SCO News | May 2018

news

INSPIRING AND CONNECTING WITH PEOPLE OF ALL AGES

sco.org.uk | Issue 70 | May 2018

LE MONDE DE LELEUX Ken Walton Investigates

Also inside: New Venue | Ring your Bells | SCO Chorus Young Singers

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CONTENTS

Issue 70 | May 2018

16

4

29

20 –––––

REGULARS 3 FOREWORD 4 SCO NEWS 12 60 SECOND INTERVIEW 13 RECENT RECORDINGS 30 YOUR ORCHESTRA, YOUR SAY 31 THROUGH THE EYES OF...

COVER 20 The World of François Leleux

by Ken Walton

4 Royal Terrace Edinburgh EH7 5AB telephone: 0131 557 6800 email: info@sco.org.uk www.sco.org.uk

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FEATURES 14 Robert McFall A fond farewell from SCO Viola Brian Schiele

16 Give the Gift of Music 18 Ring your Bells 24 SCO Chorus Young Singers 28 Join the 250 Society 29 Nordic Fire A new SCO commission by John McLeod

Core funded by

The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039 Company registration No. SC075079

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FOREWORD A warm welcome to SCO News.

have heard our new Brahms recordings which were released

by Linn just before Easter. I fully accept the accusation of bias, but they really are magnificent and a tremendous legacy to what has rightly come to be regarded as one of the most significant musical partnerships of recent years.

It is perhaps a little premature to be looking forward to the latter part of the year already given that Spring has not long arrived and the snow not long departed. However, I do hope you have had an opportunity to look through our new 2018/19 Winter Season which we launched in March. We are delighted that record numbers of people have already bought tickets online and taken advantage of our subscription packages, and we look forward enormously to the opening concert at the Usher Hall in September.

and Turriff, amongst others. I love the commitment, passion and sheer joy of music that our players bring to each of these concerts and it has quickly become a favourite part of the year for me.

There is of course much to look forward to before then.

Following Robin Ticciati’s outstanding final Season

The Orchestra is about to take off on its latest tour of Europe.

With concerts in Cologne, Amsterdam, San Sebastián and Budapest in the company of the remarkable pianist Piotr Anderszewski, it promises to be a memorable trip.

concerts in Edinburgh and Glasgow before Easter, we now look forward to two very special evenings at the Usher Hall in August as part of the Edinburgh International Festival. What better, more exciting and memorable way to celebrate this remarkable partnership, than with Robin, the musicians of the SCO and all four of Brahms’ glorious symphonies? I do hope you can be with us for what will undoubtedly be a highlight of our year. I also hope that you

On our return, we embark on what will be the 40th anniversary tour around Scotland. This year our musicians will visit venues in Skye, Seil Island, Oban, Fort William, Fort Augustus, Thurso

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Gavin Reid

Off stage, our musicians have been equally busy. Tours of Big Ears, Little Ears for our very young audiences, primary school projects in Fife, our hugely successful three-year residency in Wester Hailes in Edinburgh and SCO VIBE, our creative music-making project for teenagers, are just some of the ways in which the SCO continues to transform and enhance the lives of people and communities across Scotland with the power of inspirational music-making.

I do hope you enjoy reading our news and I look forward, as ever, to seeing you at our concerts and events in the coming months

Gavin Reid Chief Executive

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SCO NEWS

IMPACT Centre

RECENT DEVELOPMENTS WITH THE IMPACT CENTRE –––––– March 2018 saw an important step forward for the IMPACT Centre with the release of initial designs at the second public consultation. Around 130 people attended the drop-in event, viewed display boards and models, and had the opportunity to speak to the architects and other key members of the design team, as well as representatives from IMPACT Scotland.

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The design, led by David

The IMPACT Centre will

Chipperfield Architects, is now being further developed and consideration of feedback is ongoing. The planning application is expected to be lodged this summer.

include a 1000-seat auditorium, a 200-seat studio/rehearsal space, spaces for learning and participation, and a café/bar.

It will be the new home for the Scottish Chamber Orchestra in Edinburgh, situated behind Dundas House in St Andrew Square.

The final piece of the City Region Deal funding was also confirmed in February with £5 million from City of Edinburgh Council, bringing the funding through the City Region Deal to £25 million.

IMPACT Scotland is carrying out a fundraising campaign for a further £10 million.

–––––– To stay up to speed with all the latest developments please check impactscotland.org.uk/news or follow on Twitter @ImpactScot

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BBC YOUNG MUSICIAN OF THE YEAR 2018 –––––– Our CEO Gavin Reid was delighted to be asked to judge the semi-finals of the 2018 BBC Young Musician of the Year.

The responsibility to choose the musicians with that little bit of extra magic needed to get to the final, and go on to win was a truly thrilling experience.

It has always been a competition close to our hearts and minds.

A certain oboist by the name of Robin Williams was a woodwind finalist in 1978, while the 2006 winner Mark Simpson is our soloist for four concerts in September, and of course it is always a thrill to welcome back 2004 winner Nicola Benedetti.

If you didn’t manage to watch BBC Young Musician, it will be available to watch again on iPlayer. Look out for judge Gavin!

Robin Williams

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SWIM CHALLENGE

By SCO Sub Principal Bassoon Alison Green –––––– I try and swim regularly in order to avoid aches and pains caused by playing the bassoon.

Exercise is a necessity and also helps me relieve stress. I never used to swim more than around 40 lengths of a 25m pool on each visit. Then all that changed! One of my friends posted a link on Facebook about the Swim22 Challenge.

It involved swimming 22 miles, which is the distance of the Channel crossing, to raise money for Diabetes UK. I considered it and thought, maybe not. You had to complete the challenge between 22 February and 22 May. I had a look at my schedule. No way could I fit in that amount of swimming! I had teaching to schedule and also rehearsals and concerts with the SCO including a tour to Europe plus SCO Connect projects. However, the idea stayed in the back of my mind. I always sponsor friends

WIN £250 ––––––

250 SOCIETY To see our most recent winner and for more information please go to page 28

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Alison Green

who take on challenges and one day I just thought, “ok I’ll do it”.

I contacted Diabetes UK and received my Swim22 swimming cap a few weeks later. I started swimming on 22 February and just kept going. It’s amazing what a bit of determination can do. In fact I completed the 22 miles in 5 weeks. I couldn’t stop and decided to try and swim back by 22 May. Not so easy. It is difficult to keep the impetus going, but support from my friends and colleagues, along with generous sponsorship, have really helped. I have swum 39 miles to date so will hopefully get to 44 before we head off on tour.

–––––– To support Alison’s cause make a donation at Justgiving.com/ fundraising/alison-green36

CONNECT LATEST –––––– In the first part of 2018, SCO Family Concerts and the surrounding programme of activity in Edinburgh and Glasgow reached 2268 children and adults. Workshops took place at primary schools and children’s hospitals in each city, and at St Cecilia’s Hall, Edinburgh and the Riverside Museum, Glasgow. Children and family members learned songs from The Chimpanzees of Happytown and had fun playing

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Chris Jarvis at our Family Concert The Chimpanzees of Happytown

orchestral instruments. As part

activities including a fabulous

we can enjoy reading stories at

of this programme, pupils at Murrayburn Primary School in Wester Hailes, Edinburgh, were excited to receive a special visit from children’s TV presenter Chris Jarvis, SCO Family Concert narrator and SCO Wester Hailes Residency Champion.

Happytown tree which children decorated with their own handmade flowers and leaves.

home (turning the words into songs and actions). It gave us a great first experience of the SCO. Parent, Riverside Museum Workshop, February 2018

Before each of the Family Concerts, venues came alive with wandering musicians, face painters, children trying out the SCO’s collection of multicoloured instruments, and craft

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It was wonderful and something different to do with children that engages them and teaches them about instruments, sounds and what noises they can make …

Something missing from early years learning.

Parent, St Cecilia’s Hall Workshop, January 2018 The song workshop was really good, it gave me ideas about how

Lively, friendly, informative – so many good things it’s difficult to pick a favourite. Watching my daughter try out a cello, seeing my son’s face as the live orchestral sound began, watching them laugh with Chris.

Audience member, Edinburgh Family Concert, February 2018

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–––––– Incantations, the second in a series of Connect programmes delivered in partnership with the Royal Conservatoire of

Incantations

Scotland, took place in January.

Two teams of SCO musicians and RCS students worked with expert music educator Fraser Trainer to lead two days of creative group music workshops for secondary school pupils at Springburn Academy, Glasgow and James Gillespie’s High School, Edinburgh. The project functioned as a creative learning opportunity for school participants, and as training and development for SCO musicians & RCS students.

The project was documented on video and can be seen via the creative learning pages of the SCO website. sco.org.uk/latest We all LOVED these workshops, they were so well led and supported by the musicians.

They pitched it perfectly to include all pupils of all abilities, experiences and confidence level.

I loved seeing the joy on their faces as they performed!

Thank you – Please come back soon!

Teacher, Springburn Academy I have never created music before and the next week I started to write music.

S1 pupil, Springburn Academy

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IN OTHER NEWS In other news, City of Edinburgh organist Dr John Kitchen presented an Explore Day in February, described by one participant as ‘Fascinating, rewarding, educational and entertaining (regardless of your level of musical knowledge)’. The day focused on Mozart’s Great Mass in C minor and was delivered in partnership with the University of Edinburgh at the newly refurbished St Cecilia’s Hall.

The Wester Hailes Residency continues with our unique programme of weekly workshops for nursery and primary school children, delivered by teams of SCO musicians and specialist workshop leaders. In March, Big Ears, Little Ears toured to Fort William, Birnam and Dunblane, where Alison Mitchell, William Stafford and Alison Green delighted sold-out audiences with a sparkling musical programme for babies, toddlers and adults.

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Nikita Naumov

annual Youth Arts Festival with a range of workshops and performances throughout the day including a local bands stage, the Scottish Chamber Orchestra’s instrument armoury and Snail and the Whale workshops, Let’s Dance workshops for young people with disabilities, an under 18s after-party and lots more! For further details see horsecross.co.uk

EUROPE TOUR

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team of SCO musicians visited

Recent highlights of our Orchestra in Residence programme at the University of St Andrews included a brilliant lunchtime recital in April at the Byre Theatre by SCO Principal Double Bass Nikita Naumov. St Andrews and Fife Community Orchestra (StAFCO) performed Mozart’s Horn Concerto No 4 with SCO Principal Horn Alec FrankGemmill on the natural horn at this year’s StAFCO Spring Concert. And in March, Aisling O’Dea (SCO Violin) and a

primary schools in Fife with an interactive day of music, movement and ocean science, based around the popular children’s book The Snail and the Whale by Julia Donaldson & Axel Scheffler. “The best day ever”, according to a happy participant from Anstruther Primary School!

–––––– SCO CONNECT AT PERTH THEATRE YOUTH TAKE-OVER – SATURDAY 23 JUNE 2018 This youth-led creative celebration rounds off the

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–––––– Following on from Season Concerts in Edinburgh and Glasgow, we are pleased to be touring further afield with Polish pianist Piotr Anderszewski to the Cologne Philharmonie, Musiekgebouw in Amsterdam, Kursaal in San Sebastián and Bela Bartók Hall in Budapest between 16 and 22 May. Anderszewski has a longestablished relationship with the SCO and play-directs two Mozart Concertos – No 17 in G, K453, and No 24 in C minor, K491. Complementing the concertos, the Orchestra’s leader Stephanie Gonley directs Poulenc’s lively Sinfonietta from the violin.

–––––– Details of tickets and venues are available at sco.org.uk/whats-on

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SUMMER CONCERTS AND TOURS –––––– We are looking forward to a busy summer of concerts and tours throughout Scotland.

The SCO Summer Tour programme (see diary on page 32) will travel the length and breadth of Scotland, featuring many of the Orchestra’s own superb players as soloists. On 7, 8 and 9 June, British conductor Duncan Ward conducts concerts in Duns, Greenock and Helensburgh.

Come and hear Alison Mitchell and Brontë Hudnott perform Cimarosa’s operatic Double Flute Concerto, within a programme of Schumann, Puccini and Mendelssohn.

Next up, a tour to Thurso, Inverness and Dunblane (14, 15 and 16 June), directed by our Leader Stephanie Gonley, will showcase our fabulous clarinets Maximiliano Martín and William Stafford in Krommer’s Double Concerto, the centrepiece in an attractive programme of Haydn, Wagner and Mendelssohn.

Late June sees SCO Wind Soloists touring to Seil Island, Fort Augustus and Birnam (27, 28, 30 June) with a Summer Solstice programme featuring Mendelssohn’s Midsummer Night’s Dream (wonderfully arranged by Andreas Tarkmann) as well as

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Robin Ticciati bows out in August

music by Caplet, Ibert and Fauré.

A perfect summer evening’s entertainment!

Saturday 30 June also sees the SCO Cello Ensemble join the magnificent Tallis Scholars and the great jazz bassist Renaud Garcia-Fons in the large and atmospheric spaces of The Bowhouse in St Monan’s, where together they will weave a musical tapestry of music by Arvo Pärt, Krzysztof Penderecki and Steve

Reich, culminating in a performance of Allegri’s famous Miserere.

Also at East Neuk, on Sunday 1 July Festival favourite Christian Zacharias will lead the SCO in a festive closing programme at The Bowhouse. Opening with a colourful, vibrant suite from Rameau’s Les Indes Galantes and ending appropriately with Haydn’s ‘Farewell’ Symphony, the programme features SCO

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Principal Clarinet Maximiliano Martín in Mozart’s sublime Concerto.

For more details of the East Neuk programme please visit eastneukfestival.com.

We are very excited to be giving UK premiere performances of a new Theorbo Concerto by acclaimed composer Steve Goss, with the work’s dedicatee, international soloist Matthew

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Wadsworth. In a Strings programme directed by our Leader Benjamin Marquise Gilmore, the new concerto and works by Mendelssohn, Grieg and Warlock are complemented by pieces by Purcell and Geminiani. The Strings will appear at the Brunton Theatre, Musselburgh thebrunton.co.uk on 18 July before touring to Oban, Portree and Fort William on 19, 20 and 21 July.

and featuring the National Youth Choir of Scotland.

–––––– Robin Ticciati gives his last concerts as the SCO’s Principal Conductor, with a survey of the four great Brahms symphonies on 18 and 19 August. The SCO’s recently-released recordings (Linn) of the symphonies have received international acclaim (see page 13); these concerts will be an opportunity for audiences to experience and celebrate the radiant

Bringing the month to a close, the compelling French-German cellist Nicolas Altstaedt makes his SCO debut as soloist and director, in a programme of Haydn, Veress and Beethoven which visits Stirling, Findhorn and Turriff (26, 27 and 28 July), kindly supported by Claire

music-making of the Ticciati/SCO partnership as he bids farewell to his formal role with the Orchestra.

and Anthony Tait.

–––––– The SCO has a strong presence in this year’s Edinburgh International Festival, starting with the Opening Concert on 4 August – Haydn’s dazzling oratorio The Creation, conducted by Edward Gardner

On 22 August the Orchestra is back in the Usher Hall for Des Canyons aux Étoiles, Messiaen’s overwhelming work of praise, wonder and serene contemplation.

Conductor Matthias Pinstcher makes his SCO debut and we are delighted also to be working with pianist Pierre-Laurent Aimard once again. Our own Principal Horn, Alec Frank-Gemmill performs the powerful and

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evocative solo sixth movement, Appel Interstellaire.

The International Festival comes to a resplendent and explosive close with the dazzling pyrotechnics of the Virgin Money Fireworks Concert, conducted by Clark Rundell. With special guest artists, we celebrate the Leonard Bernstein centenary with a specially chosen selection of his foot-tapping, flamboyant music as well as Holst’s visionary The Planets. The day kicks off with a concert exclusively for Primary 7 pupils, then join us in the evening for one of the biggest fireworks concerts in the world! For full details of this year’s International Festival, please visit eif.co.uk.

–––––– Our Summer Season comes to a close in September (13 – 16), with concerts in St Andrews, Hamilton, Dumfries and finally, as part of this year’s Lammermuir Festival, Haddington. Cristian Măcelaru conducts Mozart, Prokofiev and Beethoven, and clarinettist Mark Simpson makes his SCO debut in Nielsen’s stormy Concerto. Simpson will be Artist in Residence at Lammermuir this year; on 22 September he directs SCO Wind Soloists in Mozart’s great Serenade for 13 Winds, the ‘Gran Partita’, as well as Geysir, his own work written for the same forces. For more details of Lammermuir Festival please visit lammermuirfestival.co.uk

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SECOND INTERVIEW WILLIAM STAFFORD Krommer isn’t often performed, never mind a Double Clarinet Concerto! What a treat this sounds – will it be?

I am hugely looking forward to playing the Krommer on tour in June. He writes beautifully for the two clarinets and the music is full of fun and playfulness. Of course, playing alongside Maxi as a soloist is just a dream!

You have inspired so many young people through SCO Connect. What do you share with young people that helps them build their confidence?

I love working with young people and find their vivid imaginations and willingness to explore very energising. I have particularly enjoyed working on Soundmoves – a project linking music and movement, and The Snail and the Whale – a day combining music, storytelling and marine ecology, Another project that is very close to my heart is ReConnect – interactive music-making with dementia patients. SCO Connect is a tremendous force in my life, drawing together many different strands of interest and weaving them into some wonderful projects and I am sincerely thankful for the Connect programme.

You play lots of other instruments in the Orchestra, not just the B-flat clarinet. Tell us about these instruments?

That’s true. I feel very lucky to get to play lots of different instruments in the orchestra. I secretly find the low notes of the bass clarinet the most civilised! And I’m very much looking forward to playing basset horn in the Mendelssohn Concert Pieces with Maxi in December. Lots in the pipeline!

–––––– Hear William and Maxi perform the Krommer Concerto in Thurso, Inverness and Dunblane, 14-16 June 2018 and Mendelssohn Concert Pieces in Edinburgh and Glasgow, 6-7 December 2018

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RECENT RECORDINGS Brahms: The Symphonies Robin Ticciati – Conductor Our new recording of Brahms Symphonies with Robin Ticciati has received universal praise since its release at the end of March.

Here are a few of the highlights: These are revelatory performances that make you listen afresh to this wonderful life-enhancing music.

BBC Music Magazine Recording of the Month ... think about what you gain in the clarity of texture... brighter, lighter sounds balanced against the smaller string sections... BBC Radio 3 ‘Record Review’ Disc of the Week What stands out is the sheer range of sound and colour Ticciati has

at his disposal...the playing is unfailingly vivid.

The Guardian CD of the Week ...as always the playing is first class from the SCO... It’s a delight to listen to from start to finish.

BBC Radio Scotland ‘Classics Unwrapped’ Album of the Week ... this is a set that sweeps aside recent rivals, brilliantly illuminating Brahms’s inner textures and making the familiar new.

The Times Ticciati’s is lean and quite dazzlingly transparent. Listening with score in hand, I marvelled at the conductor’s meticulous

observance of Brahms’ markings.

Nearly every instruction regarding dynamics, phrasing and articulation is accounted for.

Gramophone Magazine The Symphonies are available to buy from the merchandise desk at concerts. There is a final opportunity to hear these works live with Robin Ticciati and the SCO at the Edinburgh International Festival, 18 & 19 August 2018

Beethoven: Music for Winds SCO Wind Soloists Continuing to explore the Harmoniemusik repertoire, the SCO Wind Soloists’ new recording features youthful, entertaining and brilliant music by a young man who took Vienna by storm in the 1790s: Ludwig van Beethoven. Works include Sextet in E-Flat, Duo for Clarinet and Bassoon and the Octet in E-Flat –––––– Available from the SCO merchandise desk or by phone on 0131 557 6800

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You couldn’t hope for more masterful, affable guides MusicWeb International All the wit and character of all the individual players coming through but yet still at the service of the whole ensemble.

Something close to a perfect balance of individuality and team spirit. BBC Radio 3 ‘Record Review’ ... a showstopper, where the very stuff of theatre – its tensions and releases, its compelling narrative vitality and emotional nuances – is played out in scintillating musical terms.

The Scotsman

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ROBERT McFALL A fond farewell from SCO Viola Brian Schiele

SCO Violinist Robert McFall is leaving us at the end of May. I won’t say he’s retiring as he’s not

education project, as well as serving on the SCO board. He was a member of SCO Lab, a group

that sort of person. Robert joined the SCO in 1988 after a spell in the Philharmonia Orchestra, London.

As a member of our fantastic Second Violin section, Robert is the subversive one. If a conductor asks for something that is in dubious taste, a glance at Robert will show his views, as he will slightly parodise or exaggerate the request.

made up of six SCO players formed around 15 years ago, who wanted to explore improvisation. The first Lab project with Paul Griffiths led to a performance of the group’s own composition, without notated sheet music. Later, we were introduced to Amjad Ali Khan, with whom we learnt ragas and improvisation within that style. This, in turn, led to concerts with the full Orchestra, a recording and a remarkable tour of India in 2009. If you have listened to the Samaagam (World Village) recording you will have heard Robert’s improvisation.

Apart from his 30 years’ contribution as an SCO player, Robert has been involved in all aspects of the Orchestra’s work.

He has taken part in many an

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Many members of SCO have played with Mr McFall’s Chamber and our musical horizons and social lives have been, and will continue to be broadened!

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In the summer of 1996 Robert invited me to form a quartet with him, together with former

been a singer with the a cappella vocal group Swan Arcade and had a tremendous and powerful voice.

feet with this support behind them and visiting extra players have felt welcomed and valued. I personally

Principal Second Violin, Greg Lawson and Su-a Lee to play a gig in an Edinburgh Old Town club… at 3am. The programme, chosen by Robert, included music

by Webern, Weather Report, Purcell, Jimi Hendrix, and Arvo Pärt (fancy dancing to Webern’s string quartet?… someone did). It was after this gig that Mr McFall’s Chamber was born. Robert has led this group into all sorts of musical experiments, collaborations and adventures. One collaboration was with Dave Bradley who was the SCO’s first Roadie. Dave had

Robert wrote arrangements of Dave’s songs and he joined us as a vocalist for many of our earlier concerts and recordings. Many members of SCO have played with Mr McFall’s Chamber and our musical horizons and social lives have been, and will continue to be broadened!

benefitted from their generosity; when I arrived first in Edinburgh with my young family, we lived rent-free for an entire summer in their flat in Bruntsfield.

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Robert and his wife Ann have been very generous SCO ‘parents’ over the years. They have had countless players to stay with them, sometimes for extended periods of time. New players have found their

I will miss our car journeys together, during which we discussed many things, listened to interesting bits of music and audiobooks. I look forward to future Mr McFall’s projects, seeing what Robert does next and hope still to be invited to sit round Robert’s kitchen table and share one of his innovative salads

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GIVE THE GIFT OF MUSIC We hope to give young people the opportunity to follow in the footsteps of our kind legacy givers and to develop a lifelong love for classical music.

It is always very touching when we discover that someone has been kind enough to leave a gift to the SCO in their Will. In doing so they help us to fulfil our mission to transform and enhance lives and communities throughout Scotland and beyond through the power of inspirational musicmaking.

Former Conductor Laureate Sir Charles Mackerras had the vision to see how he could help the SCO by instructing that after his death the Orchestra should receive his future royalties from his recordings. The money invested from these royalties recently helped towards the funding of Robin Ticciati’s recording of the Brahms Symphonies which was released in March. We feel sure that Sir Charles would have

Sir Charles Mackerras

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approved, and we remember him with the utmost respect, fondness and gratitude.

We would also like to remember the late Evelyn McNab, Herman Gawlik, Judith Pickles, Robert Durham, Mattie Hutchison, Helen Kelbie and Joyce Denovan whose gifts we received this year enabling the SCO to plan activities which we otherwise would not be able to do. In addition to being able to stage a Family Day in Perth in June, we are using some of these funds to invest in audience development initiatives and, in particular, to allow us to continue to offer free tickets to Under 18’s in the 2018/19 Season. In this way, we hope to give young people the opportunity to follow in the footsteps of our kind legacy givers and to develop a lifelong love for classical music.

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It is a common myth that you have to be wealthy to leave a gift in your Will to help a charity, but nothing could be further from the truth. After taking care of family and friends, you will be amazed at what one final gift, no matter how large or small, can do for the SCO. Much of our income comes from the generosity of donors but, with only 4% of people in Scotland actually leaving a charitable gift in their Will, we believe that encouraging people to consider the SCO when they come to make their Wills could be hugely beneficial for the Orchestra in the future –––––– To find out more, please take a look at our website or call Lucinda Coulthard on 0131 478 8364.

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RING YOUR BELLS! Scottish Composer Martin Suckling is creating a ringing soundscape as part of his new commission for the SCO to mark the centenary of Armistice. Can you send in bell sounds from your local church?

Meditation (after Donne) for chamber orchestra and electronics will feature the bells of Scotland, contributed by the people of Scotland. We want every part of Scotland to be represented in this piece, and we also welcome contributions from the whole of the UK and beyond. You are invited to record your local bells for inclusion in the electronics part. Visit armisticebells.com to see where sounds have already been collected and to find out how to add your own recording.

The project will also involve workshops with schools and community groups, who will work with the bell samples to create their own musical responses to the legacy of war and the feelings of commemoration, love and loss Armistice brings.

You can hear Martins Suckling’s new work at concerts to mark the Armistice centenary in November 2018 –––––– Find out more at armisticebells.com

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Advice for recording your bells Not everyone has access to a dedicated portable audio recorder – though if you are associated with an educational establishment or other organisation it is possible there will be one you can borrow. If you can’t get your hands on one of these, you can use your smartphone.

Recording tips

1

Don’t worry about there being a bit of background noise, but try and find somewhere out of the wind and fairly quiet from which to make your recording.

2

Try and get as close to the source as reasonably possible – but don’t feel you have to be inside the bell tower!

3

Set your recording device down on a soft surface rather than holding it in your hand.

4

If you have an option, please record to a WAV file at 44.1kHz. If you don’t have an option, or aren’t sure what this means, don’t worry – we can still use your recording.

5

Peals of bells are welcome as well as single bells.

6

If possible, please include in your recording a few seconds of the ambient sound before or after your bell.

Within reason, any length of recording is fine – we can use anything between 30 seconds and around 3 minutes. Different bells resonate for different durations, and often the bell will strike again before the first strike has faded away. Just include as much as you feel captures the character of the bell and we’ll do the rest.

7

If you are recording on a mobile phone The ‘voice memo’ app installed by default on most smartphones tends to be a bit lo-fi, but there are a range of free apps available. PCM Recorder Lite is one such app available for both iOS and Android and is set up by default to record in high quality WAV format.

1

2

Switch your phone to ‘airplane mode’ so you are not interrupted by an unexpected call or text!

3

If your phone is in a case, remove it before recording so the microphone is not muffled.

4

For increased quality phone recording, you can plug in an external microphone if you have one

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LE MONDE DE FRANÇOIS LELEUX Ken Walton Investigates

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The personality of the Orchestra is sparkling, and the individuality strong. The Orchestra has a great commitment to the music and is very flexible.

Does a top class performer necessarily make a good conductor?

The answer is no, and there are plenty of examples – no names, no pack-drill - to prove that the answer lies in either direction and at various points in between.

Every so often, though, magic happens. There’s no better example than with the Scottish Chamber Orchestra itself, where guest soloists have invariably returned at a later date to try their hand with the baton, and the results have been electrifying.

One such musician is the phenomenal French oboist François Leleux, who was such a big hit directing the Orchestra this year, he’s back next Season as a featured artist conducting three magnificent programmes, including a highlyanticipated performance of Berlioz’s Les Nuits d’Eté with fellow SCO featured artist, Soprano Carolyn Sampson.

Leleux has been known to Scottish audiences for some time. Besides appearances with the SCO over the past eight years or so, which

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included the Scottish Premiere of James MacMillan’s Oboe Concerto, he has starred at the Edinburgh International Festival as a member of the celebrated Les Vents Français, collaborated with the Hebrides Ensemble, and famously fell off the stage at a rehearsal last year (thankfully unhurt) while directing the BBC Scottish Symphony Orchestra.

But it is his relationship with the SCO that will dominate his visits to Scotland in coming Seasons. It’s a gig he looks forward to. “The personality of the Orchestra is sparkling, and the individuality strong. The Orchestra has a great commitment to the music and is very flexible,” he says.

He’s enjoyed the challenges, as guest conductor, of getting to know the players and, in turn, learning tough new repertoire, such as the twelvenote complexities of Bernstein’s Flute Concerto ‘Halil’. “Alison Mitchell played it so beautifully,” he recalls of that recent performance.

This coming Season marks Leleux’s most extensive commitment to the

SCO, when he conducts, over three programmes, a mix of music close to his heart.

The Berlioz programme in January/ February 2019 is exclusively French, opening with music by Gounod, Debussy and 50-year-old Eric Tanguy. At the start of the Season, in October, the focus is on Austro-German repertoire (Haydn, Schubert and Brahms), with Leleux doubling as soloist in Haydn’s Oboe Concerto.

Then, in March, more Brahms, but with a twist of Dvořák and Wolf to spice things up. “Plenty of variety,” he promises.

But what is it that encouraged Leleux to take up the baton, especially when he was in such demand as one of the world’s leading oboists? “While I was playing in orchestras, several conductors, promoters and music managers suggested to me multiple times that I should conduct. I was then very excited about this possibility and it started from there.”

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Can he recall when the idea first translated into reality? “It was when a small chamber orchestra proposed me to be the artistic director for two years in Germany.

I was 25 years old!”

Perhaps it was inevitable that an artist with such a searching musical mind and innate musical insight should look to expand his ambitions in this way. “I saw it as an opportunity to explore amazing repertoire which I cannot play on the oboe, and the incredible variety of sounds that an orchestra provides,” he explains.

But why shouldn’t such a transition be natural for someone so used to working under other conductors?

Leleux’s answer is resolute. “I played for 30 years in orchestras - the Orchestre National de France, Opéra de Paris, Bavarian

Radio Symphony Orchestra and Chamber Orchestra of Europe.

That was a really wonderful schooling.”

It is often said, of course, that such a well-oiled machine as the SCO, itself populated by some of the most talented players in the country, barely requires a conductor. As a prominent chamber music specialist himself, Leleux appreciates the point, but nonetheless defends the value in having a strong musical personality at the front to direct. “You have a strong musical idea and a programme concept you want to propose to the audience, so yes, it is very important,” he argues.

It is vitally important, too, from the planning perspective, which Leleux believes requires the most careful balancing of priorities. “I like to take great care considering the composers’ messages, but it is also important to reflect the joy of working with the SCO, and take into account a very developed sense of the concert journey for the musicians as well as for the audience.”

Next Season’s repertoire choice – French, German and contemporary - is music that Leleux clearly feels at ease conducting. But he has his future sights on areas that equally excite him. “Yes, I want to do more Ravel and Debussy; I would also like to do more MacMillan, Adès and Bernstein.”

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But his immediate focus is on such adventures as Les Nuits d’Été. “This is a very important composition of Berlioz, and the French poem by Théophile Gauthier is so beautiful, surrounded by Berlioz’s music. I am so glad too that Carolyn Sampson is with us for that programme. I have followed her career with great admiration and her voice will be just magic with this music.”

In case anyone is worried, Leleux has no intention of giving up the oboe. He sees it as essential in helping him develop as a conductor. “Producing the sound yourself is an experience which is an effort. That sense of contact is crucial in order to understand the mastery of colleagues in the orchestra, who do it on a daily basis with such skill. Also, I love to play the oboe.”

Is the opposite also true: has conducting positively influenced his oboe playing? “Absolutely,” he says. “The way to prepare an oboe concerto, to both play and conduct, did help me understand better the scores and voices of the Orchestra.”

Next Season’s close association should be, he says, a springboard to further SCO collaborations.

“We are making such great music together. I do believe that the relationship will, and can only, develop.”

Music to all our ears

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SEASON 2018/19

FRANÇOIS LELEUX IN CONCERT “WHAT AN OBOIST FRANÇOIS LELEUX IS! THE SOUND HE MAKES IS UNMISTAKABLE: IMMENSE, VOLUPTUOUS, DARK AND OILY. HIS MUSICAL ENERGY IS ALERT AND TOTALLY UNINHIBITED” The Herald

3-6 October 2018 Ayr | Edinburgh | Glasgow | Inverness

HAYDN Oboe Concerto FRANÇOIS LELEUX – Conductor / Oboe

30 January-1 February 2019 St Andrews | Edinburgh | Glasgow

BERLIOZ Les Nuits d’Eté FRANÇOIS LELEUX – Conductor / Oboe CAROLYN SAMPSON – Soprano Proudly sponsored by

3 February 2019 (Edinburgh only) CHAMBER SUNDAY FRANÇOIS LELEUX – Oboe SCO Soloists

28 & 29 March 2019 Edinburgh | Glasgow

THREE SERENADES FRANÇOIS LELEUX – Conductor / Oboe Proudly sponsored by

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MEET OUR SCO CHORUS YOUNG SINGERS The Young Singers’ Programme aims to nurture and develop aspiring young singers with ambitions to further their singing with a world-class ensemble.

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Name: David Norris Vocal type: Tenor

at the Edinburgh Society of Musicians in 2015. I have also sung extensively with other choral ensembles throughout Edinburgh, including: Edinburgh Festival Chorus, The Choir of St. Mary’s Episcopal Cathedral and Heriot-Watt University Chamber Choir.

Area of Study and other: I am currently completing a Master’s Degree in Chemical Engineering at Heriot-Watt University, Edinburgh, and enjoy spending my free time on the tennis court or golf course when I’m not pursuing my musical interests.

Singing History: I studied voice with Donald Thomason and Emma Morwood throughout my university studies and I’m also a member of the internationally acclaimed National Youth Choir of Scotland (NYCOS).

Performance Highlight: One of my performance highlights includes a recital of Mahler’s Songs of a Wayfarer (Lieder eines fahrenden Gesellen)

How it feels to sing with SCO: I am delighted to be a part of the SCO Chorus this season – it is a very rewarding experience to sing with such an accomplished and passionate group of musicians, who continuously strive to perform choral works to the highest calibre.

Name: Carey Andrews Vocal Type: Soprano Area of Study and other: I am currently studying on the BMus course at the University of Edinburgh and have recently started my own performance company.

Singing History: I have been singing since I was five and have been involved with NYCoS, NYCGB, Millfield Camerata, The Reid Consort, the Robin Chapel Singers and St Mary’s Metropolitan Cathedral Choir. I would love to be a professional chorister or early opera performer in the future.

Performance Highlight: Performing as a soloist in Harvey Brough’s Requiem in Blue with Julian Jensen and the Millfield Chorus and Orchestra in Wells Cathedral.

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How it feels to sing with SCO: I have found that the SCO Chorus is overwhelmingly welcoming and supportive since I have started my scholarship.

I was delighted to receive an incredibly thoughtful card from

the Soprano Section when I was ill in hospital and have been well looked after by the wonderful ladies in my section.

It is exhilarating to perform with such a high standard choir and orchestra.

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Name: Rebecca Anderson Vocal Type: Mezzo-soprano Area of Study and other: Originally from Glasgow, I graduated from the University of St Andrews with a geography degree in 2016. I am now living in Edinburgh working as an Operational Meteorological Analyst for the Met Office. Music, however, occupies the vast majority of my time. Over the summer, I perform at the Edinburgh Fringe Festival.

Singing History: I have been singing for most of my life although, during my school years, piano dominated my time. At University singing and conducting took over my life. I performed with the St Andrews Chorus and Music Society Singers, and as a soloist in numerous lunchtime concerts, with Byre Opera and with the University’s Gilbert and Sullivan Society. I conducted the University’s Concert Wind Band, led chamber groups and

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musically directed a number of operettas with the university’s Gilbert and Sullivan Society. I’ve also spent many years singing with the National Youth Choir of Scotland and sang with Scottish Opera’s Connect Chorus in 2011 and 2015.

Performance Highlight: Mozart’s Requiem at the Proms in 2014 with the National Youth Choir of Scotland, winning the University of St Andrews’ Concerto Competition (2015) and performing as a soloist with the St Andrews Chamber Orchestra in Mozart’s Ch’io mi scordi di te.

How it feels to sing with SCO: Singing with the SCO Chorus is such a joy. There’s so much energy thrown into every rehearsal.

Being part of the Young Singers’ Programme has been great, working with new people is a real thrill and paves the way to continued learning and development and, after all, we’re merely at the beginning of our lifelong musical journeys.

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Name: Robin Randall Vocal type: Tenor Area of Study and other: I studied Arabic and Persian at the University of Edinburgh. Alongside my studies, I co-founded the Edinburgh University A Cappella Society.

Singing History: I started singing seriously as a chorister at Canterbury Cathedral and then as a music scholar at Harrow School. Outside of SCO Chorus, I sing with a London-based choir called Rodolfus under the direction of Ralph Allwood. I have been fortunate to have toured with the Byron Consort of Harrow School across Russia, America, Canada and Rome.

My recording portfolio includes ‘Time and Its Passing’ with Rodulfus Choir and ‘Ceremony’ with Canterbury Cathedral Choir.

How it feels to sing with SCO: I had the privilege of singing with the SCO Chorus from 2014-2016 in my first two years at Edinburgh University. I then took a year abroad in the Middle East as part of my degree and it has been a pleasure to re-join this year in my final year at Edinburgh University as part of the Young Singers’ Programme.

I have very much enjoyed singing with the SCO Chorus and it has provided me with the opportunity to keep up my singing throughout my time at university

Performance Highlight: My performance highlight to date has to be singing in the Bolshoi Theatre in Moscow with the Byron Consort. Regarding SCO Chorus, I would say Handel’s Messiah in 2014 with Richard Egarr, as it was my first performance with the Chorus and is one of my favourite pieces of music.

The SCO Chorus Is an elite group of up to 60 singers from in and around Edinburgh and from all walks of life. The Chorus was formed to perform with the Scottish Chamber Orchestra and covers repertoire from baroque to the present day. Inspired by the world-class performances of the SCO, the Chorus has established a reputation as one of the UK’s finest orchestral choruses –––––– sco.org.uk/your-orchestra/who-s-who/590-chorus The SCO Chorus Young Singers’ Programme is kindly supported by The Baird Educational Trust

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JOIN THE 250 SOCIETY We are delighted to announce that we are now accepting new members into the SCO’s 250 Society, a rewarding and fun way to support the SCO. Give just £5 a month to become a member of the 250 Society and be in with a chance of winning a monthly prize of £250. With a maximum of 250 members in the Society at any one time, you’ll always have a great chance of winning!

WHERE THE MONEY GOES The 250 Society members play an important role in the life of SCO Connect, our creative learning programme, and can help the SCO raise up to £12,000 a year.

RECENT WINNERS Please join us in congratulating recent winners of our 250 Society draw who each won £250.

January – Mr James Dunbar February – Mrs Diane MacMorran March – Dr Iain Kyles April – Mrs Ann Wilson

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Most recently the funds have been directed to SCO ReConnect, a programme of interactive, creative music workshops for people living with dementia.

In 2017 the 250 Society members contributed towards a total of 20 ReConnect workshops using live music to improve the sense of well-being and quality of life for 41 people living with dementia “I think it’s an opportunity for everyone to come together, the patients, the staff, the musicians, and just all be together in making lovely music. If I was describing it I would say it was dynamic and it was being able to respond to people when they’re showing an interest and building upon that, and just a really positive experience for everybody.”

Member of Care Team –––––– To learn more about the 250 Society or to join now contact Gerard Mehigan, Development Officer, on 0131 478 8344 or at gerard.mehigan@sco.org.uk.

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‘Nordic Fire’ – Viola Concerto A new SCO commission by John McLeod How did the commission come about?

More often than not, a new composition generates or inspires ideas for the next work - and this is how ‘Nordic Fire’ came into being. In January 2015 the SCO premiered my tribute to Carl Nielsen, Out of the Silence. At one point in that work there is a short viola solo – something that I included to give a little colour to a moment in the piece. However, the more I heard the work, the more I became attracted to the idea of featuring the instrument on a much bigger canvas, and in particular for Jane Atkins whose playing I have admired for many

Tell us a bit about the structure and instrumentation.

As far as structure and shape are concerned, it’s one of my more unusual pieces. Unlike a conventional concerto, it’s in one long movement – but divided into eight main parts – the last four being a reflection of the first four separated by a fairly substantial section exploring colour and energy in all sorts of different ways. It is scored for the general forces of the SCO with the addition of a harp and a large array of percussion – albeit played by one person.

years. Luckily for me Jane, the SCO and Joseph Swensen were very keen on this idea, and so the commission came about!

What is it like to write with Jane Atkins as soloist in mind?

Nerve-wracking! Jane is such a wonderful player and she has just the right colour and energy in her playing for this piece – so I’m extraordinarily lucky. Right from the start she has been very enthusiastic and extremely helpful with ideas on what’s possible and what is not on the viola. Being a professional composer, you would think I ought to know that, but we often have wild ideas and are constantly seeking help from outstanding players on how to realise them –––––– Nordic Fire is kindly supported by Donald and Louise MacDonald. Thursday 25 October 2018, 7.30pm Queens Hall, Edinburgh and Friday 26 October 2018, 7.30pm Glasgow City Halls

What does the title ‘Nordic Fire’ refer to?

Specifically it refers to the amazing light, colour and energy of the aurora borealis – that natural electrical phenomenon characterised by the appearance of streamers of reddish or greenish light in the sky, especially near the northern magnetic pole. But its main characteristic is energy. And to me the viola represents the energetic centre of the string quartet, the string orchestra and the full orchestra – rather like the Chinese concept of Qi or Chi being the life force in the centre of the human body!

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YOUR ORCHESTRA, YOUR SAY...

Insta pick of the Season

–––––– Your opportunity to comment and have your say.

Whether it is via social media or by sending us a letter, we love to hear from you.

–––––– Lively, friendly, informative - so many good things it’s difficult to pick a favourite. Watching my daughter try out a cello, seeing my son’s face as the live orchestral sound began, watching them laugh with TV Presenter Chris Jarvis The Chimpanzees of Happy Town, Attender) Email

Robin Ticciati

JOIN THE CONVERSATION –––––– Sensational CPE Bach cello concerto tonight from Philip Higham and the SCO sounding terrific under Richard Egarr @queens_hall - bravo!.

Susan Tomes @susantomespiano

Another marvellously inventive concert at Queen‘s Hall last night with the SCO and Andrew Manze, finished off with a lovely performance of my favourite Vaughan Williams symphony. Loved Andrew’s comments from the podium.

Invite him back again soon, please.

Philip Weitzen, Facebook

Brilliant playing from @AmyDickson of a new piece which was @jamesmacm at his accessible best. I do recommend it if you haven’t listened.

Only drawback is that Amy makes soprano sax sound easy, and I know only too well it is not!

Charles West @West_GP

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Sign up for our email newsletter For all our latest news, films, photos, blogs and special offers, visit sco.org.uk/latest Email us Michael Devlin, Customer Communications michael.devlin@sco.org.uk Comment on Facebook facebook.com/scottishchamberorchestra Share your experience on Twitter @SCOmusic Share your experience on Instagram @scottishchamberorchestra #mySCO

#mySCO

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THROUGH THE EYES OF...

Jane Atkins Principal Viola You have performed internationally with many incredible orchestras and ensembles, what makes performing with the SCO special?

The SCO is like a family so when we play together we are all coming from the same place. We have shared experiences on and off the concert platform, we know each other’s quirks, strengths and weaknesses. I feel very supported by the Orchestra if I am playing a solo, they are a great force to have behind you. Being a soloist can feel quite lonely; the SCO musicians exude warmth, passion and commitment which in turn gives me the courage and strength to express myself.

What has been your most SCO memorable concert to date?

That is a tough question because most concerts with SCO stay in my mind for a long time. There was a concert though in 1999 that has always stuck in my mind. I played as guest principal in a BBC Prom with the SCO. We played Beethoven’s ‘Eroica’ symphony with Joseph Swensen conducting. I can still remember the energy, drama, fear and euphoria. The slow movement was extraordinary, Joseph and SCO took it to a different dimension.

Next Season you will be performing the world premiere of John McLeod’s Viola Concerto, ‘Nordic Fire’ – do you approach a new commission in a different manner to existing repertoire?

Yes and no. Most music that I open has the same effect on me. I have a very powerful, physical

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and emotional reaction to it which is triggered by the harmonic, rhythmic and colour patterns that I hear and see. It’s a bit overwhelming sometimes and whatever I am learning is sort of like life and death itself. A new piece is great because it is more like a blank canvas, there is only mine and the composer’s reaction to it, no existing recordings or previous performances to offer guidance to or confuse my learning process. With John McLeod’s ‘Nordic Fire’ I have the added bonus of being able to ask him what he has imagined a specific bar or passage to sound like, what character he is looking for somewhere, or what emotion he wants to convey.

John has captured the essence of the viola in this work, we play such a strange role in the orchestra, sometimes being the essential rhythmic impetuous, sometimes having the bass line or the tune and at times just struggling to be heard at all! It’s a both frustrating and powerful place to be, right in the middle of the music-making machine. His piece is very challenging, in a good way! Because it is technically complex in places, it will need a more methodical and disciplined approach than usual, but its vibrancy, charisma and soulfulness make it a joy to learn –––––– Hear Jane perform ‘Nordic Fire’ in concert this October in Edinburgh and Glasgow.

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HEAR US IN CONCERT

Diary: Summer 18 June – August

Thursday 7 June 7.30pm

Friday 8 June 7.30pm

Saturday 9 June 7.30pm

Thursday 14 June 7.30pm

SCO IN DUNS

SCO IN GREENOCK

SCO IN THURSO

DUNCAN WARD Conductor

DUNCAN WARD Conductor

SCO IN HELENSBURGH

Friday 15 June 7.30pm

Saturday 16 June 7.30pm

Wednesday 27 June 7.30pm

Thursday 28 June 7.30pm

SCO IN INVERNESS

SCO IN DUNBLANE

STEPHANIE GONLEY Violin / Director

STEPHANIE GONLEY Violin / Director

SCO WINDS ON SEIL ISLAND

SCO WINDS IN FORT AUGUSTUS

SCO Wind Soloists

SCO Wind Soloists

Saturday 30 June 8pm

Saturday 30 June 8pm

Sunday 1 July 5pm

Wednesday 18 July 7.30pm

EAST NEUK FESTIVAL SCO WINDS IN WITH THE SCO CELLOS BIRNAM

SCO AT THE EAST NEUK FESTIVAL

SCO STRINGS IN MUSSELBURGH

RENAUD GARCIA-FONS SCO Wind Soloists Double Bass

CHRISTIAN ZACHARIAS Conductor / Piano

BENJAMIN MARQUISE GILMORE Director / Violin

Thursday 19 July 7.30pm

Saturday 21 July 7.30pm

Thursday 26 July 8pm

SCO STRINGS IN FORT WILLIAM

SCO AT STIRLING CASTLE

Friday 20 July 7.30pm

SCO STRINGS IN OBAN SCO STRINGS IN PORTREE

DUNCAN WARD Conductor

BENJAMIN MARQUISE GILMORE Director / Violin

STEPHANIE GONLEY Violin / Director

BENJAMIN MARQUISE GILMORE Director / Violin

BENJAMIN MARQUISE GILMORE Director / Violin

Friday 27 July 8pm

Saturday 28 July 7.30pm

Saturday 4 August 7.30pm, Edinburgh

Saturday 18 August 7.30pm, Edinburgh

SCO IN FINDHORN

SCO IN TURRIFF

NICOLAS ALTSTAEDT Conductor / Cello

NICOLAS ALTSTAEDT Conductor / Cello

HAYDN THE CREATION

BRAHMS’ SYMPHONIES NO 1 AND 3

EDWARD GARDNER Conductor

NICOLAS ALTSTAEDT Conductor / Cello

ROBIN TICCIATI Conductor

Sunday 19 August 7.30pm, Edinburgh

Wednesday 22 August 7.30pm, Edinburgh

Monday 27 August 9.30pm, Edinburgh

BRAHMS’ SYMPHONIES NO 2 AND 4

MESSIAEN DES CANYONS AUX ÉTOILES

VIRGIN MONEY FIREWORKS CONCERT

ROBIN TICCIATI Conductor

MATTHIAS PINTSCHER Conductor

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