New Year Gala Concert

1,3,4,5 JANUARY 2020

NEW YEAR GALA CONCERT –––––

2019/2020 CONCERT PROGRAMME SCO.ORG.UK

SEASON 2019/20

A WARM WELCOME

––––– As Chair of this fantastic Orchestra and on behalf of everyone at the SCO, I would like to wish you all a very Happy New Year!

We are delighted to be celebrating with you by welcoming back our dear friend and Conductor Emeritus Joseph Swensen. Renowned for his unwavering energy and creativity, Joseph will have you on the edge of your seat, entertaining you with some of the finest music from around the world, including some classic New Year favourites from the Strauss family.

2020 promises to be a very busy one for the SCO with lots for audiences to enjoy between now and the end of our Season in May. Additionally, the Orchestra will undertake a brief tour to Asia before our annual summer tours all over Scotland, and then will be visiting the Mid-West of the United States in October. Do keep up to date with our activities by signing up for our monthly enews or by visiting sco.org.uk.

I do hope you enjoy the concert and I look forward to seeing you at our concerts in 2020.

Colin Buchan Chairman

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.

CORE FUNDING -----

BENEFACTOR -----

LOCAL AUTHORITIES ----

SISTER ORGANISATION -----

SCO AMERICA sco-america.org

MAJOR PARTNER -----

CREATIVE LEARNING PARTNER -----

BUSINESS PARTNERS -----

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 -----

CREATIVE LEARNING FUND -----

Colin and Sue Buchan Donald and Louise MacDonald

Claire and Mark Urquhart Paul and Clare Rooney

INTERNATIONAL TOURING FUND -----

PRODUCTIONS FUND -----

Gavin and Kate Gemmell David and Maria Cumming

The Usher Family

ANNUAL FUND -----

James and Patricia Cook

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

Eric de Wit Jasmine Macquaker Charitable Fund

SUB-PRINCIPAL DOUBLE BASS Adrian Bornet Jo and Alison Elliot

SUB-PRINCIPAL FLUTE Claire and Mark Urquhart

PRINCIPAL OBOE Robin Williams Hedley G Wright

PRINCIPAL CLARINET Maximiliano Martín Stuart and Alison Paul

PRINCIPAL TIMPANI Louise Goodwin Geoff and Mary Ball

SEASON 2019/20

NEW YEAR GALA CONCERT Collection in aid of Marie Curie Cancer Care

––––– JOSEPH SWENSEN – Conductor HARRIET EYLEY – Sopranno –––––

–––––

J STRAUSS II Overture, Die Fledermaus

Wednesday 1 January 2020, 3pm Usher Hall, Edinburgh

GRIEG Peer Gynt Suite No 1 LEHAR Meine Lippen, sie küssen so heiß (Giuditta) Sung in German LEHAR Vilja (The Merry Widow) LUMBYE Copenhagen Steam Railway Galop interval of 20 minutes

NIELSEN Overture, Maskerade J STRAUSS II Audition Aria, Die Fledermaus Sung in English J STRAUSS II Laughing Song, Die Fledermaus Sung in English

Friday 3 January 2020, 7.30pm Easterbrook Hall, Dumfries Saturday 4 January 2020, 7.30pm Ayr Town Hall Sunday 5 January 2020, 3pm Caird Hall, Dundee

Our Dundee concert is kindly supported by

Our Ayr concert is kindly supported by

J STRAUSS II Roses from the South LUMBYE Champagne Galop J STRAUSS II An der schönen, blauen Donau

We also acknowledge the support of ‘South Ayrshire Charitable Trust’

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 #SCO

YOUR ORCHESTRA FIRST VIOLIN Charlotte Scott Ruth Crouch Bas Treub Amira Bedrush-McDonald Carole Howat Wen Wang Amy Cardigan Gabi Maas SECOND VIOLIN Gordon Bragg Laura Comini Sarah Bevan-Baker Jessica Coleman Niamh Lyons Rachel Smith VIOLA Nicholas Bootiman Felix Tanner Brian Schiele Steve King CELLO Philip Higham Donald Gillan Christoff Fourie Robert Anderson BASS Nikita Naumov Adrian Bornet

FLUTE Jack Welch Jimena Vicente

TRUMPET Peter Franks Shaun Harrold Brian McGinley

PICCOLO Lee Holland

TROMBONE Duncan Wilson Cillian Ó Ceallacháin Alan Adams

OBOE Robin Williams Kirstie Logan CLARINET Maximiliano Martín Cathal Killeen BASS CLARINET Lawrence Gill

TUBA Craig Anderson TIMPANI Louise Goodwin

BASSOON Alison Green Gillian Horn

PERCUSSION Kate Openshaw Alasdair Kelly Colin Hyson Jack Fawcett

CONTRABASSOON Peter Wesley

HARP Sharron Griffiths

HORN Boštjan Lipovšek Harry Johnstone Jamie Shield Ian Smith Christine Smith

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.

The Orchestra list was correct at the time of going to print.

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.

REPERTOIRE

WHAT YOU ARE ABOUT TO HEAR J STRAUSS II (1825-1899) Overture, Die Fledermaus GRIEG (1843-1907) Peer Gynt Suite No 1 LEHÁR (1870-1948) Meine Lippen, sie küssen so heiß (Giuditta) LEHÁR (1870-1948) Vilja (The Merry Widow) LUMBYE (1810-1874) Copenhagen Steam Railway Galop interval of 20 minutes

NIELSEN (1865-1931) Overture, Maskerade J STRAUSS II (1825-1899) Audition Aria, Die Fledermaus J STRAUSS II (1825-1899) Laughing Song, Die Fledermaus J STRAUSS II (1825-1899) Roses from the South LUMBYE (1810-1874) Champagne Galop J STRAUSS II (1825-1899) An der schönen, blauen Donau

––––– Time, once more, to christen the New Year in the traditional style: champagne, dance and a generous slug of song. This year, the Scottish Chamber Orchestra's Viennese canon is complemented by a concert band tradition far to the north in Scandinavia, headed by the 'Danish Johann Strauss', Hans Christian Lumbye, who presided over concerts in Copenhagen's newly inaugurated Tivoli Gardens. If the Viennese sound was rich, the Copenhagen sound prized clarity, for Lumbye favoured flutes and brass over the Strauss family's clarinets and oboes. But their subject matter was similar and always light-hearted, whether in deftly conjuring up a full steam train from a few bells, whistles and strings, to satirising the social mores of the time.

Johann Strauss II, 'The Waltz King', was staggeringly popular as a composer of dance music in his own lifetime, yet he also wrote a large number of satirical operettas lampooning contemporary Viennese attitudes, of which the effervescent Die Fledermaus ('The Bat') is his most popular. An enjoyably frivolous concoction of fancy dress, philandering and practical jokes, with a witty musical score that waltzes its operatic protagonists in and out of dramatic trouble at every turn, it was a huge success on its premiere in 1874, the overture a joyous run-through of the highlights to come.

Premiering the following decade and roughly 850 miles north in Christiana (Oslo), the far less frivolous but no less popular Peer Gynt Suite No 1

end – aside from the notion of love itself. When Giuditta's duty-bound lover moves on with his garrison, she finds work as a dancer in a city nightclub, singing this bravura aria in somewhat immodest response to the attentions of her lascivious suitors.

Johann Strauss II

If the mythological beings and secret caverns of Peer Gynt are sometimes a figment of Peer's imagination, or dreams which, in some surreal twist, become reality, then so too the maid of the woods, the elusive fairy Vilja from Lehar's most popular operetta, The Merry Widow (1905). Hanna Glauwari, the eponymous rich widow, is plagued by suitors of the gold-digging variety, desperate to stop her marrying outside the tiny Balkan state from which she hails. Amused, she throws a lavish party, singing this ethereal aria of the

(1888) by Edvard Grieg was derived from his extensive incidental music for Henrik Ibsen's verse play, Peer Gynt (1876). Filled with Norwegian folk characters, and critiquing contemporary Norwegian values, the play follows a commitment-shy peasant from Norway to North Africa in an outlandish deconstruction of the overarching grip of the ego. “It is a terribly unmanageable subject,” Grieg lamented, later re-orchestrating the work into highlights, from the glorious sunrise of Morning to the cat and mouse chase In the Hall of the Mountain King.

The song selection in this concert begins in North Africa with Meine lippen sie küssen so heiß from Franz Lehar's 1934 operetta, Giuditta, essentially a Moroccan Carmen, although no-one dies at the tragic

Edvard Grieg

folk tale of a hunter who, once kissed by Vilja, never sees her again.

It may seem something of a leap to Lumbye's Copenhagen Steam Railway Galop ('Kjöbenhavns JernbaneDamp-Galop'), but his imaginative evocation of a train in full steam, written for the 1847 opening of the first Danish railway (Copenhagen to Roskilde), seems to emerge from similarly mythologising mists, before the rude clanging of the steam train bell brings the musical apparition to life. Lumbye, a prolific composer and conductor originally inspired by the music of Johann Strauss I, adds his own inventive galop – a popular dance – to the existing Viennese roster of steam train-inspired dances.

Hans Christian Lumbye

Carl Nielson's Maskarade is known as Denmark's national opera, a witty, orchestrally inventive concoction based on the play by Ludvig Holberg, telling of a betrothed couple who have never met, unwittingly falling for each other at a masked ball, which premiered in the same year as Lehár's Merry Widow. The frothy antithesis of his more brooding symphonies, although hiding a socially-conscious core, it is largely known outside Denmark for the sparkling overture, completed just eight days before curtain up.

Disguise is also key to Johann Strauss's Die Fledermaus, and the two arias from this supreme comic operetta evidence a plot driven by deception. Adele's Audition Song ('Spiel Franz Lehár

ich die Unschuld vom Lande'),

written for lyric coloratura soprano, has disguised maidservant Adele showing off her acting prowess to an

and satirising Austrian royalty, which opened to resounding popular acclaim in 1880, six years after the premiere

equally dissembling rich benefactor.

Much depends on the ability of the soprano to milk every last bit of comic drama from Strauss' music. So too with the Laughing Song ('Mein Herr Marquis'), a delightful bit of waltzing cock-a-snookery in which the quickwitted Adele, when recognised by the master of the house as his maidservant (and in his wife's best dress too) mocks him roundly for daring to suggest such a fine lady as herself could be a maid.

of Fledermaus. Strauss, ever canny, doubted its long term prospects and so drew its best tunes into this glimmering, stately waltz published a mere four days after the premiere.

Strauss' enduringly popular waltz, Roses from the South ('Rosen aus dem Süden'), was compiled from the hit songs of his operetta The Queen's Lace Handkerchief ('Das Spitzentuch der Königin'), set in Cervantes' Portugal

Lumbye had celebrated the popularity of his own dance venture some 35 years earlier, composing the Champagne Galop ('Champagnegaloppen') to celebrate the second anniversary of the opening of the Tivoli in his usual descriptive style: a flash-in-the-pan trumpet intro, the pop of a champagne cork, a glass-clinking xylophone and rowdy mutterings in the orchestra.

Lumbye's grandson recalled that the piece was improvised on the piano to describe a reception at the British Embassy in Copenhagen to which the composer had been invited. Waylaid by a more familiar drinking spot en route, he had never arrived at the Embassy, which may account for his somewhat riotous musical description.

Strauss' best known waltz, The Blue Danube ('An der schönen blauen Donau') was written in 1867 for the Vienna Mens' Chorus, as a means of cheering up the Viennese, mired in economic recession after the Austrian defeat by Prussia in the Seven Weeks War in 1866. The clunky satirical words penned by the society's poet were never popular, and what is left is the archetypal Strauss waltz, the traditional finale to any Viennese New Year Concert.

Carl August Nielsen

© Sarah Urwin Jones

LIBRETTO LEHÁR Meine Lippen, sie küssen so heiß Ich weiß es selber nicht, warum man gleich von Liebe spricht, wenn man in meiner Nähe ist, in meine Augen schaut und meine Hände küsst.

I don't understand myself, why they keep talking of love, if they come near me, if they look into my eyes and kiss my hand.

Ich weiß es selber nicht warum man von dem Zauber spricht, dem keiner widersteht, wenn er mich sieht wenn er an mir vorüber geht.

I don't understand myself, Why they talk of magic, you fight in vain, if you see me If you pass me by.

But if the red light is on In the middle of the night And everybody listens to my song, Then it is plain to see:

My lips, they give so fiery a kiss, My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love!

My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, 'cause I know!

My lips give so fiery a kiss!

In my veins runs a dancer's blood, Because my beautiful mother Was the Queen of dance in the gilded Alcazar.

She was so very beautifull, I often saw her in my dreams, If she beat the tamburine, to her beguiling dance All eyes were glowing admiringly!

Doch wenn das rote Licht erglüht Zur mitternächt'gen Stund Und alle lauschen meinem Lied, dann wird mir klar der Grund: Meine Lippen, sie küssen so heiß Meine Glieder sind schmiegsam und weiß, In den Sternen da steht es geschrieben: Du sollst küssen, du sollst lieben!

Meine Füße sie schweben dahin, meine Augen sie locken und glüh'n und ich tanz' wie im Rausch den ich weiß, meine Lippen sie küssen so heiß!

In meinen Adern drin, da rollt das Blut der Tänzerin Denn meine schöne Mutter war Des Tanzes Königin im gold'nen Alcazar.

Sie war so wunderschön, ich hab' sie oft im Traum geseh'n.

Schlug sie das Tamb urin, zu wild im Tanz, dann sah man alle Augen glühn!

Sie ist in mir aufs neu erwacht, ich hab' das gleiche Los. Ich tanz' wie sie um Mitternacht Und fühl das eine bloß: Meine Lippen, sie küssen so heiß!

Meine Glieder sind schmiegsam und weiß, In den Sternen da steht es geschrieben: Du sollst küssen, du sollst lieben!

Meine Füße sie schweben dahin, meine Augen sie locken und glüh’n und ich tanz’ wie im Rausch, denn ich weiß, meine Lippen sie küssen so heiß!

She reawakened in me, mine is the same lot.

I dance like her at midnight And from deep within I feel:

My lips, they give so fiery a kiss!

My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love!

My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, 'cause I know!

My lips give so fiery a kiss!

LEHÁR Vilja (The Merry Widow) Es lebt’ eine Vilja, ein Waldmägdelein, Ein Jäger erschaut' sie im Felsengestein!

Dem Burschen, dem wurde so eigen zu Sinn, Er schaute und schaut auf das Waldmägdlein hin.

There once was a Vilia, a maid of the woods, A hunter espied her amidst rocky cliffs.

The lad had a feeling, so strange in his heart, He looked and he looked at the maid in the woods.

Und ein niegekannter Schauer Fasst den jungen Jägersmann; Sehnsuchtsvoll fing er still zu seufzen an!

And an unfamiliar tremor Seized the young huntsman.

Longingly, quietly, he began to sigh.

Vilja, o Vilja, Du Waldmägdelein, Fass' mich and lass' mich Dein Trautliebster sein.

Vilja, o Vilja, Was tust du mir an?

Bang fleht ein liebkranker Mann.

Vilia, oh Vilia, You maid of the woods, Take me and make me Your dearest true love.

Vilia, oh Vilia, What grief do you bring?

Fearfully a lovesick man pleads.

Das Waldmägdlein streckte die Hand nach ihm aus, Und zog ihn hinein in ihr felsiges Haus!

Dem Burschen die Sinne vergangen fast sind, So liebt und so küsst gar kein irdisches Kind.

The wood-maid extended him her hand, And drew him within to her dim rocky cave; The lad almost swooned as his senses reeled, For no human maiden so loved and so kissed.

Please turn the page quietly...

Als sie sich dann satt geküsst, Verschwand sie zu derselben Frist!

Einmal noch hat der Arme sie gegrüßt.

When she’d had enough of kissing, She vanished suddenly.

Just once more could the poor man sigh:

Vilja, o Vilja, Du Waldmägdelein, Fass' mich and lass' mich Dein Trautliebster sein.

Vilja, o Vilja, Was tust du mir an?

Bang fleht ein liebkranker Mann.

Vilia, oh Vilia, You maid of the woods, Take me and make me Your dearest true love.

Vilia, oh Vilia, What grief do you bring?

Fearfully a lovesick man pleads.

J STRAUSS II Audition Aria / How can you be so ungallant?

How can you be so ungallant? It’s easy to see I have talent, and if I were trained for the stage I’m certain I’d soon be the rage!

Housework I never did care for, but acting I know I’ve a flair for; a Queen or a coy Village Belle, [I]play them [both]equally well!

Imagine, first, Sweet Seventeen parading on the village green; A handsome boy comes strolling by; I glance at him with roguish eye, and soon he’s sitting close to me beneath a shady apple tree!

La la la la la la la, la!

What the stage will miss if a gift like this should have no chance to be displayed! I could win such fame! ‘Twill be a shame if I remain a maid!

And now; Greet the Queen of France with due pomp and circumstance! Hear the crowd, on ev’ry side, Cry out “Ah! She is so dignified!”

All make way, all greet me with a cheer, How they shout!

How they cheer!

I wave a hand, with a bow, and smile serene; Queen of Hearts, a Royal Queen!

Ah! What the stage will miss if a gift like this should have no chance to be displayed! I could win such fame! ‘Twill be a shame if I remain a maid!

Now I’m a flighty Marchioness, Ah! My Husband bores me, I confess, Ah! A dashing Count says “Fly with me!” Ah! “You love me still, come Fly with me” Ah! For two whole acts he’s kept at bay but in the third my strength gives way, A step, a cry, the door, what’s that? It is the Marquis on the mat, ah!

“Forgive me dear” the curtain falls, ah!

A storm of cheering from the stalls, ah!

English Libretto: Combination of Phil Park (Copyright 1959, Weinberger) and Alfred Kalisch (Copyright 1933 Cranz & Co)

J STRAUSS II Laughing Song My dear Marquis, it seems to me you should employ more tact! If I may advise, better use your eyes, and think before you act! This hand is too fine and too sweet, ah, this ankle too slim and petite, ah, the fashions I am wearing, the language and the bearing, such polish and finesse no chambermaids possess! You must admit it, come what may, that was an awful thing to say. What a funny, ha, ha, ha, situation, ha, ha, ha, so excuse me, ha, ha, ha, my elation, ha, ha, ha, ha, ha, ha. So funny a Marquis is he!

Just look at me and you will see that nature did her best! If you think my face is my only grace, then please observe the rest! Just take one more look and observe, ah, the exquisite line and the curve, ah, My charming conversation displays imagination. No chambermaid would be as great a hit as me. I proved my point sufficiently, you owe me an apology. What a funny, ha, ha, ha, situation, ha, ha, ha, so excuse me, ha, ha, ha, my elation, ha, ha, ha, ha, ha, ha!

English Libretto: Ruth and Thomas Martin (Copyright 1977, G. Shirmer)

MARIE CURIE IN SCOTLAND You probably won’t be aware but 30% of the people that Marie Curie nurses care for don’t have cancer; they have terminal illnesses such as COPD, Motor Neurone Disease, Heart Failure and Dementia. Marie Curie Nurses provide high quality nursing, free of charge, to all patients and families across Scotland.

Every day of your life matters – from the first to the last. We believe everyone living with a terminal illness should be able to get the most from the time they have left, however hard that may sometimes feel. Our nurses care for you in your home, when you need them most, day or night. Our hospices are at the heart of communities around Scotland and the UK. We provide practical information and support for you and your loved ones when you don’t know what to do next or just need to talk. We’ll be at your side every step of the way, bringing light in the darkest hours.

Please give generously at the end of the concert – your support makes such a huge difference.

Enjoy the concert!

For questions about terminal illness call the Marie Curie Support Line on 0800 090 2309 or visit mariecurie.org.uk/help

CONDUCTOR

JOSEPH SWENSEN

––––– Joseph Swensen is Artistic Director of the NFM Leopoldinum Orchestra Wrocław, Conductor Emeritus of the Scottish Chamber Orchestra and Principal Guest Conductor of the Orquesta Ciudad de Granada. He has previously served as Principal Guest Conductor and Artistic Advisor of the Orchestre de Chambre de Paris (2009-2012), Principal Conductor of the Scottish Chamber Orchestra (1996-2005) and Principal Conductor of Malmö Opera (2005-2011). A sought-after pedagogue, Joseph Swensen teaches conducting, violin and chamber music at the Royal Conservatoire of Scotland in Glasgow.

Recognised for forging solid bonds with orchestras, he is regularly invited to conduct the Orchestre National du Capitole de Toulouse, BBC National Orchestra of Wales, Orquestra Sinfónica do Porto Casa da Música and the Estonian National Symphony Orchestra.

Swensen has toured extensively in the US, UK, Europe and the Far East appearing at the Mostly Mozart Festival in New York, Tanglewood and Ravinia Festivals, the BBC Proms, 'Festival de Radio France' and 'La Folle Journée' of Nantes and Tokyo.

Before launching his conducting career in the mid 1990s, Swensen enjoyed a highly successful career as a violin soloist appearing with the world’s major orchestras and conductors while recording exclusively for BMG Classics. More recently, his series for Linn Records playing and directing Brahms, Mendelssohn, Dvořák and Prokofiev’s second concerto, alongside symphonic works with the Scottish Chamber Orchestra won international acclaim and have just been re-released in a beautiful box set.

A multifaceted musician, Swensen is an active composer and arranger. This season will include performances of Beethoven String Quartet Op 131, Debussy Quartet for String Orchestra as well as the premiere of his Sinfonietta.

Joseph and Victoria Swensen present summer workshops at their 250-year-old, 15-room farmhouse in Vermont.

An American of Norwegian and Japanese descent, Joseph Swensen was born in Hoboken, New Jersey and grew up in Harlem, New York City.

Joseph's Conductor Emeritus Chair is kindly supported by Donald and Louise MacDonald.

GREGORY BATSLEER CONDUCTS

SPEM IN ALIUM MUSIC BY TALLIS, MACMILLAN, POULENC, PURCELL AND WHITACRE

29 FEBRUARY 2020, 7.30pm GREYFRIARS KIRK, EDINBURGH BOOK NOW AT SCO.ORG.UK

SOPRANO

HARRIET EYLEY

––––– Born in Derbyshire, Harriet Eyley is a Welsh National Opera Associate Artist and her programme is supported by the WNO Sir John Moores Award and the Chris Ball Bursary.

She is a graduate of the Royal College of Music International Opera School where she studied for an Artist Diploma in Opera, supported by the Siow-Furniss and Henry Wood Accommodation Trust Scholarships. Eyley is also the recipient of a First Class BMus Honours degree, a Distinction in her MMus degree and was awarded the prestigious DipRAM for an outstanding final recital and master’s dissertation from the Royal Academy of Music. She remains under the tutelage of Lillian Watson and Tim EvansJones.

Eyley made her debut for Garsington Opera as an Alvarez Young Artist in Summer 2018, understudying the role of Papagena in Die Zauberflöte (Mozart). For the Royal College of Music, she has performed the role of Serpetta in La Finta Giardiniera (Mozart) under the direction of Harry Fehr, and has since received critical acclaim for her performances as Clotilde in Faramondo for the London Handel Festival as well as her title roles in Les mamelles de Tiresias (Poulenc) and The Cunning Little Vixen (Janáček). Eyley has performed for British Youth Opera as Nora in Riders to the Sea (Vaughan Williams), Una Novizia and Gheradino for Royal Academy Opera and has been called to audition for both the Royal Opera House’s productions of Tannhäuser. She made her debut at St John’s Smith Square in 2015 in The Fairy Queen (Purcell). She has had the pleasure of working with esteemed musicians including Roger Vignoles, Laurence Cummings, Malcolm Martineau and Lucy Crowe. Eyley has also performed live for BBC Radio 3 InTune and appeared as a featured soloist for HRH The Prince of Wales, performing in a Gala Concert held at Buckingham Palace.

During her early years, Harriet Eyley received vocal training from Coral Gould MBE and was a second study pianist at the Birmingham Junior Conservatoire. She is thankful to the Josephine Baker and Drake Calleja Trusts for their current support.

Proudly sponsored by

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7-9 FEBRUARY 2020

PERTH | EDINBURGH | GLASGOW Music by PAUL RISSMANN Written and Illustrated by JASON CHAPMAN Narrated by CHRIS JARVIS

Narrated by TV presenter CHRIS JARVI S BOOK NOW AT SCO.ORG.UK

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 Donald Hopkins, Glasgow 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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PLATINUM

Gordon Kirk

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Barry Laurie in memory of Richard Green

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Geoff Lewis

Pamela Andrews & Alan Norton

Nancy Macneil of Barra

Dr Peter Armit

James McClure in memory of Robert Duncan

Joseph & Patricia Banks

Gavin McCrone

Timothy Barnes & Janet Sidaway

Iain McEwan

Peter & Kay Black

Brian Miller

Alan Borthwick

James & Helen Moir

Jane & Michael Boyle

Margaret Mortimer & Ken Jobling

Mary Brady

Andrew Murchison

John Brownlie

Hugh & Gillian Nimmo

Laura Buist

David & Tanya Parker

Robert Burns

Hilary & Bruce Patrick

Janet Cameron

Maggie Peatfield

Isabel J Clark

Ian & Sheila Percy

Sheila Colvin

Fiona Reith

Tony Cook

Alan Robertson

Lorn & Camilla Cowie

Andrew Robinson

Lord & Lady Cullen of Whitekirk

David Robinson

Jo & Christine Danbolt

Olivia Robinson

Caroline Denison-Pender

Hilary E Ross

Dr Wilma Dickson

Catherine Steel

Jean Donaldson

Jean Sutherland

John Donaldson

Ian Szymanski

Sylvia Dow

Marion Thomson

James Dunbar-Naismith

Douglas & Sandra Tweddle

Dr & Mrs Alan Falconer

Margaretha Walker

Sheila Ferguson

James Wastle

Chris & Claire Fletcher

C S Weir

Dr James W E Forrester

Alan Welsh

Dr William Fortescue

Bill Welsh

James Friend

Professor Frank Whaling & Mrs Margaret Walsh-Whaling

Archie & Ellen Gibson

Andrew Wilson

Andrew Hadden

Roderick Wylie

J Martin Haldane

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Ronnie & Ann Hanna Ruth Hannah Robin Harding Norman Hazelton Ron & Evelynne Hill Clephane Hume Archie & Pat Hunter Robert & Leila Inglis David & Pamela Jenkins Sir Raymond & Lady Johnstone Marty Kehoe Professor Christopher & Mrs Alison Kelnar David Kerr Allan Kirton Dr & Mrs Ian Laing Janey & Barrie Lambie

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

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 began this Season with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor. This was a position previously held by Robin Ticciati from 2009-2018. Ticciati and the SCO made a series of outstanding recordings (Linn Records) of works by Haydn, Schumann, Berlioz, Strauss and Wagner. Their last recording – the complete Brahms Symphonies – has been internationally acclaimed.

The SCO and Emelyanychev recently released their first album together (Linn Records) to critical acclaim. The repertoire – Schubert’s Symphony No 9 in C major ‘The Great’ – is the first symphony Emelyanychev performed with the Orchestra in March 2018. 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

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Principal Guest Conductor Emmanuel Krivine

Cllr Christina Cannon Glasgow City Council

Conductor Emeritus Joseph Swensen

Rachael Erskine

David Cumming Cllr Rosemary Liewald Fife Council

Chorus Director Gregory Batsleer

Cllr Donald Wilson City of Edinburgh Council Zoë van Zwanenberg

Associate Composer Anna Clyne

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

BEETHOVEN 2, 4 & 5 Excellent @SCOmusic concert tonight. Early Beethoven made to sound fresh and exciting and blew away any hackneyed cliches sometimes associated with this music. And Andrew Manze has to be one of the best conductors working today – looking forward to his return in April.

Philip Whitley @PhilipWhitley13

The department took some senior pupils to see the Scottish Chamber Orchestra’s performance of Beethoven’s 2nd, 4th and 5th Symphonies. We even had time to stop for a pizza beforehand! A very enjoyable and inspiring evening. @SCOmusic #WeAreHutchie #beoneofus

YOUR SAY Pick of the week

PICK OF THE WEEK EXPLORE BEETHOVEN DAY – SATURDAY 22 FEBRUARY

Hutchesons’ Music Department @hutchie_music

WESTER HAILES EDUCATION CENTRE CHRISTMAS CONCERT What a fantastic night to remember #WHECCluster #ChristmasConcert @SCOmusic @CreateLearnEdin @Edinburgh_CC #MusicEducation #Creativity #ExpressiveArts @WHEC_Edin

All you ever wanted to know about Beethoven, his musical creativity and his deafness. Join us at Cecilia’s Hall, Edinburgh, for a morning of discovery, lively discussion and music.

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 #SCO