth of his claim that he had discussed the completion with Mozart, but it is unlikely. He completed the ‘Lacrymosa’ (Mozart wrote only the first eight bars), and composed the Sanctus, Benedictus and Agnus Dei himself. (He may have been working from Mozart sketches, but there is no evidence.) Structurally, the Sanctus feels too short; and various other criticisms can be made.

We remain in C minor for the Masonic Funeral Music K477, dating from 1785. This key is often referred to as ‘Beethovenian’ (Fifth Symphony, ‘Pathétique’ Sonata), although this obviously makes little sense when considering Mozart – except that we, consciously or unconsciously, make key associations. Before Beethoven, Mozart employed C minor for serious pieces, such as the Fantasia and Sonata K475 for piano, interestingly written also in 1785. Only in 1784 had Mozart become a Freemason, and he quickly rose through the ranks. The Freemasons used music in their various ceremonies, and this piece was first performed during a Masonic funeral service in 1785. An ecclesiastical character is lent by Mozart’s introduction of a Gregorian psalm-tone, the tonus peregrinus. The sound-world of this sombre piece is greatly influenced by the wind scoring; as well as strings, Mozart asks for two oboes, one clarinet, three [optional] basset horns (large clarinets), two horns and a contrabassoon.

Scholars in our own time have attempted more authentic completions, and some have tried to cleanse the Requiem of all Süssmayr, most notably Richard Maunder’s idiomatic attempt in the early 1980s. Maunder talks of Süssmayr’s "dubious craftsmanship and commonplace invention". Despite its shortcomings, however, Süssmayr’s is still probably the most frequently performed version, and he at least had the advantages of living in the 18th century and of knowing Mozart personally. My own view is that Süssmayr has been over-criticised; his wellestablished completion has earned its own place in the repertoire.

This evening we hear the ‘traditional’

The circumstances surrounding the composition of the Requiem are wellknown – it was commissioned anonymously

version of the Requiem with Süssmayr’s

by Count Walsegg who wished to pass it

off as his own work, written in memory of his wife – and have of course become the stuff of myth and legend. But whatever

juxtapositions is found in the ‘Confutatis’, where the energetic dotted figure of the tenors and basses (‘when the damned are

the truth or otherwise of any of this, the Requiem is a towering work of the highest order, combining well-established Austrian ecclesiastical elements with the intensity of mature Mozart. Plainchant, traditional fugal writing and canon are found alongside passages of radiant beauty, such as the ‘Hostias’. Sometimes we are not far from the world of Mozart’s late operas; he seems to have been conceiving the Requiem, La Clemenza di Tito and The Magic Flute at roughly the same time.

Perhaps one of the most striking stylistic

cast away…’) accompanied by tempestuous string writing, is answered by the upper voices’ other-worldly ‘Voca me’ (‘call me to be with the blessed’).

The scoring of the Requiem is unusual and striking: in addition to the customary strings and organ continuo, Mozart writes for two basset horns, two trumpets, timpani and three trombones. And, whatever his limitations, we should be grateful to Süssmayr for his contribution. © John Kitchen

1857 lithograph by Franz Schramm, titled Ein Moment aus den letzten Tagen Mozarts ('Moment from the Last Days of Mozart'). Mozart, with the score of the Requiem on his lap, gives Süssmayr last-minute instructions. Constanze is to the side and the messenger is leaving through the main door.

LIBRETTO

MOZART REQUIEM I. INTROITUS Requiem (Chorus and Soprano solo) Requiem aeternam dona eis Domine: et lux perpetua luceat eis.

Te decet hymnus Deus in Sion; et tibi reddetur votum in Jerusalem.

Requiem (Chorus and Soprano solo) Grant them eternal rest, O Lord, and let perpetual light shine upon them.

Exaudi orationem meam; ad te omnis caro veniet.

Thou art praised, O God, in Zion; and unto Thee shall the vow be performed in Jerusalem.

Hear my prayer; unto Thee shall all flesh come.

Requiem aeternam dona eis Domine: et lux perpetua luceat eis.

Grant them eternal rest, O Lord, and let perpetual light shine upon them.

II. KYRIE (Chorus) Kyrie eleison Christe eleison Kyrie eleison.

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

III. SEQUENTIA 1. Dies irae (Chorus) Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla.

Day of wrath, that day shall dissolve the world in ashes; so spake David and the Sybil.

Quantus tremor est futurus, Quando judex est venturus; Cuncta stricte discussurus!

How great shall be the trembling when the Judge shall come, to weigh all things exactly.

2. Tuba mirum (Soloists) Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.

The trumpet spreading wondrous sound Through the tombs of every land, Summons all before the throne.

Mors stupebit et natura, cum resurget creatura, judicanti responsura.

Death and nature will be astounded, When all creation rises again to answer to the Judge.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

The book of words shall be brought forth, in which everything is contained whereby the world is to be judged.

Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit.

Therefore when the Judge is seated, whatever is hidden will appear, nothing shall remain unpunished.

Quid sum miser tunc dicturus?

Quem patronum rogaturus, cum vix justus sit securus?

What shall I, a wretch, say then?

To which protector shall I appeal, while even the righteous are hardly safe?

3. Rex tremendae (Chorus) Rex tremendae majestatis, qui salvandos salvas gratis, salva me fons pietatis.

King of tremendous majesty, Who freely saves those deserving it, Save me, O fount of mercy.

4. Recordare (Soloists) Recordare Jesu pie, quod sum cause tuae viae, ne me perdas illa die.

Remember, merciful Jesus, that I am the reason for Thy journey; lest Thou lose me on that day.

Quaerens me sedisti lassus, redemisti crucem passus; tantus labor non sit cassus.

Seeking me, Thou didst sink down wearily; Thou hast redeemed me by enduring the cross; Let not such travail be in vain.

Juste Judex ultionis, donum fac remissionis ante diem rationis.

Righteous judge of vengeance, grant me the gift of absolution before the day of retribution.

Ingemisco tanquam reus, culpa rubet vultus meus, supplicanti parce Deus.

I groan as one guilty, my face blushes with guilt, spare the supplicant, O God.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

Thou who didst pardon Mary [Magdalen], and didst listen to the thief, hast given me hope also.

Preces meae non sunt dignae: sed tu bonus fac benigne, ne perenni cremer igne.

My prayers are unworthy, but good Lord, be kind and let me not burn in eternal fire.

Inter oves locum praesta,

Grant me a place among the sheep, and

et ab hoedis me sequestra, statuens in parte dextra.

separate me from the goats, setting me at Thy right hand.

5. Confutatis (Chorus) Confutatis maledictis, flammis acribus addictis,

When the wicked are confounded, and consigned to the bitter flames

voca me cum benedictis.

call me to be with the blessed.

Oro supplex et acclinis, cor contritum quasi cinis: gere curam mei finis.

Kneeling in supplication I pray, my heart is contrite as ashes, take into Thy care mine end.

6. Lacrimosa (Chorus) Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus.

Huic ergo parce Deus.

That day will be full of tears, when from the ashes arises guilty man to be judged; Spare him, therefore, O God!

Pie Jesu Domine dona eis requiem. Amen

Merciful Lord Jesus, grant them rest. Amen.

IV. OFFERTORIUM 1. Domine Jesu (Chorus and soloists) Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu:

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit:

libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum.

Sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti, et semini eius.

deliver them from the lion’s mouth, lest hell swallow them up, and lest they fall into darkness.

But may the holy standard-bearer, Michael, lead them into the holy light; as once Thou didst promise to Abraham and his seed.

2. Hostias (Chorus) Hostias et preces tibi Domine, laudis offerimus: Tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas Domine de morte transire ad vitam.

Quam olim Abrahae promisisti et semini eius.

We offer sacrifices and prayers of praise to Thee, O Lord: Do Thou receive them on behalf of those souls whom we commemorate this day: Grant them, O Lord, to pass from death unto life.

As once Thou didst promise to Abraham and his seed.

V. SANCTUS (Chorus) Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Holy, holy, holy, Lord God of hosts.

Pleni sunt coeli et terra gloria tua.

Osanna in excelsis!

Heaven and earth are full of Thy glory, Hosanna in the highest!

VI. BENEDICTUS (Soloists and Chorus) Benedictus qui venit in nomine Domini.

Osanna in excelsis!

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

Hosanna in the highest!

VII. AGNUS DEI (Chorus) Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccati mundi, dona eis requiem sempiternam.

Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them eternal rest.

VIII. COMMUNIO Lux aeterna (Soprano solo and Chorus) Lux aeterna luceat eis Domine.

May light eternal shine upon them, O Lord.

Cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis Domine; et lux perpetua luceat eis.

Cum sanctis tuis in aeternum, quia pius es.

With Thy saints for ever, for Thou art merciful.

Grant them eternal rest, O Lord, and let perpetual light shine upon them.

With Thy saints for ever, for Thou art merciful.

CONDUCTOR

KLAUS MÄKELÄ

––––– Klaus Mäkelä is the newly appointed Chief Conductor and Artistic Advisor of Oslo Philharmonic, beginning in the 2020/21 season. He is also Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Artist in Association with Tapiola Sinfonietta. From 2019 Mäkelä is also Artistic Director of the Turku Music Festival.

Following a season of stunning international debuts, in 2018/19 Klaus Mäkelä returns to the Oslo Philharmonic Orchestra, MDR Leipzig and Iceland symphony orchestras and Orchestre National du Capitole de Toulouse. Mäkelä also begins his tenures with the Swedish Radio Symphony Orchestra, and Tapiola Sinfonietta where he is embarking on a Beethoven Cycle over the next three seasons. He will also make debuts with the Orchestre de Paris, Orchestre National de Lyon, Frankfurt Radio, Antwerp, Bern, and Malmö symphony orchestras and the Bergen Philharmonic.

Mäkelä has already conducted many Finnish orchestras and now appears regularly with Helsinki Philharmonic, Finnish Radio Symphony Orchestra, Lahti Symphony Orchestra, Tampere and Turku Philharmonics, and the Ostrobothnian Chamber Orchestra.

Last season, Mäkelä debuted with the Royal Stockholm Philharmonic Orchestra, Swedish Radio Symphony Orchestra, Minnesota Orchestra, National Arts Center Orchestra (Ottawa), Tokyo Metropolitan Symphony Orchestra, NDR Radiophilharmonie, Orquesta Sinfonica de Galicia, Orchestre National du Capitole de Toulouse, Finnish Radio, Lahti, Norrköping, Iceland and Kristiansand symphony orchestras, Kammerakademie Potsdam (where he also led from the cello), and Orchestre de Chambre de Lausanne. He also returned to Gothenburg Symphony, Helsinki and Turku philharmonic orchestras.

Also working in opera, Mäkelä made his operatic debut in with the Finnish National Opera conducting The Magic Flute. His relationship with the FNO began in 2016/17 conducting a concertante performance of Erkki Melartin’s Aino.

Klaus Mäkelä plays a Giovanni Grancino cello from 1698, kindly made available to him by the OP Art Foundation.

SOPRANO

SIMONE KERMES

––––– Simone Kermes studied under Professor Helga Forner at the Felix Mendelssohn Bartholdy University of Music and Theatre in Leipzig, her home town. She completed her studies and two additional courses of study with distinction. She is the holder of many prizes awarded at international singing competitions.

She has performed the roles of Konstanze, the Queen of the Night, Fiordiligi, Donna Anna, Giunia, Rosalinde, Lucia, Gilda, Ann Truelove, Alcina and Laodice, among other roles, in the New York, Paris, Lisbon, Copenhagen, Moscow, Beijing and German state opera houses. She has given solo concerts and lieder evenings all over Europe, as well as in the USA, Australia, the Sultanate of Oman, China, Russia, Mexico and Japan.

In addition to many radio and television productions, she has recorded numerous CDs. For her solo albums she has received a number of international awards, such as the annual award of the Deutsche Schallplattenkritik, the Diapason d'Or, Midem Award, Choc Le Monde de la Musique and Gramophone magazine’s Recording of the Month. For her album Colori d'amore she was the winner of the Echo Klassik in the highest category, Female Singer of the Year, in 2011. In 2012 the Munich Abendzeitung awarded Simone Kermes its Star of the Year Award, and in April 2013 she received one of Russia’s highest cultural awards, the Golden Mask, for her performances as Fiordiligi in Mozart’s Così fan tutte at the Tchaikovsky State Academic Theatre in Perm.

Simone Kermes received the Echo Klassik 2014 award for the Opera of the Year.

MEZZO-SOPRANO

HANNA HIPP

––––– With key debuts in recent seasons including Dorabella (Così fan tutte), Der Komponist (Ariadne auf Naxos) and Béatrice (Béatrice et Bénédict), Hanna Hipp continues to prove her versatility in the lyric mezzo-soprano repertoire.

A former member of the Jette Parker Young Artist Programme at the Royal Opera House, Hanna Hipp made her first guest appearance there in Kasper Holten’s production of Die Meistersinger von Nürnberg, conducted by Sir Antonio Pappano. She returns to London this season as Hänsel in Hänsel und Gretel.

Elsewhere this season, Hipp joins Vladimir Jurowski and the London Philharmonic Orchestra for Die Walküre, and returns to Scottish Opera for Varvara in Katya Kabanova.

Following her debut at the Glyndebourne Festival as Flora under Sir Mark Elder, Hipp has maintained a strong relationship with the Company, returning every season since.

Further recent debuts include at Teatro Real Madrid as Frances, Countess of Essex in David McVicar’s new production of Gloriana under Ivor Bolton, and at Dutch National Opera as the Page in Strauss’ Salome under Daniele Gatti. Other highlights include Mercédès (Carmen) at Teatro alla Scala under Massimo Zanetti (L’enfant et les sortilèges) at Teatro dell’Opera di Roma under Charles Dutoit, and Cherubino (Le nozze di Figaro) at both the Turku Music Festival and for Scottish Opera.

In concert, Hanna Hipp joined Orchestre de la Suisse Romande for L’enfant et les sortilèges under Charles Dutoit, and has a repertoire of works including Berlioz’s Les nuits d’été, Handel’s Solomon and Messiah.

She released her debut solo CD on Resonus Classics featuring the songs of Ildebrando Pizzetti.

TENOR

MARKUS BRUTSCHER

––––– Markus Brutscher was born in Landsberg, Bavaria and was brought up in Augsburg.

He studied with Norma Sharp at the Berlin Hans Eisler Hochschule für Musik, then in London with Rudolph Piernay and in Maastricht with Mya Besselink.

Brutscher has performed at all the major music capitals in Europe, North America and Asia and continuously works with leading orchestras in Europe and America, as well as with leading conductors such as Marc Minkowski, Alessandro de Marci, Thomas Hengelbrock, Frieder Bernius, Peter Neumann, Roland Wilson, Michael Schneider, Martin Haselböck, Helmut Müller‐Brühl and others.

Known as a specialist in ancient music, Markus’s repertoire ranges from early Baroque to contemporary musical pieces as well as his operatic repertoire.

Recent opera performances include Traetta's Antigona (Kreon/Adastro) in Antwerp, Salamanca and Bruxelles; Strauss' Die Fledermaus (Eisenstein); Janáček's Katja Kabanova (Kudrias); Mozart's Così fan tutte (Ferrando); Mozart's Die Zauberflöte (Monostatos) at Staatstheater Stuttgart and guest performances in Japan; Brecht/Weill's Mahagony (Jack/Tobby) in Basel; Carl Maria von Weber's Freischütz (Max), Hugo von Hoffmannsthal's Ariadne auf Naxos (Scaramuccio), as well as at Teatro Real in Madrid; and at the Opera Nacional de Paris in Mozart's Die Zauberflöte (Monostatos) conducted

by Marc Minkowski.

Markus Brutscher has made more than 50 recordings with Sony Classic, EMI, Capriccio and Thorofon. The latest releases include Vivaldi Vespro per la Vergine conducted

by Roland Wilson, Mozart's Zaide with the Wiener Akademie conducted by Martin Haselböck, Mendelssohn's Paulus conducted by Doris Hagel, and a solo CD Bleibt ihr Engel, bleibt bei mir with the Orchestra Le Chardon.

BASS

MARKUS SUIHKONEN

––––– Before beginning his singing studies Markus Suihkonen studied the cello for 15 years.

At the Sibelius Academy, he has studied under professors Petteri Salomaa and Jaakko Ryhänen, as well as with Mika Kares. He received his Bachelor of Music from the Sibelius Academy in 2017.

In 2015, Suihkonen won the Timo Mustakallio Singing Competition and was awarded a scholarship from the Martti Talvela Foundation.

Suihkonen made his debut at the Finnish National Opera in the autumn 2015 in Shostakovich's The Nose. In 2016, he sang recitals at the Mariinsky Theatre and at the Savonlinna Opera Festival. Suihkonen has also performed with Finnish orchestras as well as in Sallinen's opera Kullervo at the Savonlinna Opera Festival in 2017.

In the season 2017/18 Markus Suihkonen was part of the Young Ensemble at the Vlaamse Opera in Antwerp, Belgium. He sang the bass part in Mozart's Requiem as well as roles such as Daniel in Donizetti's Le duc d'Albe, Pistola in Verdi's Falstaff, and Publio in Mozart's La Clemenza di Tito.

Suihkonen is currently a member of the Opera Studio in Bayerische Staatsoper in Munich.

During their season 2018/19 he sang roles such as King René in Tchaikovsky's Iolanta and Lesbo in Handel's Agrippinna. In spring 2019 he also performed as Publio in Mozart's La Clemenza di Tito at the Royal Opéra de Wallonie in Liège. ​ he season 2019/20 will inculde new roles in Bayerische Staatsoper, such as Angelotti in T Puccini's Tosca, and Sid in La Fanciulla del West. Markus Suihkonen will also return to the Finnish National Opera in the spring of 2020 as Leporello in Mozart's Don Giovanni.

CHORUS DIRECTOR

GREGORY BATSLEER

––––– Gregory Batsleer has held the position of Chorus Director with the Scottish Chamber Orchestra since 2009, winning widespread critical acclaim for his work. He has led the development of the Chorus, overseeing the growth of vocal coaching and the SCO Chorus Young Singers' programme, and the emergence of annual SCO Chorus Christmas Concerts.

Since 2015, Batsleer has been Chorus Director of the RSNO and in 2017 he took up the position of Choral Director with Huddersfield Choral Society. In summer 2017 he co-founded Festival Voices, a professional vocal ensemble specialising in cross-discipline collaboration and performance. They appeared at this year's London Handel Festival.

He has been Guest Chorus Master for orchestras including Toronto Symphony, Houston Symphony, Orchestra of Opera North and BBC Philharmonic, working with leading conductors including Sir Mark Elder, Edward Gardner, Sir Andrew Davis, Louis Langrée, Maxim Emelyanychev, Sir Roger Norrington, Robin Ticciati, Emmanuel Krivine and Phillipe Herreweghe.

Outside the classical music sphere, Batsleer has worked as collaborator on performances and recordings with artists including Elbow, James, Tim Burgess, Damon Albarn and Clean Bandit. In 2016 he acted as musical consultant on Nick Drake’s new play All the Angels: Handel and the First Messiah at the Sam Wanamaker Playhouse. He has premiered works by David Lang, Colin Metters, Uri Caine, Josephine Stephenson and Ben Parry.

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.

––––– 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 with Chorus Director Gregory Batsleer 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 under the baton of 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 ALAN BECK – Vocal Coach DR PATRICIA MacMAHON – Vocal Coach

SOPRANO Nancy Burns Sally Carr Morven Chisholm Liberty Emeny Lucy Forde Ruth Hoare Lesley Mair Katie McGlew Jenny Nex Alison Robson Eilidh Thomson Alison Williams ALTO Shona Banks Madeleine Baron Dinah Bourne Sarah Campbell Anne Gallacher Claire Goodenough Anne Grindley Caroline Hahn Lorna Htet-Khin Melissa Humphreys Hilde McKenna Jan Raitt Linda Ruxton

TENOR Matthew Andrews Andrew Carvel David Ferrier Sonny Fielding Colin French Lewis Gilchrist Brendan Glen Keith Main David Nelson Michael Scanlon BASS Gavin Easton David Ireland Jamie Lewis Donald MacLeod Richard Murphy Kenneth Murray Douglas Nicholson David Paterson Peter Silver Stephen Todd Roderick Wylie

INTRODUCING

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

––––– In October 2019, with the support of our Creative Learning Partner Baillie Gifford, the Scottish Chamber Orchestra launches 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 will be referred into the project by CAMHS. Led by a team of specially trained musicians, the project will be 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 www.sco.org.uk/joinin

EXPLORE BEETHOVEN | MUSICAL CREATIVITY AND DEAFNESS SATURDAY 2 NOVEMBER, ST CECILIA’S HALL AND MUSEUM, EDINBURGH Join us for a day of insightful talks, interactive workshops and performances

by Scottish Chamber Orchestra musicians, as we explore Beethoven’s life as a deaf musician and composer.

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

All talks and panel discussions will be BSL-interpreted.

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

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

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

PLATINUM

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

SILVER

Mary Law

Fiona Addison

Graham & Elma Leisk

Roy Alexander

Geoff Lewis

Joseph I Anderson

Alan Macfarlane

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

Chris & Claire Fletcher

James Wastle

Dr James W E Forrester

C S Weir

Dr William Fortescue

Alan Welsh

James Friend

Bill Welsh

Archie & Ellen Gibson

Professor Frank Whaling & Mrs Margaret Walsh-Whaling

Andrew Hadden

Andrew Wilson

J Martin Haldane

Roderick Wylie

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 Barry Laurie in memory of Richard Green

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 are to release their first album together (Linn Records) in November 2019. The repertoire – Schubert’s Symphony No 9 in C major ‘The Great’ – is the first symphony Emelyanychev performed with the Orchestra in March 2018. sco.org.uk

Patron HRH The Prince Charles, Duke of Rothesay

BOARD

Life President Donald MacDonald CBE

Chairman Colin Buchan

Principal Conductor Maxim Emelyanychev

Joanna Baker

––––– –––––

Cllr Christina Cannon Glasgow City Council

Principal Guest Conductor Emmanuel Krivine

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

Pick of the week

YOUR SAY PEKKA KUUSISTO DIRECTS BACH & SIBELIUS Brilliant performance from @SCOmusic @GCHalls with @pekka_kuusisto. Bach and Hillborg, Finnish folk tunes and a wonderful Sibelius 5. Bursting with energy and innovation.

David Smythe @Cloagfarm

Absolutely loved tonight's concert by the @SCOmusic and @pekka_kuusisto. The Bach Brandenburg Concerto was as intimate as being in your front room, through to the massive expanses of Sibelius 5th symphony......just stunning!

Johnny Murty @JcsmMurty

The SCO were excited to announce the appointment of Louise Goodwin as the Orchestra's new Principal Timpanist!

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 Comment on Facebook facebook.com/scottishchamberorchestra Share your experience on Twitter @SCOmusic Share your experience on Instagram @scottishchamberorchestra #mySCO

GREGORY BATSLEER TO CELEBRATE 10 YEARS Gregory Batsleer celebrates ten years as @SCOmusic's Chorus Director with a special performance of #Stravinsky and #Haydn.

Friday 6th December.

Glasgow Concert Halls @GCHalls

#mySCO