SCO NEWS AUTUMN 2019

ISSUE 74 | SCO NEWS | AUTUMN 2019

INTRODUCING ANNA CLYNE

ALSO INSIDE: GREGORY BATSLEER | SCO PLAYERS’ SEASON GUIDE | MASTERWORKS

ISSUE 74 | SCO NEWS | AUTUMN 2019

CONTENTS REGULARS 3 4 7 8 24

09

FOREWORD NEWS 60 SECOND INTERVIEW RECENT RECORDINGS PATRON EVENTS

34 YOUR SAY

35 THROUGH THE EYES OF...

FEATURES

COVER FEATURE

9 SCO PLAYERS’ GUIDE TO THE SEASON What not to miss out on in Season 2019/20

16 SCO MASTERWORKS 2019 MacMillan Tryst

18 INTRODUCING ANNA CLYNE David Kettle talks to our new Associate Composer

26 GREGORY BATSLEER TALKS TO KEITH BRUCE

Celebrating 10 years as SCO Chorus Director

32 FREE PRE-CONCERT INSIGHTS AND PERFORMANCES

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.

26

SCO NEWS|03

A WARM WELCOME TO SCO NEWS

FOREWORD I hope you have had a wonderful Summer.

at the BBC Proms in the Royal Albert Hall later in the week with Richard Egarr. As you might

For the Scottish Chamber Orchestra, it has

imagine, the subsequent performance – which

certainly been one to remember. West Side

was the Chorus’ Proms debut – was out of

Story with Sir John Eliot Gardiner – complete

this world. If you were unable to be with us in

with his fabulous cameo role as Officer

London, I do hope you heard it on BBC Radio 3.

Krupke! Sir James MacMillan’s brand new 5th Symphony ‘Le grand Inconnu’ with the

Our annual Scottish touring programme has

incomparable Sixteen and Harry Christophers

been busier than ever this year, concluding in

and our new Principal Conductor Maxim

mid-September with concerts in Largs, Lanark,

Emelyanychev with SCO Principals in the

St Andrews and Dunbar – as guests of the

Queen’s Hall, all helped to ensure our musicians

Lammermuir Festival – whilst our longstanding

were kept centre-stage during Edinburgh’s

secondary schools’ project Masterworks

remarkable International Festival.

reached 1,500 young people in Edinburgh, Aberdeen and Kilmarnock.

As did this year’s Virgin Money Fireworks Concert in Princes Street Gardens, which

Never ones to let the grass grow, we now look

once again brought the summer festival

forward to the Winter Season! In doing so,

season to a riotous and joyous close. Helped

we formally welcome two exceptional new

enormously by one of Edinburgh’s sunniest

artists to the SCO family, both of whom have

days, our pyrotechnic friends at Pyrovision

made a tremendous impression on musicians

masterminded the most extraordinary,

and audiences alike in recent months. In

awe-inspiring fireworks display I have ever

early November, we will hear the first work –

seen. In addition to the famous Fireworks

Sound and Fury – from Associate Composer

concert, earlier the same day we welcomed

Anna Clyne, whilst later in the same month,

2,000 Primary School children from right

we will arrive at the much-anticipated first

across Edinburgh, who enjoyed a special 45

performances with Maxim Emelyanychev as

minute performance of music from Dukas’ The

Principal Conductor.

Sorcerer’s Apprentice and Berlioz’ Symphonie fantastique.

These are exciting times for the Scottish Chamber Orchestra – we look forward

The day after our fireworks concert is usually

enormously to sharing them with you.

a quiet one, but not this year, as the Orchestra and Chorus gathered to prepare for their

Gavin Reid

performance of Handel’s masterpiece Jephtha

Chief Executive

04|SCO NEWS

SOME RECENT HIGHLIGHTS

NEWS

PROM 55

here but the humanity,

––––––

expressiveness and energy

It was a proud moment

of the SCO Chorus… was

when the Orchestra

even more impactful.”

and Chorus performed

For what was the Chorus’

together onstage at the

debut at the Proms and in

BBC Proms on Friday 30

the Royal Albert Hall, “This

August with conductor

had to be one of the best

and long-time friend of

performances ever from

the SCO, Richard Egarr.

an amateur choir” as The

The Guardian reported,

Arts Desk commented. This

“Orchestra textures were

was an incredible project

beautifully clear, the choral

for the SCO and you can

singing exceptional in its

still listen to the BBC Radio

vividness”. According to

3 live broadcast online at

The Times, “Professional

bbc.co.uk/programmes/

voices can be thrilling

m0007yrs

SCO NEWS|05

FOLLOW THAT CAB! –––––– If you’ve been out and about in Edinburgh or Glasgow recently, then you might have spotted one of the Scottish Chamber Orchestra branded taxis.

There are four different designs featuring three of our players – Stephanie Gonley, Amira BedrushMcdonald and Su-A Lee – and our new Principal Conductor, Maxim. So now, not only will our music transport you, but the SCO can give you a lift too. Taxi!

WEDDING –––––– Congratulations to our Principal Double Bass Nikita Naumov as he and our former Marketing Officer Elizabeth Whitty tied the knot at Edinburgh Castle on 7 September.

PHILIP HIGHAM’S NEW ARRIVAL –––––– Congratulations also to Principal Cello Philip Higham on the recent arrival of his baby boy.

06|SCO NEWS

STAFF CHANGES

Director of the Edinburgh

at the Royal Albert Hall

––––––

International Festival at

and is leaving to take up the

This autumn we say hello

the end of 2018, has over

position of Co Principal Oboe

to….

thirty years of experience in

at English National Opera.

Sophie Sim as our new

organisational leadership,

We wish her all the best.

Marketing Officer. Sophie

cultural policy and

will no doubt fast become a

international working.

OUR FESTIVAL

familiar face to you all, as she gets to grips with the ins and

Welcoming Joanna to the

––––––

outs of SCO subscriptions.

Board, SCO Chair Colin

This summer we had four

Sophie replaces Michael

Buchan commented:

hugely successful concerts

Devlin who left the Orchestra

“Joanna Baker is a hugely

as part of the Edinburgh

at the start of August to

knowledgeable and

International Festival.

take up a new post with our

respected figure in the

friends at the BBC SSO.

cultural sector, so naturally

SCO were absolutely delighted

I’m thrilled that she is joining

to be part of two hand-crafted

SCO and University of St

the Board of the SCO. She

performances of Leonard

Andrews Graduate Trainee

joins at a very exciting time

Bernstein’s West Side Story,

Fiona Croal. Fiona will split

as we prepare to welcome

part of the celebrations

her time between the SCO

Maxim Emelyanychev as our

for the composer’s 100th

offices and St Andrews

new Principal Conductor this

birthday anniversary. The

as part of our Orchestra

September.”

performances were ones that Conductor John Eliot Gardiner

in Residence programme And wave goodbye to...

had been developing for over

Sub-Principal Oboist Rosie

60 years, after meeting the

Board Member Joanna

Staniforth. Rosie performed

composer and conductor

Baker. Joanna, who

her final SCO concert at our

in Paris as a student. The

stepped down as Managing

recent BBC Prom Jephtha

Orchestra were delighted

activity at the University.

to be paired with an all-star © Ryan Buchanan

musical cast in what proved to be one of the great celebratory focal points of the Festival.

The concerts received huge acclaim and played to sold out houses for both performances.

Next up, Festival audiences were given the opportunity of a sneak preview of what to expect in the coming Season, when our new Principal Conductor Maxim was joined

by SCO Principals for a Romantic recital of Brahms, Dohnányi and Schumann at the Queen’s Hall.

Our third appearance at the Edinburgh International

60

SECOND INTERVIEW

Festival was in celebration

PAUL GRIFFITHS

of another composer – Sir

You have been leading our creative learning project,

James MacMillan. In his 60th

SCO VIBE since 2013 – how would you describe it?

birthday year, the Orchestra

VIBE is many things, I think. Primarily, it is a project for

were privileged to premiere

teenage musicians from any background or ability to

Sir James’s Fifth Symphony,

create and perform new music. It’s also become a bit

a meditation on the mystery

of a crucible for participants, leaders and organisers

of the Holy Spirit. The piece

to practice collaborative learning and to explore skills

combined the forces of the

that can be transferred to other creative, practical

SCO – with parts written

and collaborative situations. It started with a group in

specifically for natural horns

Edinburgh and now we run projects in Glasgow and

and trumpets – with the

Aberdeen. We did a couple of adjacent VIBE projects and

superb choral faces of the

we are now in the process of creating bespoke versions

Sixteen /Genesis Sixteen,

that reach out to different parts of the community.

for truly one of the most memorable premieres of the

New VIBE, in association with CAMHS (Child and

Festival.

Adolescent Mental Health Services), starts this October – how do you think this form of music

Finally, we were once again

making can help young people?

delighted to close the

One of the central ideas of VIBE is that each participant

International Festival with

has a voice that can be heard in its own time. The

the annual Virgin Money

immersion in the collective allows for anyone to take part

Fireworks Concert. Loved by

at their own level and at their own pace. VIBE aims to

locals and visitors alike, this

create an atmosphere of trust, patience, and absolute

is always a highlight of the

positive regard for all. My hope for the CAHMS project

Edinburgh summer calendar.

is that we are, as a team, super flexible and able to find spaces for these young people to explore their creative

The day included another

voices. We aim to be able to listen to them, hear them and

enthralling schools’ lunchtime

find ways to work as artists together.

concert which was attended by two thousand, Primary

What is the most important thing for participants to

Seven children. We are

take away from a VIBE workshop?

delighted to continue to be

The understanding that creativity is a tool which

partnering with Virgin Money

everyone and anyone can have agency over and that

for this iconic performance.

communal music making is cool beyond words.

08|SCO NEWS

SCO MUSIC

RECENT RECORDINGS SCHUBERT: SYMPHONY NO. 9 IN C MAJOR ‘THE GREAT’ MAXIM EMELYANYCHEV - CONDUCTOR This Season, Linn will release Maxim Emelyanychev’s debut recording with the Scottish Chamber Orchestra.

As regular Scottish Chamber Orchestra attenders may know, it was with Schubert’s Ninth Symphony that the Orchestra were first introduced to Maxim when he substituted for an indisposed Robin Ticciati in 2018, and that led to his subsequent appointment as Principal Conductor.

Reviewing the concert at the time, The Scotsman wrote: ‘Emelyanychev

brilliant recordings of this symphony

[was] constantly balancing surface charm

which I greatly enjoy and have

and vigour with a far darker, more manic

inspired my own interpretation. A new

undertow – not least in the towering

recording must communicate something

cumulative energy of his propulsive

contemporary and with this album, I

finale.’

want to explore what the music is saying at this time, with this orchestra and this

Schubert’s Ninth Symphony was the

particular combination of extraordinary

composer’s final major contribution to

musicians.”

the genre and his maturity is reflected in its intensely lyrical melodies and

Schubert: Symphony No 9 in C Major,

monumental scale.

‘The Great’ conducted by Maxim Emelyanychev will be available to buy

Commenting on the recording recently,

online via linnrecords.com this November.

Maxim said “This piece holds great

––––––

significance for me as it began my

Available from the SCO merchandise desk or

journey with the SCO. There are many

by phone on 0131 557 6800

SCO PLAYERS’ GUIDE TO THE SEASON

WHAT NOT TO MISS OUT ON IN SEASON 2019/20 WITH AMIRA BEDRUSH-McDONALD, SU-A LEE AND GORDON BRAGG

ONES TO WATCH

xx|SCO NEWS

SCO NEWS|11

SCO PLAYERS’ GUIDE TO THE SEASON

AMIRA BEDRUSH-McDONALD FIRST VIOLIN

SCOTLAND IS A COUNTRY WITH AN INCREDIBLY STRONG AND FAR-REACHING MUSICAL HERITAGE AND OUR ORCHESTRA IS MADE UP OF PLAYERS FROM AROUND THE WORLD.

ONES TO WATCH

Left to right: Nicola Benedetti, Karen Cargill and Colin Currie

This Season could very well be one of the

such a privilege to work with conductors/

most exciting for us yet! 2019/20 sees

directors who have an immediate insight of

the start our new journey with Principal

the instrument you’re playing on.

Conductor Maxim Emelyanychev - the energy and dynamism of which can be

This will be also the first time I get the chance

heard in our forthcoming CD of Schubert

to play all the Beethoven Symphonies in

Symphony No 9 ‘The Great’. We also get

one Season and I can’t wait to see what

to hear him direct from the harpsichord in

differences and perhaps even similarities

January for our ‘Baroque Dances’ concerts

each conductor will bring to these pieces.

and then again at the piano in April for Mozart’s Piano Concerto No 20. Not to be

Scotland is a country with an incredibly

missed...

strong and far-reaching musical heritage and our Orchestra is made up of players

I’m delighted by the return of some of my

from around the world. Therefore, it is

favourite conductors, violinists and directors

always a joy to welcome back home-grown

such as Joseph Swensen, Andrew Manze,

superstars such as Nicola Benedetti,

Alexander Janiczek and Pekka Kuusisto each

Karen Cargill and Colin Currie - each one a

of whom have a huge wealth and breadth

proud cultural ambassador of the musical

of experience as phenomenal players. It’s

language we all share.

12|SCO NEWS

SCO PLAYERS’ GUIDE TO THE SEASON

SU-A LEE SUB PRINCIPAL CELLO

ONE TO WATCH

Left to right: Pekka Kuusisto and Klaus Mäkelä

PEKKA IS A GENIUS…HIS QUIRKY NATURE AND QUICK-WITTED BRILLIANCE MAKE EACH PROGRAMME AN ABSOLUTE JOY TO WORK ON.

You’re in for a treat! No weak links at all

Maxim is a marvel. It was definitely love at

this year! It’s hard to know where to begin

first sight for us, when he stepped in at the

with picking out my highlights for the

last minute for Robin Ticciati. Luckily for us,

coming Season, because it’s honestly all

the feeling was mutual, and we appointed

very exciting indeed!

him immediately. This Season marks his official start as Principal Conductor of the

OK, to cut to the chase: my top two

SCO, and his programmes are as joyous and

programmes both happen to be headed

joyful as he is!

by the inspirational Pekka Kuusisto, closely followed by a Baroque Dance

I am also looking forward to seeing

programme with our fresh new Principal

faces that are well known to us as firm

Conductor Maxim Emelyanychev.

favourites, such as Joseph Swensen, Piotr Anderszewski, Alexander Janiczek,

Pekka is a genius…his quirky nature

Kristian Bezuidenhout, Nicola Benedetti

and quick-witted brilliance make each

and Andrew Manze, to name but a few.

programme an absolute joy to work on.

Not to mention celebrating our very own

We have enjoyed his visits over the past 15

players in solo and directing roles.

years but I am thrilled that he is coming in

As for new faces, I’m rather excited to

more regularly throughout this year as our

meet the young cellist and conductor,

‘Featured Artist’.

Klaus Mäkelä!

xx|SCO NEWS

SCO NEWS|15

SCO PLAYERS’ GUIDE TO THE SEASON

GORDON BRAGG SECOND VIOLIN From the moment that Maxim

this undersells any great piece of music;

Emelyanychev started his first rehearsal

is there only one way to experience a

with us on Schubert’s Ninth Symphony,

Shakespeare play? With this in mind, I am

the Orchestra knew that it had found

delighted that Maxim, Emmanuel Krivine

a musician that it wanted to build a

and Andrew Manze are sharing this

long-term relationship with. His perfect

Beethoven cycle: three ‘theatre directors’

balance of intellect and emotional fire

with totally different approaches, yet all

is married to a superhuman attention

with the greatest integrity to Beethoven

to detail, so I am really excited about

and the score.

exploring Mozart’s ‘Jupiter’ Symphony with him in his opening concert as

A few years ago I was fortunate

Principal Conductor.

enough to play under Peter Eötvös and perform his music. He is a composer of

The spine of the Season is the cycle of

unusual sensitivity and concentrated

Beethoven Symphonies; nine works of

emotional power, so I am looking forward

infinite depth and scope. To talk of one

enormously to the UK Premiere of the

absolute musical ‘truth’ in performing

Double Bass Concerto ‘Aurora’ with our

these works implies that there is only

very own Formula 1 bass-wizard Nikita

one way of playing them, and I think

Naumov.

FROM THE MOMENT THAT MAXIM EMELYANYCHEV STARTED HIS FIRST REHEARSAL WITH US ON SCHUBERT’S NINTH SYMPHONY, THE ORCHESTRA KNEW THAT IT HAD FOUND A MUSICIAN THAT IT WANTED TO BUILD A LONG-TERM RELATIONSHIP WITH.

ONE TO WATCH

Left to right: Maxim Emelyanychev and Nikita Naumov

16|SCO NEWS

SCO MASTERWORKS 2019

MACMILLAN TRYST Inspiring Music Pupils Across Scotland

William Soutar. Sir James himself conducted

Over the past three years, our flagship

the concerts in Edinburgh, Aberdeen and

education programme Masterworks has

Kilmarnock and talked to the audience

visited every part of Scotland – taking in the

about his life and work. He also spent a day

Highlands, Islands and rural areas of the

with the SCO team working with a group of

mainland as well as the central belt. In fact,

enthusiastic pupils at Doon Academy in East

over the three-year cycle we have engaged

Ayrshire.

with over 3,500 pupils and 230 teachers at

The Masterworks Programme – Free

140 schools in 31 of the 32 Scottish local

Workshops, Concerts and Online Resources

authorities! We are incredibly proud of the Masterworks programme. It has been

Masterworks enables pupils to experience

running since 1998 and, according to the

the excitement of live orchestral

teachers and pupils we work with, is still as

performance and is carefully designed

fresh, inspiring and relevant as ever.

to support the SQA curriculum. Each year we run a series of professional

This September we have had the pleasure

development workshops for teachers

of working with Sir James MacMillan and

followed by workshops for selected

featuring the piece he wrote back in 1989

secondary schools. These experiential

for the SCO – Tryst, based on a poem by

workshops are designed by our regular Masterworks presenter Rachel Leach and offer a completely hands-on approach to collaborative composition, catering for whatever instruments and skill-levels we encounter. This year, teachers and teacher trainees attended workshops in Edinburgh, Aberdeen and Kilmarnock run by Rachel and SCO musicians. Our intrepid duos of musicians then visited Orkney, Shetland, East Ayrshire, Aberdeen City and Aberdeenshire to run day-long workshops at eleven different schools. Two

IT HAS BEEN SUPER USEFUL AND FUN

of the workshops took place at special

— Pupil, Aberdeenshire, 2019

Music Scotland, who help us to adapt the

schools with our inclusion partner Drake workshops to suit individual needs.

SCO NEWS|17

A GREAT SESSION WITH VERY CREATIVE PRACTICAL IDEAS THAT I’M LOOKING FORWARD TO USING Music Teacher, Edinburgh CPD

Over 1,500 pupils and teachers attended daytime concerts in Edinburgh, Aberdeen and Kilmarnock, introduced by Rachel Leach. The concerts began with a guided exploration of the themes and compositional techniques used in Tryst and an interview with Sir James, who then conducted a full performance of the piece. Live video projections of the Orchestra were screened during the performance to bring the audience closer to the music-making.

The entire Masterworks programme is free to all schools. This year, thanks to our Creative Learning Partner Baillie Gifford, we were able to support transport costs for a number of schools and to provide enhanced online resources for continued use in the classroom. You can see the resources and videos at www.sco.org.uk/mw19res –––––– Our Masterworks 2019 project was delivered in partnership with Aberdeen City Council, East Ayrshire Council and Drake Music Scotland, and kindly supported by The Misses Barrie Charitable Trust, Aberdeen City Council Creative Funding, PF Charitable Trust, Gordon Fraser Charitable Trust, JTH Charitable Trust, The Educational Institute of Scotland, Tay Charitable Trust and Aberdeen Endowments Trust.

18|SCO NEWS

INTRODUCING ANNA CLYNE DAVID KETTLE TALKS TO OUR NEW ASSOCIATE COMPOSER Born in London, the SCO’s incoming Associate Composer, Anna Clyne now makes her home in New York. She has worked all over the world, including highprofile residencies with the Chicago and Baltimore Symphony Orchestras, and the Orchestre National d’Île-de-France. But it was Scotland – specifically Edinburgh – that gave Clyne many of her formative musical experiences.

“I was a student in Edinburgh from 1998 to 2002,” she explains, “and it’s great to be coming back.” What does she remember about her undergraduate years? She points to one particular aspect of her studies as making a direct impact on her later work. “In my third and fourth years we did a lot of community music with Nigel Osborne. I remember going to a school for kids with learning disabilities, and we also went out to the Pavarotti Music Centre in Mostar, and to Sarajevo.

It was an incredible experience.”

I AM THRILLED TO HAVE THE OPPORTUNITY TO WORK WITH THE WONDERFUL MUSICIANS OF THE SCOTTISH CHAMBER ORCHESTRA. WE HAVE LOTS OF EXCITING PLANS INCLUDING DEVELOPING NEW CONTENT FOR THEIR OUTSTANDING CREATIVE LEARNING PROGRAMME. — Anna Clyne

COVER FEATURE

SCO NEWS|21

COVER FEATURE

WHEN I’M COMPOSING I HAVE WIRELESS HEADPHONES ON AND – WELL, I’M NOT A DANCER, BUT I IMAGINE I CAN DANCE, AND IF THE MUSIC I’M WRITING FEELS RIGHT WITH A SENSE OF MOVEMENT, THAT REALLY HELPS ME WITH THE PACING OF A PIECE

And an experience that has informed

space of time. Where did it all begin for

many of Clyne’s later activities. “In previous

her? “I think I first started writing music

residencies I’ve had,” she continues,

when I was about seven,” she muses. “My

“community music has been a really big

parents gave the family a piano but it had

component. In Chicago, for example, I was

some missing keys, so I avoided those. I

involved in a project that went out to a

remember making my own manuscript

nearby prison, and I partnered with an art

paper out of that old computer paper

therapist in a residential facility for people

with holes down the side, and writing very

with dementia and Alzheimer’s.”

simple pieces for myself and my friends to play. I had my first piece performed – it was

Community music in its broadest sense

for flute and piano – when I was 11, as part

– taking music out of the concert hall,

of an Oxford Youth Prom.”

engaging with audiences who might seldom consider attending a conventional

Remarkably, however, Clyne didn’t have

event – is something Clyne is keen to

a formal composition lesson until her

continue in her new relationship with the

third year at university, which she spent

SCO. “We’re still discussing specifics,” she

at Queen’s University in Ontario, on an

admits, ‘but we’ve talked about taking

exchange programme run by the University

some of my pieces into schools, and I really

of Edinburgh. She later continued her

hope there might be some way of working

composition studies south of the border,

with and mentoring young composers in

at New York’s Manhattan School of Music.

Scotland.”

All that time, however, she feels she’d been thinking as a composer: “They asked me at

But despite the increasing importance of

my Manhattan interview why I wanted to

community work, Clyne’s main relationship

study composition there, and I remember

with the SCO will be as a composer. And

replying that I felt I knew what I wanted to

it’s in that role that she’s already achieved

say, but that I didn’t necessarily have the

remarkable success, in a surprisingly short

tools to do it.”

22|SCO NEWS

ANNA CLYNE

Since then, she’s received commissions

melodic idea, or a harmonic progression.

from performers including the London

Then I’ve broken my own piece down into

Sinfonietta and percussionist Colin Currie,

six sections, each of which develops an idea

as well as from the BBC Proms – her

from the Haydn symphony.” There’s another

virtuosic showpiece Masquerade made a

influence, however, on Clyne’s new piece,

huge impact when it was premiered at the

as its title indicates. “‘Il distratto’ reuses

Last Night in 2013. Another BBC project

music that Haydn wrote for a play, so I also

has been the inclusion of her dark and

went down a literary route. The title comes

turbulent orchestral piece Night Ferry in

from Macbeth’s final soliloquy, when he

the BBC Ten Pieces project, designed to

learns that his wife is dead, and I’ve tried

open up classical music in the classroom for

to incorporate the soliloquy’s reflections

7- to 14-year-olds.

on time – past, present and future – and its really interesting sense of rhythm.”

It’s with another of her most widely performed pieces that she launches her

Clyne has other works in the pipeline

relationship with the SCO on 7 and 8

for her three-year relationship with the

November. Prince of Clouds is an exquisitely

SCO. “They’re all very different, and

tender double violin concerto, with Pekka

that’s what makes it really exciting,” she

Kuusisto and Benjamin Marquise Gilmore

explains. ‘Sound and Fury is for chamber

as soloists at its SCO performances. “It

orchestra, but I’m also going to be writing

was commissioned as a partner piece for

an a cappella choral piece, and a piece for

the Bach Double Violin Concerto,” Clyne

wind octet.’ And working closely with SCO

explains, “and I wrote is specifically for

musicians will be crucial in those works’

violinist Jennifer Koh and her teacher

genesis, Clyne stresses. “You really feel

Jaime Laredo. I was reflecting on the

the individuality of the musicians in this

idea of musical lineage, so the piece is a

orchestra, how they relate to each other,

dialogue between the two soloists, and also

their relationships with each other as an

their interactions with the ensemble.”

ensemble. And that’s something I’ll very much have in mind when I’m writing for

Clyne partners Prince of Clouds with a

them.”

brand new work, also written in response to existing music. Her Sound and Fury takes its

Indeed, collaboration is something that

inspiration from Haydn’s Symphony

Clyne considers central to her approach to

No 60 ‘Il distratto’, which concludes the

creating music. “I’m actually working with

same concert. “It wasn’t a symphony I

a choreographer right now,” she explains.

knew,” she explains, ‘but I’ve really grown to

“I’m writing a section of music, and they’re

love it. It’s in six movements, and for each

sending me back the choreography, which

of them I wrote down a few elements that

I can then respond to in the next music I

caught my attention – maybe a rhythmic or

write. It’s a very symbiotic relationship.”

SCO NEWS|xx

And in fact, rhythm and movement are

very tonal section, but I’ve added quite

things she feels closely drawn to in creating

dissonant, skittish flurries of sound that

music. “I think a lot about the physicality

make it sound a bit uneasy. If something

of sound. When I’m composing I have

feels quite straightforward, it can be good

wireless headphones on and – well, I’m not

to add another layer that kind of messes

a dancer, but I imagine I can dance, and if

things up.”

the music I’m writing feels right with a sense of movement, that really helps me with the

Clyne is a unique figure in contemporary

pacing of a piece.”

music, a composer who’s very open to inspiration and input from others while

She’s comfortable, too, to embrace

maintaining a distinctive, immediately

gloriously consonant, tonal harmonies

approachable style all of her own. From

alongside harsher dissonance in her

the opening concert of her SCO residency

music. “I’m definitely drawn to modal

in November, it’ll be fascinating to chart

harmonies,” she explains, “and to quite

how her relationship with the Orchestra

simple folk-like tunes. But I like to spin

develops.

them out in different directions. In Sound

––––––

and Fury, for instance, I took a four-chord

MOZART, HAYDN & CLYNE

progression that occurs in one of Haydn’s

Directed by Pekka Kuusisto

slow movements and looped it. It’s a

6-7 November in Edinburgh and Glasgow

24|SCO NEWS

PATRON EVENTS

COPENHAGEN AND EAST NEUK Around 40 Patrons enjoyed a very special

performance due to illness, we were very

five days in Copenhagen in May to hear

fortunate that she was replaced by Jonian

the Orchestra perform in the Tivoli

Ilias Kadesha who provided the audience

Gardens Concert Hall and to explore the

with an exceptional performance.

Danish capital for a few days. The trip included a concert in the DR Koncerthuset

In late June, another group of Patrons

featuring the Danish National Symphony

took the opportunity to enjoy another

Orchestra, a guided tour of the

trip, this time slightly closer to home in

beautiful city and a tour of the stunning

sunny Fife. Fuelled by a superb lunch

Copenhagen Opera House.

at The Ship Inn in Elie, we enjoyed exploring the charming Kellie Castle and

Although Nicola Benedetti unfortunately

Gardens before attending a spectacular

had to withdraw from the SCO’s

performance by the SCO of Wagner’s

WIN £250 ––––––

250 SOCIETY Just £5 a month as a member of the 250 Society gives you the chance to scoop £250 in our monthly draw at the same time as knowing that you Siegfried Idyll, Mozart’s Sinfonia

are contributing towards the SCO’s

Concertante and Mendelssohn’s ‘Scottish’

Creative Learning programme.

Symphony.

Please join us in congratulating recent Thank you to all the Patrons who joined

winners of our 250 Society:

us on the trips. We hope to be able to organise similar excursions in the future

August: Prof Olivia Robinson

but meanwhile, we look forward to

July: Margaret McCreery

welcoming you to our forthcoming Season

June : Dinah Bourne

of concerts and Patron events.

––––––

To learn more about the 250 Society

To learn more about becoming a Patron,

or to join now, contact Laura Hickey on

please contact Laura Hickey on 0131 478 8344.

0131 478 8344.

26|SCO NEWS

GREGORY BATSLEER TALKS TO KEITH BRUCE CELEBRATING 10 YEARS AS SCO CHORUS DIRECTOR

28|SCO NEWS

GREGORY BATSLEER

THE SCOTTISH CHAMBER ORCHESTRA MAKES MUSIC IN A MOST EXQUISITE CHAMBER FASHION AND I THINK THAT KIND OF MENTALITY IS WHAT I’VE BEEN TRYING TO EMBED WITHIN THE WORK WITH THE CHORUS

As the red carpet is rolled out for new

wanted this choir to stand on its own two

Principal Conductor Maxim Emelyanychev,

feet alongside the Orchestra as an equal,

the new Season is also a cause for vocal

respected for its music-making at the same

celebration as Gregory Batsleer chalks up

level. The Scottish Chamber Orchestra

a decade as SCO Chorus Director. The two

makes music in a most exquisite chamber

occasions intertwine in a season that has

fashion and I think that kind of mentality is

concerts featuring the Choir and Orchestra,

what I’ve been trying to embed within my

including one before Christmas directed by

work with the Chorus.

Gregory Batsleer himself.

“Over the last ten years it has probably “If there is any season that encapsulates

changed two-thirds of the membership and

what this Chorus can do it’s this one,” he

I think what makes the choir healthy is a

says. “It is nice at ten years to be doing music

constant stream of singers coming in and

that is going back to our core meaning:

out. In the last year alone, five or six have

Mozart, Beethoven, Haydn, Vivaldi – these

left for various reasons, so we have had the

are composers that are central to what this

opportunity to bring in new members. One

choir does.

of the reasons the choir feels fresh is that membership is never static. New faces bring

“There’s music there that the Chorus will

new ideas, so it is great to be doing a season

perform for as long as it exists, and it is good

of blockbusters, because there are some for

to remember why we are here and what

whom it is their first time.

we stand for, and put all the things we have learned recently into that music-making.”

“Obviously the size of the SCO Chorus

“When I started the job ten years ago I

makes it unusual because most orchestra

SCO NEWS|29

choruses are much bigger. We have about

world coming to conduct, so it will be very

70 singers on the books and we perform,

interesting to see what he brings to it.

typically, with about 55, which means that members don’t have to perform in every

“Then I get to make my debut with

project. People have important roles in their

the Orchestra in December. I wanted

day-to-day lives, so we’ve expanded the

to showcase a few things, including a

pool of singers a little. What has been really

composer that the choir knows deeply,

encouraging has been the level of applicant:

which is Haydn. Haydn has to make you

the vast majority of the singers in this choir

smile because he was so in love with his

have sung at a high level for many years or

music-making – as we are at the SCO

have trained as musicians or sung as choral

Chorus. The Harmony Mass is a 50 minute

scholars. The standard of individual in this

encyclopedia of natural colours and every

choir is peerless and we are able to do that

section in the orchestra also gets a moment

because of its small size.”

to show its flamboyance and its creativity.

The choir’s first outing is on 11 October, with

“The Stravinsky Mass is new to everybody. I

young chief conductor designate of the Oslo

don’t think the Orchestra has ever performed

Philharmonic, Klaus Mäkelä on the podium.

it and it gives the choir an opportunity to do something that it hasn’t done before.

“Mozart Requiem is a piece that Sir Charles

The choir is deeply exposed and the piece

Mackerras did a lot with the orchestra, but

is seductive, with ambiguous harmony.

he passed away just before we had the

Stravinsky poses beautiful questions, while

chance to do it together. Now we have one

the Haydn gives much more encouragement

of the most exciting young conductors in the

towards the meaning of the Mass.”

30|SCO NEWS

GREGORY BATSLEER HAS THE SCO CHORUS OPERATING AS A LEAN, EFFICIENT MACHINE, CAPABLE OF VIGOUR TO MATCH THE PLAYERS, AND OF A VOLUME THAT DEFIES ITS COMPACT SIZE, AS WELL AS SINGING OF GREAT DELICACY. The Herald

Come March, Maxim Emelyanychev

With Beethoven 9 in May closing the cycle

directs the Chorus for the first time as

of all the symphonies in the composer’s

Principal Conductor, although he made

250th anniversary year – conducted by

his debut in that role last October,

Emmanuel Krivine, who begins the series

replacing indisposed Canadian conductor

in November – there is a very pleasing arc

Bernard Labadie for Haydn’s The

to the contributions of the SCO Chorus to

Seasons. His concert teams the familiarity

the 2019/20 season.

of Vivaldi’s Gloria with the much rarer Miserere by Jan Zelenka.

“As long as there is an appetite from the singers and from the organisation to

“The Zelenka was a very specific request

further the work of this Chorus, that is

of Maxim’s. It is one of these little gems of

matched by me,” says Greg. “There is still

the Baroque repertoire, divided into many

work to do and I am excited about that,

parts and has a lot of glorious polyphony.”

especially with the new hall around the corner.”

“Maxim brings a fresh energy to the

––––––

whole organisation. We were really

MOZART REQUIEM WITH SCO CHORUS

fortunate that he was able to begin his

Conducted by Klaus Mäkelä is on 10-12 October

relationship with the Chorus last year,

in Edinbrugh , Glasgow and Aberdeen

and choral programming is going to be

––––––

at the centre of a lot of his work with the

The Edinburgh concert is proudly sponsored by

Orchestra – I know he is really keen to do that. He’s excited to grow with the Chorus as much as the Chorus is excited to grow with him.”

SCO NEWS|xx

32|SCO NEWS

SEASON 2019/20

FREE PRE-CONCERT INSIGHTS AND PERFORMANCES PRE-CONCERT INSIGHTS: Talks, Discussions and Storytelling All events take place from 6.45-7.15pm (unless otherwise stated) and are free to concert ticket holders.

François Leleux

Anna Clyne

Wednesday 25 September, Perth Concert Hall Artist Insights: Conductor François Leleux introduces the first concert of the 2019/20 Perth Series.

Thursday 07 November, Edinburgh Queen’s Hall Friday 08 November, Glasgow City Halls Composer Insights: Associate Composer Anna Clyne discusses her two featured pieces.

Saturday 18 January, Aberdeen Music Hall (TBC) Artist Insights: Principal Conductor Maxim Emelyanychev discusses this evening’s programme.

Thursday 30 January, Edinburgh Usher Hall Friday 31 January, Glasgow City Halls Composer Insights: Author Cate Haste and SCO Creative Learning Director Kirsteen Davidson Kelly discuss the life and music of Alma Mahler.

Wednesday 4 March, Perth Concert Hall Artist Insights: Principal Conductor Maxim Emelyanychev discusses the evening programme.

Pekka Kuusisto

Thursday 19 March, Edinburgh Queen’s Hall Friday 20 March, Glasgow City Halls Sunday 22 March, 3.15-3.45pm, Inverness Eden Court Theatre Artist Insights: Robert McFall (former SCO Violinist) discusses the influence of folk music in Hungarian music.

Thursday 23 April, Edinburgh Queen’s Hall Friday 24 April, Glasgow City Halls Artist Insights: Nico Muhly discusses his Violin Concerto with Pekka Kuusisto.

Thursday 7 May, Edinburgh Queen’s Hall Friday 8 May, Glasgow City Halls Storytelling Insights: Join storyteller Anna Lehr and SCO Cellist Eric de Wit for a musical tale inspired by Mendelssohn’s love of Scotland.

Suitable for all ages.

SCO PLATFORM: Pre-Concert Performances by Scotland’s Young Musicians All events take place from 6.45-7.15pm and are free to concert ticket holders.

––––––

Wednesday 30 October, St Andrews Younger Hall SCO Platform: Performance by students from the University of St Andrews.

Friday 6 March, Glasgow City Halls SCO Platform: Performance by pupils from the Music School of Douglas Academy.

Friday 22 November, Glasgow City Halls SCO Platform: Performance by students from the Royal Conservatoire of Scotland.

Thursday 12 March, Edinburgh Usher Hall SCO Platform: Performance by students from the University of Edinburgh.

Thursday 27 February, Edinburgh Queen’s Hall SCO Platform: Performance by pupils from the City of Edinburgh Music School.

Saturday 14 March, Aberdeen Music Hall SCO Platform: Performance by pupils from Aberdeen City Music School.

Thursday 5 March, Edinburgh Usher Hall SCO Platform: Performance by pupils from St Mary’s Music School.

SCO PLATFORM

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

All talks and panel discussions will be BSL-interpreted.

joanna.burns@sco.org.uk

Or you can email: or call Joanna on 0131 478 8342

34|SCO NEWS

JOIN THE CONVERSATION ––––––

YOUR SAY Since the last issue of SCO News we’ve been and about across Scotland in concert halls, town halls and castles.

We’ve garnered five-star reviews at the Edinburgh International Festival, lit up the sky with a world-renowned firework display and had high praise for Handel at our BBC Prom at the Royal Albert Hall.

Here’s just a short selection of some of the feedback we’ve received from our

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

audience along the way:

SUMMER TOUR

JEPHTHA

What a delight to have been able to spend a couple of hours in Eastern Europe yesterday evening in the company of your magnificent string ensemble at Elgin Town Hall. It was wonderful to see the concert so well attended and all comments that I heard were strongly in your favour.

There was some damn fine singing in Handel’s Jephtha @bbcproms tonight – but you know who pretty much stole the show?

The @SCOmusic chorus, that‘s who.

Such precision, such spring, such attack.

Tremendous.

Adrian Cammack, Elgin We all enjoyed enormously the concert last night, what a great ensemble, so in tune with each other, and so positively enjoying their music-making.

Marjorie Kerr, North Uist

David Benedict @eggsbened

Jephtha with @SCOmusic at the @bbcproms was stunning.

All the singers were tremendous.

David Glynn @broadwoodsquare

FIREWORKS Edinburgh you have outdone yourself!

What a celebration of art last night with the @VirginMoney fireworks & @SCOmusic – it was a thrill to share that stage & sing for my city. @edintfest you are the BEST! What a way to end my season! This Edinburgh lass couldn’t be more proud!

Catriona Morison @CmorisonMezzo

#mySCO

THROUGH THE EYES OF...

KANA KAWASHIMA FIRST VIOLIN You were appointed First Violin back in March

for one – he has a way of making the whole

– can you tell us a little bit about your musical

room feel relaxed, while constantly bringing us

background prior to the SCO?

so much inspiration and pushing us to bring out

I began pursuing the violin seriously at eleven

our best, and the concerts were so enjoyable and

years old when I entered the Yehudi Menuhin

rewarding! Also, the Brahms Symphonies at last

School, where I quickly realised how much I

year’s Edinburgh Festival as well as this year’s

would have to commit in order to make this

West Side Story have to be mentioned. Those

my life. Having been in a ‘normal’ school until

are concerts that will always be great memories.

then, always feeling like I was sacrificing other things to keep up the violin, I found myself

What are you most looking forward to in the

finally being surrounded by people just like me,

coming Season?

all sharing the same passion, which for me felt

Probably our first official concert with Maxim

like an environment perfect for me. After six

Emelyanychev as our new Principal Conductor

years at the school, I went on to study in Vienna

playing Mozart ‘Jupiter’ Symphony – I feel

(for another six years!) before coming back to

that there is a lot of excitement in the air

London where I freelanced and did a year of

for his arrival and I think this will be just the

studies at the Royal Academy of Music.

beginning of something very special. I’m also looking forward to the concert with Kristian

I actually watched the SCO during my studies in

Bezuidenhout – the Orchestra has a great

Vienna back in March 2015 on their European

chemistry with him, and I think the Beethoven

tour. I remember completely falling in love with

Triple Concerto with him, Ben and Philip will be

the style and the warm sound of the Orchestra,

quite a treat. We are so lucky to have incredible

I thought at the time what a dream it would be

Principal players and I’m always so inspired and

able to play just one concert with them in my

in awe whenever they play as soloists with us.

life. So, I still can’t quite believe that exactly four

––––––

years later, I was appointed to a position- it’s

MAXIM CONDUCTS MOZART’S ‘JUPITER’

really a dream come true!

is on 14-16 November in Edinbrugh , Glasgow and Aberdeen

What have been your SCO highlights so far?

––––––

There have already been so many highlights so

The concert is proudly sponsored by

far, every week brings something new and fun, but there are a couple of weeks that come to mind. The week with Pekka Kuusisto last Season

PATRONS

SUPPORT US PLAY YOUR PART IN OUR FUTURE SCO.ORG.UK/SUPPORT-US Join our family of Patrons for as little as £5 a month. For more information, please get in touch with Laura Hickey, Development Officer, on 0131 478 8344 or laura.hickey@sco.org.uk The SCO is a charity registered in Scotland No SC015039.