The aim o f the S cho o l i s to crea t e a h a p py, c a r i n g a n d ordered communi ty in whi ch e ach i n d ivi d u a l c a n a ch i eve h i s or her f ull p o te ntial b o th aca d em i c a l l y a n d soc i a l l y. With our s tro ng co mmi tme nt t o Mu si c , we a re p r ou d t o suppor t the N atio nal Yo uth Orch est ra of S c ot l a n d S umme r Tou r.
Ju n ior S ch ool O pen Mor n in g Monday 29 Oct ob e r 9.30am - 12 n oon
S en ior S ch ool O pen Even in g Mond ay 12 Nove mb e r 7.00pm - 9.30pm
www.glasgowhigh.com The High School of Glasgow Ltd. Registered Charity No. SCO 14768
NURTURING
full potential
THE NATIONAL YOUTH ORCHESTRA OF SCOTLAND Summer Concert Richard WAGNER Die Meistersingers von Nürnberg
10’
Max BRUCH Scottish Fantasy
30’
INTERVAL
John PSATHA Seikilos
12’
Ottorino RESPIGHI Pines of Rome
22’
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The National Youth Orchestra of Scotland is the flagship orchestra of NYOS. Founded in 1979, it is a symphony orchestra for musicians aged between 12 and 21 in Scotland. The orchestra performs throughout the year in a variety of high profile venues in Scotland, the UK and around Europe and its young musicians benefit from the invaluable performance experience this provides. Auditions for entry to The National Youth Orchestra of Scotland are held annually, throughout Scotland, attracting some 400 auditionees each year. The musicians in The National Youth Orchestra of Scotland are of the highest calibre and many past students have gone on to enjoy successful careers in the musical profession. These members include Dame Evelyn Glennie, Colin Currie, and Garry Walker. NYOS ensembles inspire audiences worldwide with their outstanding skill, youthful energy and panache. Audiences marvel at the powerful sound of our large-scale orchestras, appreciate the intimacy of our smaller chamber concerts and delight in the fresh and uplifting performances given by our jazz bands. They are often surprised and always impressed by the exceptional talent of Scotland’s young musicians. We believe in the future of Scotland’s next generation of musicians, our students are proud and excited to be playing with Scotland’s National Youth Orchestras and we are passionate about supporting and developing their talent.
Cover Image courtesy of IMG Artists
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I am delighted to be the new Chief Executive of NYOS. Since taking up the post in May, I have been enjoying learning more about the wonderful activities that NYOS ensembles are involved in. There have been many successful and stimulating projects already this year with the National Children’s Orchestra of Scotland’s course and concerts at Easter with conductor, Roland Kieft; participation by NYOS in the BBC Music Nation event alongside the BBC SSO; NYOS Futures together with the Lung Ha Theatre Company in performances of a new production, “Antigone”; NYOS Camerata completed the first phase of a residency on Benbecula and Uist and NYJOS has embarked on a project taking place in both Orkney and Shetland. These last two projects see a combination of workshops, residencies and performance opportunities delivered in each community. NYJOS Access met for its residential weekend in March performing at The Jazz Bar in Edinburgh, a first for a NYJOS ensemble, and jazz workshops have been taking place in communities throughout Scotland including The Scottish Borders, Dumfries and Galloway, Scottish Highlands, Stirling and Aberdeen. The summer activities for NCOS, NYOS and NYJOS got off to an amazing start with a successful NCOS residential course and concert at Paisley Abbey conducted by Peter Stark which resulted in the Orchestra receiving a standing ovation from the audience. Also, I am delighted to announce that the NYOS Jazz Education Programme has been selected as a finalist in this year’s Scottish Jazz Awards. This is all evidence that NYOS is a thriving organisation providing wonderful experiences for participants and audiences alike. Your support is much needed to continue and build on this work. This summer the NYOS Friends scheme is being re-launched as part of the Individual Giving Programme so please show your support for this exceptional organisation by selecting the category that suits you best and join this scheme or become a chair sponsor. It would be greatly appreciated, thank you. I do hope that you enjoy this evening’s performance.
Joan Gibson Chief Executive 4
Richard WAGNER (1813-1883) Overture, Die Meistersinger (1867) Comedy was no more Wagner’s forte than Verdi’s. Yet, like Verdi, he produced a comic opera that is not only one of the greatest works of its kind but also one of the greatest, most warm-hearted of all operas. This was Die Meistersinger (The Mastersingers), a score as glowingly German as Falstaff is glowingly Italian. Its humanity, geniality, and humour make you wish Wagner had stooped, if that is the word, more than once to music such as this. Its characters are real: the ordinary townsfolk of Nuremberg in the sixteenth century, caught in the act of deciding who should win the local song contest that forms the work’s sumptuous climax. Ordinary? Well, Hans Sachs, the cobbler who is the pivot of the opera, is rather more than that, but he is undoubtedly a person, not a Wagnerian god, dwarf, or superhuman. The story, with its wealth of characterisation - the philosophical Sachs, the crabbily academic Beckmesser (a caricature of the Viennese music critic Eduard Hanslick), the ten other mastersingers, the young lovers, the jovial apprentices - drew from Wagner a fine-spun web of melodic counterpoint, full of vitality and with a classical clarity of texture. The Mastersingers has been called a Haydnesque opera, and the comparison is by no means as ridiculous as it might seem, though to call it Handelian might at times be equally apt. Though the modern determination to detect undertones of Nazism in the unfurling of the story can only be called par for the course where Wagner is concerned, the virtue of The Mastersingers lies in its conspicuous lack of anything that can be truthfully called evil intent - even if it is not hard to see Beckmesser as a Jew, and the way he is treated at the end of Act Two as conspicuously unfair. Yet this passage, with the Nightwatchman sounding his horn in the darkened streets, is also one of Wagner’s most poetic inspirations, and Beckmesser in the course of Act Three becomes someone who arouses our sympathy - as Wagner surely intended. To find genuinely unpleasant anti-semitic undertones in The Mastersingers in fact takes a lot of doing. To capitulate to the music, to its beauty of workmanship and variety of invention, does not require us to wish that it was written by someone else. The overture says it all. Wagner’s glorious procession of marches sounds in no way threatening but sonorous and sublime. Upon these, the gentle love music intrudes sweetly and the theme of the apprentices is a jaunty, saucy parody of a sort which the Nazis - had they been operating in 1867 - would never have permitted the grander aspects of the score to be undermined by. The genius of comedy, as a distinguished critic once remarked, is what presides over this overture, warning us not to interpret it in too serious and ponderous a spirit. The work, we should always remember, was composed as an interlude - but what an interlude! - between Tristan and The Ring. Programme notes by Conrad Wilson
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Max BRUCH (1838-1920) Scottish Fantasy, Op 46 (1881) i) ii) iii) iv)
Prelude: Grave - Adagio cantabile Allegro Andante sostenuto Finale: Allegro guerriero
“More Johnnie Walker Black Label than Laphroaig” - or, to put it another way, more smooth than smoky - is one modern critic’s astute description of Max Bruch’s Scottish Fantasy, implying that the music has more in common with the same composer’s Violin Concerto No 1 in G minor than with the vanguard German School of Liszt and Wagner which he professed to detest. Bruch, like Mendelssohn, was a Jewish-born composer of impeccable classical upbringing. He studied in Bonn (Beethoven’s birthplace) and Cologne, admired Schumann, and was Kapellmeister to the Prince of Schwarzburg-Sondershausen as well as director of the Liverpool Philharmonic Society and professor of composition at the Berlin Hochschule, where one of his pupils was Ralph Vaughan Williams. His background, then, was largely academic, which may make it seem strange that he composed not only the most undyingly popular of all violin concertos but a work as romantically inclined as the Scottish Fantasy. We should bear in mind, however, that the latter is more correctly (and more discursively) called “Fantasy for Violin with Orchestra and Harp, with Free Use of Scottish Folk Melodies, Opus 46.” Bruch himself seems to have thought of it as much in terms of a violin concerto as of anything else, and had no objection to performers identifying its four movements in such a way. Nor, at least initially, did he object to Joseph Joachim, the dedicatee of Brahms’s Violin Concerto, giving the work its premiere in Liverpool in 1881, with Bruch himself as conductor, though he strenuously objected to the way the great violinist played it - “carelessly, with no modesty, very nervously, and with altogether insufficient technique.” Was this really the soloist who had championed the Brahms and Beethoven concertos, sometimes side by side, wherever he went, and who had composed the most celebrated of all cadenzas for the Brahms? Be that as it may, Bruch eventually dedicated his fantasy to Joachim’s apparently less careless rival, Pablo Sarasate, but was surprised to find himself - devoted academic though he was accused of carelessness of his own, in that his “free” use of Scottish folk melodies was considered to be much too free. Critics accused him of writing down the tunes wrongly, though whether he did this deliberately or carelessly is hard to say. But whatever the reason, the work is steeped from the start in a Scottishness that never becomes purely academic. The sombre prelude - suggestive in a way of the opening of Mendelssohn’s Scotch symphony - is said to evoke the voice of an aged bard contemplating a ruined castle and lamenting the glorious days of old. The solo harp is undoubtedly a bardlike presence in this work, as is the recurrent quoting of the song Auld Rob Morris, used throughout as an idee fixe. The second movement brings in the droning of bagpipes along with another folk tune, The Dusty Miller. But Auld Robb Morris has not been banished, and leads the way into the slow third movement, inspired by the sadness of another folk tune, I’m Down for Lack of Johnny. Then, in the stamping finale, the mood changes. Uncommonly marked allegro guerriero (a wording previously employed by Mendelssohn to describe the finale of his Scotch symphony) this “warlike” music has the familiar strains of Scots Wha Hae as its basis, though even here Auld Robb Morris is not forgotten. Programme notes by Conrad Wilson
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John PSATHAS Seikilos (1998)
One of the few remnants of ancient Greek music is a short song by the composer Seikilos from the second or first century BC beginning with the words Hoson zês (given here in a contemporary translation): While you’re alive, shine, man, Don’t be the least bit blue. Life’s for a little span; Time demands its due. It is engraved on a tombstone as an epitaph by Seikilos for his wife. While writing this piece I found myself contemplating the implications of the occasion it had been commissioned to mark. My own biculturalism and sense of geographical dislocation has resulted in a lifelong fascination with the endless motion of restless people throughout history. As both an insider and outsider I have been shaped as a composer and as a person by what I perceive as the greatest lesson to be learned from my Greek heritage: live while you can. The work is dedicated to my mother and father, Emmanuel and Anastasia Psathas. Opening with a high dynamic intensity driven by an elaborate timpani part and abrupt glissandi gestures in the strings, the fierce energy of Seikilos eventually dissipates leaving sustained string harmonics and a subtle pulse heard in the triangle. Interlocking octave figures in the winds emerge, supported by dynamic swells in the brass. Melodic fragments are hinted at in the strings which, in conjunction with the return of an extravagant timpani part, builds back to the intensity of the opening section. Seikilos – sharing characteristics heard in many of Psathas’ larger works – moves through alternating sections which are highly contrasted in terms of rhythmic complexity and timbral variation, and results in an overall upward, energetic trajectory. The work closes with prolonged string harmonics which underpin a delicate, yet suitably ominous, interplay between the timpani and percussion. Introduction by John Psathas, programme notes by Jared Commerer
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Ottorino RESPIGHI (1838-1920) The Pines of Rome (1924) i) ii) iii) iv)
The Pines of the Villa Borghese Pines near a Catacomb The Pines of the Janiculum The Pines of the Appian Way
Though born in Bologna, between Milan and Florence, Ottorino Respighi lived (and died) in Rome in a house called The Pines. But The Pines of Rome, as he entitled his most famous work, was not the only tone poem or suite he produced as an Italian composer with an observant eye and ear for his surroundings. Other aspects of Rome were similarly celebrated in a pair of companion pieces entitled The Fountains of Rome (1917) and Roman Festivals (1929), though when the Fascist regime began to encroach upon the city’s Liceo di Santa Cecilia, where Respighi was professor of composition, he took good care to look the other way. In this respect, it must be said, he was no worse than Richard Strauss, a composer with whom he had much in common, not least a superlative command of instrumental colour. In a brilliant performance, the four tableaux that form The Pines of Rome still sound sensationally effective, even if Respighi’s request in the third of them for a gramophone record of a nightingale now seems as unnecessary as the wind machine in Strauss’s Don Quixote. But elsewhere in the work, the composer shows with unerring flair how much he learned from his teacher, Rimsky-Korsakov. As a snapshot of children playing soldiers and singing nursery songs in the gardens of the Villa Borghese, the first of the four linked movements may lack the fastidious delicacy Ravel had brought two years earlier to a similar scene in his orchestration of Musorgsky’s Pictures at an Exhibition. But delicacy on this occasion was not Respighi’s primary aim, though he proved perfectly capable of it in other works. If all the whooping orchestration here is pure exuberance of the sort that proclaims too much to be not enough, it is conspicuously suppressed in the second movement, evoking the voices of chanting Christians rising in prayer from the depths of the earth. Although, towards the end of this movement, Respighi cannot resist a sonorous climax, he allows it to subside into the nocturnal third scene, displaying the pines of the Janiculum hill bathed in moonlight. It is in this exquisite nocturne that Respighi insists on the recorded voice of a nightingale rather than the warble of the rudimentary mechanical bird employed in Leopold Mozart’s Toy Symphony. But at least today the bird-song tends to be reproduced electronically, thus sparing the orchestra’s percussion department the embarrassment of visibly placing a needle on an old-fashioned record. Out of this idyll there gradually swells the sound of marching feet and, in the most blatant (some would say most Fascistic) of the four movements, the music grandly portrays Roman legions approaching the Eternal City at dawn. Former glories are recalled by the trumpets, emulating Roman bugles, and the music mounts to a peak of exultation as the morning sun beats down on the Capitol. Programme notes by Conrad Wilson
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T E C W Y N E VA N S After his studies in New Zealand Tecwyn Evans left on a Fulbright Scholarship to study conducting at the University of Kansas with Brian Priestman and Simon Carrington. From 2009-2011 he was Erster Kapellmeister und Stellvertreter des Chefdirigenten of Grazer Oper, Austria. Tecwyn began his career as Chorus Master for Glyndebourne Festival Opera in 1999 a position he held for four years. He made his debut conducting La Boheme for Glyndebourne in 2000. In 2005 Tecwyn was a finalist at the Leeds Conducting Competition, soon after which followed his debut with the BBC Philharmonic at the BBC Promenade Concerts at the Royal Albert Hall. His German operatic debut came in 2008 stepping in at two week’s notice to conduct Torsten Rasch’s new opera ‘Rotter’ at Oper Köln. Just prior to this he conducted the London National Opera Studio singers in concert with the Orchestra of Opera North. 2008 concluded with concerts with the BBC Philharmonic and a successful debut with the BBC Scottish Symphony Orchestra. Tecwyn has fullfilled return invitations to the BBC Philharmonic, Auckland Philharmonia Orchestra and BBC Scottish Symphony Orchestra and also made highly successful debuts with the New Zealand Symphony Orchestra, Helsingborg Symphony Orchestra, Manchester Camerata and the RNCM Symphony Orchestra. In 2010 Tecwyn recorded a CD of music by NZ composer Anthony Ritchie with the New Zealand Symphony Orchestra and conducted British violinist Anthony Marwood in the world premiere of Ross Harris’s Violin Concerto no. 1 with the same orchestra. He also recorded a CD with Bryn Terfel and the orchestra of Welsh National Opera for Deutsche Grammophon. Tecwyn has appeared in concert with the BBC Philharmonic, the BBC National Orchestra of Wales, the BBC Scottish Symphony Orchestra, Ulster Orchestra, the Orchestra of Opera North, Helsingborg Symphony Orchestra, Grazer Philharmonic Orchestra, The Manchester Camerata, RNCM Symphony Orchestra, Welsh Chamber Orchestra, Salomon Orchestra, Southern Sinfonia, Auckland Philharmonia Orchestra, Southern Sinfonia and the Christchurch Symphony Orchestra. Future plans include a new production of The Queen of Spades in Graz and concerts with NZSO National Youth Orchestra, Christchurch Symphony Orchestra, Nordic Chamber Orchestra, his Australian debut with the Queensland Symphony Orchestra and a return to the BBC National Orchestra of Wales for the 2013 New Year Gala.
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Biogs
s
NICOLA BENEDETTI Violinist Nicola Benedetti has captivated audiences and critics alike with her musicality and poise. Highlights of Nicola’s 2011/12 season include her debut with the London Symphony Orchestra at the Enescu Festival in Bucharest and with the Netherlands Radio Philharmonic, San Francisco Symphony, Zurich Chamber, Cincinnati Symphony, Detroit Symphony and Hallé orchestras. She also performs Brahms’ Double Concerto for Violin and Cello with Leonard Elschenbroich and the London Philharmonic Orchestra under the baton of Christoph Eschenbach and has recently participated in a highly publicised New York Philharmonic performance in Central Park with Alan Gilbert conducting. Later in the season, Nicola will also perform a series of four recitals at LSO St Luke’s in London for the BBC, as well as give recitals at the Wigmore Hall, in Baden Baden and in Wiesbaden. She makes her Concertgebouw debut with the Mantova Chamber Orchestra and will perform multiple times with the Stuttgart Philharmonic Orchestra, Scottish Chamber Orchestra and on a multi-city tour of the UK with the Royal Philharmonic Orchestra. In the summer, she makes her Chicago Symphony debut at the Ravinia Festival playing the Brahms Double Concerto with Leonard Elschenbroich, with Christoph Eschenbach conducting. She also embarks on a tour of South America that takes her to major concert halls in Buenos Aires, Rio de Janeiro, Montevideo and Lima, and in September 2012 she makes a highly anticipated appearance at the Last Night of the Proms. Nicola made her debut at the Proms in 2010, has performed at the Tivoli Festival in Copenhagen and at the Echternach Festival in Luxembourg. She was also the featured artist at the Istanbul Festival in 2011. She has given recitals in London, Edinburgh, Glasgow, Hong Kong, Paris, New York, Boston, Washington D.C. and Sacile. In July 2011, Nicola made her South American debut with the Simon Bolivar Symphony Orchestra of Venezuela with Diego Matheuz conducting. During her week-long visit she taught numerous masterclasses with the revolutionary El Sistema programme. Nicola performs in chamber music concerts with her regular trio, both in the UK and further afield. Together with cellist Leonard Elschenbroich and pianist Alexei Grynyuk, she has performed at LSO St Luke’s, Istanbul Festival, Schloss Elmau and West Cork Chamber Music Festival and in the summer they will perform at the Ravinia Festival. Nicola has also played chamber music at the Verbier Festival, the Moritzburg Festival, the Tuscan Sun Festival in Cortona with Jean Yves Thibaudet at Lockenhaus and at Prussia Cove. Throughout her career Nicola’s desire to perform a broad variety of repertoire and reach a wider audience has set her apart as one of Britain’s most innovative and creative young violinists. Nicola’s choice of the Szymanowski Violin Concerto for the BBC Young Musician of the Year in 2004 was just the beginning of her focus on less-often programmed repertoire. She has recorded newly commissioned works by John Tavener and James Macmillan, worked on jazz-influenced repertoire with Wynton Marsalis (and others), and explored authentic baroque performance, her studies of which have culminated in the release of her first recording on the Decca Classics label in 2011/2012; a disc of baroque violin masterpieces by Vivaldi, Tartini and Veracini, entitled ‘Italia’. 10
NYOS, Holland 2009
T H E N AT I O N A L Y O U T H O R C Violin Maggie Adamson Fladdabister Kerry Alexander Buckie Laura Ayoub Glasgow Kathryn Berry Hexham Rosie R Birchard Glasgow Konrad Bucher Milngavie Luisa Callander Glasgow Paige Campbell Inverness Alexander Casson North Berwick Jessica Coleman Aberdeen Ryen Crabb Aberdeen Eilidh Crawford Edinburgh Tara Cunningham Tarland Katie Foster Edinburgh Amy Fraser Edinburgh Ruth Gilligan Aberdeen Freya Hall Aberdeen Julia Hamilton Carluke Tessa Henderson Edinburgh Ruairidh Holwill Lasswade Kelly MacInnes Glasgow Kirsty Macleod Strathaven Kirsty Main Edinburgh Marisa Manuel Glasgow Aemilia McAdam Ayr Colin McKee Milngavie
Violin David Norris Bearsden Anja Ormiston West Calder Emma Pantel Banff Daniel Rainey Dumbarton Isla Ratcliff Edinburgh Hannah Renton Aberdeen Iona Roberts Glasgow Lisa Robertson Oban Rachael Smart Crieff Helen Stirling Drumoak Heather Storer Kendal Roanna Tait Edinburgh Ailsa Taylor Edinburgh Miranda Whitmarsh Glasgow Abigail Young Edinburgh Calum Zuckert Edinburgh Viola Emma Alexander Buckie Rachael Black Glasgow Adriana Draghici Aberdeen Amy Forbes Perth Marsailidh Groat Hardy Edinburgh Liam Johnson Glasgow Edward Keenan Coldstream Maria Meszar Muenster
Viola Campbell Parker Uddingston Jonathan Penny Hessle Beth Potter Marlow Steven Segaud Forgandenny Michael Tang Glasgow Nathan West Strathkinness Cello Hebba Benyaghla Newton Mearns Alwin Bucher Glasgow Katherine Carr Ormiston Sally M.R. Carr Ormiston Amy Donaldson Glasgow Iain Hall Aberdeen Katie Johnston Coldstream Lauren Kennedy Glasgow Juliette Lemoine Torrance Sarah Lockhart Linlithgow James McAulay Glasgow Iain McHugh Clarkston Karen McKay Glenrothes Donald Robinson Glasgow Megan Rolf Inverurie Hyunsun Yoon Edinburgh
Photograph by Marianne Swienink-Havard
HESTRA OF SCOTLAND 2012 Double Bass Ben Burnley Scotstoun Aidan Duffy Glasgow Tamara Hardy Tain David McCreath Aberdeen Johanna Norris Glasgow Lewis Reid Aberdeen Rachel Wilson Glasgow Flute Rebecca Carson Canonbie Jennifer Cohen Aberdeen Helena Gourd Helensburgh Taylor MacLennan Larkhall Mark Taylor Larkhall Oboe Robin Brandon-Turner Ascog Katherine Bryer North Berwick Sandra Scott Perth Anna Seaton Perth Beth Strachan Peterhead Clarinet Robert R Digney Aberfoyle Kirstin Hall Blairgowrie Erica Sinclair Caithness Kieran Young Inverkip Ewan Zuckert Edinburgh
Bassoon Caitlin Macdonald Netherlee Mhairi MacFarlane Inverurie Ronan Whittern Longford (Ire.) (Guest NYOI)
Donagh Marnane
Wicklow
Horn Joe Boyd Aberdeen Freya Gillon Edinburgh William Jamieson Aberdeen Luke Maher Glasgow Marianne McGregor Kirkwall Emma McLean Aberdeen Diana Sheach Newton Mearns Stuart Vettraino Glasgow Trumpet Ian Gibson Glasgow Ben Hirons Glasgow Mark James Aberdeen Andrew McLean Dunblane Sophie Price Glasgow Trombone Ewan Burns Gourock Daniel Pickering Dollar Ian Sankey Nantwich
Ewan Taylor Andrew Forbes Adam Kenny
Perth Perth Dublin
(Guest, NYOI)
Tuba David Clark Callum Reid Adam Reynolds Harp Elinor Nicholson Sophie Rocks Percussion Stephen Cunningham Ruairidh Gallagher Colin Hyson Finlay A Jamieson Thomas Lowe Graham Proctor
Kirkintilloch Aberdeen Blairgowie Lanark Brae Glasgow Bearsden Glasgow Inverurie Coatbridge Edinburgh
Organ Andrew Forbes Perth Piano Amy Forbes Perth Celeste Hebba Benyaghla
Newton Mearns
The National Youth Orchestras of Scotland and Dunblane Cathedral Arts Guild present
conducted by
Garry Walker
Music by
Bartok
Beamish
Haydn
Dunblane Cathedral | Sunday 23 September | 4pm Tickets ÂŁ9 and ÂŁ2 (students/children)
Mozart
PATRONS
NYOS BOARD OF DIRECTORS
HRH The Earl of Wessex KG, GCVO James MacMillan
Professor Marjorie Rycroft (Chair) Robin Pagett (Vice Chair) Timothy Laing Geoffrey Lord Neil Meldrum Douglas Millar Jennifer Rimer John Speake Allan Young Joan Gibson
HONORARY PRESIDENT Emeritus Professor Donald Pack CBE NYOS STAFF Chief Executive, Joan Gibson Finance Manager, Caroline Biggar Jazz Ensembles Manager, Corinna Gregory Orchestral Ensembles Manager, Chris Bragg Development Manager, Laura Beaton Development Assistant, Natalie Clark Marketing Manager, Anthony Coia Secretary/Office Assistant, Sarah Cruickshank/ Arlene Cochrane Administration Intern, Yla Garvie
NYOS PASTORAL STAFF Dr Paul Middleton Andrew Langford Pauline Sim Lesley Monro Dr Helen Fowler
ORCHESTRA MANAGER Chris Edwards
TRANSPORT STAFF Cameron Logistics
TRUSTEES OF NYOS ENDOWMENT TRUST Dr Norman Cooper PhD, MBA, FCMI (Chairman) Mr Richard Chester, MBE Mr Iain Harrison, CBE Mr Colin MacLean, MA Mr Robin Pagett Sir John Shaw, CBE Sheriff Alayne Swanson
NCOS TUTORS Strings 1st Violin 2nd Violin Viola Cello Double Bass Flute Oboe Clarinet/Woodwind Bassoon French Horn Trumpet/Brass Trombone Tuba Timpani/Percussion Harp
Tecwyn Evans Chris George Claire Docherty Michael Beeston Robert Irvine John Clark Kathryn Bryan Zoe Kitson Joe Pacewicz David Hubbard Hugh Potts Iain Muirhead Alastair Sinclair Philip Hore Martin Gibson Eleanor Hudson
Play your part...
FUNDRAISING AUCTION - PRIZE APPEAL Thanks to the generosity of one of our NYOS supporters, Sir Jack Stewart-Clark, NYOS will host a black tie fundraising event at the exclusive Dundas Castle on November 22nd (St Cecilia’s Day), including a formal dinner and entertainment from NYOS orchestras. There will also be a charity auction on the night in aid of NYOS. We would be delighted if anyone wishes to donate a prize for the auction and help raise funds for NYOS. To support us, please contact our Development Manager, Laura Beaton on 0141-332 8311 or email laurabeaton@nyos.co.uk (Further details about this event will be available on our website shortly.) Thank you.
~ Setting the highest targets musically and academically ~ Specialist music training - classical, jazz, traditional ~ Many performing opportunities - orchestra, chamber music, choir, jazz and traditional ensembles ~ An impressive and stimulating academic education ~ Entry by audition for talented instrumentalists, composers, singers, aged 9-19 ~ Scottish Government funding, up to full fees ~ Consistently excellent results
OPEN DAY ~ Saturday 6 October Coates Hall, 25 Grosvenor Crescent, Edinburgh EH12 5EL tel: 0131 538 7766 www.st-marys-music-school.co.uk
Registered Charity SC014611
The national youth dance company of Scotland on tour
7 - 12 August Glasgow, Livingston, Aberdeen & Inverness 17 www.ydance.org for full details
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Sponsorship John Lewis Partnership
Trusts & Foundations The Alicia Forty Trust A M Pilkington Angus Alnatt Chritable Trust The Binks Trust The Caram Trus The Carntyne Trust D. C Thomson Charitable Trust The D’Oyle Carte Charitble Trust Esmee Fairbairn Foundation The Foyle Foundation Frank & Elizabeth Robertson’s Charitable Trust The Gannochy Trust Hugh Fraser Foundation The Imlay Foundation The James Wood Bequest Fund The Jennie S Gordon Memorial Foundation John Mather Charitable Trust The JTH Charitable Trust The Leverhulme Trust The Mackintosh Foundation The Martin Connell Charitable Trust The Michael Marks Charitable Trust Miss E C Hendry’s Charitable Trust The Modiano Charitable Trust Mrs M H McMillan’s Charitable Trust Mrs R A Goffins Charitable Trust New Park Educational Trust Ltd NYOS Endowment Trust Portrack Charitable Trust The Robertson Trust Sheila & Denis Cohen Charitable Trust Sir Iain Stewart Foundation SSTA St Andrews (Glasgow) Charitable Trust Talteg Ltd Tayfield Foundation The Turtleton Charitable Trust The W.A. Cargill Fund
Grants Creative Scotland Youth Music Initiative
Councils Aberdeenshire Aberdeen City Angus Argyll and Bute City of Edinburgh Clackmannanshire Dumfries and Galloway Dundee City East Ayrshire
Councils (cont.) East Dunbartonshire East Lothian Falkirk Fife Glasgow City Highland Inverclyde Midlothian Moray North Ayrshire North Lanarkshire Orkney Islands Perth and Kinross Renfrewshire Scottish Borders Shetland Islands South Ayrshire South Lanarkshire Stirling West Dunbartonshire West Lothian
General Support HRH The Earl & Countess of Wessex Arts & Business BBC Scottish Symphony Orchestra Cameron Logistics Culture Sparks Earnside Coaches Glasgow Academy Glasgow Royal Concert Hall Hardie Caldwell db Houston Ltd Hunter’s Luxury Coaches Kilgraston School Kate Longworth MacPhail’s Coaches Merchiston Castle School Methodist Central Hall Noble Grossart Ltd The North East of Scotland Music School,Aberdeen Oval Insurance Royal Scottish National Orchestra The Royal Conservatoire of Scotland Scottish Chamber Orchestra Scottish Opera Speirs & Jeffrey St Mary’s Music School, Edinburgh Strathallan School Studio Scotland Touch of Class Travel Travel Inn, Milngavie Unitarian Church, Glasgow University of Glasgow Usher Hall, Edinburgh The Wind Section Dunfermline Building Society (Nationwide)
NYOS Chair Sponsors: The Leader – Alan & Jan Simpson Back desk of Viola section – Anonymous Donor Principal Cello – Iain & Fabienne Harrison Principal Double Bass – In Memory of Richard Pattinson Principal Oboe – The Gordon Fraser Charitable Trust Principal Horn – Diana, Viscountess Younger of Leckie, in memory of George Younger, 4th Viscount Younger of Leckie, KT, KCVO, TD, DL Principal Trumpet – David & Jean Clark Timpani - Martin Gibson
Legacies To The NYOS Endowment Trust Dr Violet Anderson Dr James Conchie Miss Primrose A T Cullen Mr & Mrs Robert & Delia Buchanan Dalling Mr George Deans Gray CBE The James Greenfield Legacy for Performance Music Dr Elizabeth Hamilton Mrs Ruth Margaret Milne Mrs Winifred A A Phillips Mrs Elizabeth Somerville NYOS also acknowledges generous donations and grants from those who wish to remain anonymous.
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The National Youth Orchestra of Scotland Camerata Scotland 21 September 2012 Liniclate School Uist, Benbecula
Camerata Scotland 23 September 2012 Dunblane Cathedral ÂŁ9/ÂŁ2 concession
Experience the future of Classical Music...
www.nyos.co.uk NYOS commissioned Photography courtesy of Ian Watson Photography