NYOS Symphony Orchestra summer Programme 2022

symphony

4 August 2022

Music Hall, Aberdeen

5 August 2022

Caird Hall, Dundee

symphony

Programme

Prokofiev

Cinderella: Selection from Ballet Page 10

Bartók

Viola Concerto, op.posth., BB 128 (Serly version) Page 12

Ravel

Daphnis et Chloé: Suites Nos.1 & 2 Page 14

Welcome

Programming for young talented musicians in a large symphonic setting can be a real challenge but my motto has always been, ‘they deserve the very best of the orchestral repertoire to work on and play!’

So here we are. On our menu this evening are three masterpieces by three master composers.

As an opener we present Prokofiev’s reading of the famous Cinderella fairytale with musical highlights following the story in chronological order, showing that good things may happen to nice people too.

Ravel’s colourful scoring of Daphnis et Chloé, the old Greek saga of two foundlings falling in love, will be the second half of the programme, not only reflecting on Greek mythology but certainly one of the best scores written during the buzzing times of Paris some 100 years ago. A love story told in magnificent orchestral colours.

In between these two examples of highest quality composition will be Bartók. It will be an unforgettable experience for the young musicians to play his intriguing Viola Concerto, written in 1945 (his final composition) with Timothy Ridout, who is the number one New Generation Artist and a promising young talent in a long tradition of British viola playing.

It will be an inspirational experience for all the young musicians in the Orchestra and the youthful energy and commitment of all involved promise a fantastic performance for the audience to enjoy.

Jac van Steen Conductor

Jac van Steen Conductor

Since participating in the BBC Conductors Seminar in 1985, Jac van Steen has enjoyed a very busy career conducting the best orchestras in Europe, which included holding the posts of Music Director and Chief Conductor of the National Ballet of The Netherlands, the Orchestras of Bochum, Nuremberg, the Staatskapelle Weimar, The Opera and Philharmonic Orchestra of Dortmund, Musikkollegium Winterthur and Principal Guest Conductor at the BBC National Orchestra of Wales. At present he is Principal Guest Conductor of the Ulster Orchestra and the Prague Symphony Orchestra.

Jac made his debut with Opera North in 2013, as well as with the Volksoper in Vienna. In 2015 he made a very successful debut at Garsington Opera. He returned to Opera North for several productions and developed a yearly relationship with the Volksoper Vienna and bi-yearly appearances for Garsington Opera such as with Debussy’s Pelléas et Mélisande in 2017 and Smetana’s The Bartered Bride in 2019. In the 2018-19 season he made his debut at the Oslo Opera with two Puccini productions. Jac van Steen visits the UK regularly to conduct British orchestras such as the Philharmonia Orchestra, CBSO, Royal Philharmonic and Ulster Orchestra and made his debut in Tokyo with the New Japan Philharmonic and in Kuala Lumpur with the Malaysian Philharmonic Orchestra. Jac van Steen has participated in numerous recordings for the BBC, as well as live broadcasts of his concerts. There are a substantial number of CD recordings of his work with various orchestras.

Besides his activities as conductor, he is dedicated to teaching and is Professor for Conducting at the Royal Conservatory of Music in The Hague. He also regularly works with the Royal Northern College of Music and Chetham's School of Music (Manchester) as well as the Royal Academy and Royal College of Music (London). In May-June 2018 he led the Jette Parker Young Artists showcase as organised by the Royal Opera House, Covent Garden London.

Timothy Ridout

Viola

With awards including the inaugural Sir Jeffrey Tate Prize in Hamburg and a Borletti-Buitoni Trust Fellowship, Timothy Ridout has confirmed his position at the forefront of young European soloists. He has been a BBC New Generation Artist since 2019 and joined the Bowers Program of the Chamber Music Society of the Lincoln Center in 2021.

Orchestral engagements include appearances as soloist with the BBC Symphony and Philharmonia orchestras, the Tonhalleorchester Zürich, the Paris and Lausanne Chamber Orchestras, the Lucerne and Hamburg Symphony Orchestras, Chamber Orchestra of Europe and Orchestre National de Lille; whilst recitals and chamber performances include the Wigmore Hall, Ojai Hall, Vienna Musikverein and Amsterdam's Concertgebouw, among many others. In August 2021 he made his BBC Proms debut performing the Walton concerto under the baton of Sakari Oramo.

A Harmonia Mundi recording artist, Ridout has worked with conductors including Sylvain Cambreling, Christoph Eschenbach, Sir András Schiff and David Zinman; whilst his chamber music collaborations encompass projects with Nicolas Altstaedt, Joshua Bell, Frank Dupree, Jeremy Denk, Isabelle Faust, Steven Isserlis, Janine Jansen, Christian Tetzlaff, Lars Vogt,and Jonathan Ware, among many others.

He plays on a viola by Peregrino di Zanetto c.1565-75 on loan from a generous patron of Beare’s International Violin Society.

Sergei Prokofiev (1891-1953)

Cinderella: Selection from Ballet

Unlike many other Russian artists, including composers Rachmaninov and Stravinsky, Prokofiev had official permission from the authorities to leave Russia when he departed in 1918 to find considerable success in the United States. The Stalin regime, always acutely aware of the political power of the arts and its significance to a country’s cultural identity, were desperate to secure the return of Russia’s leading artistic émigrés and saw Prokofiev as one of their best prospects. Consequently, he was courted by the administration for a number of years with the promise of many lucrative commissions, freedom to travel and a comfortable state-sponsored lifestyle.

DURATION 29 minutes

YEAR OF COMPOSITION 1946

THE WORLD IN 1946...

The first meeting of the United Nations is held in London.

Project Diana bounces radar waves off the Moon, measuring the exact distance between Earth and the Moon, and proves that communication is possible between Earth and outer space, effectively beginning the Space Age.

Prokofiev was under no illusions about the totalitarian regime; his cousin had recently been imprisoned for political dissidence, but he decided to return in 1936, just months before the government’s first official denunciation of music that displeased the regime. Although at first Prokofiev received the commissions he was promised, in a sign of things to come, many were not performed, deemed unsuitable for the Soviet people by the authorities. Within a few years, Prokofiev had been forbidden from travelling abroad and had witnessed friends disappearing; his family was now trapped in the Soviet Union and months later World War 2 would break out. His previous ballet Romeo and Juliet, although enduringly popular, had originally been rejected as ‘undanceable’ by the Bolshoi Theatre. It is within this climate that he began the composition of Cinderella in 1941, declaring danceability his primary concern, and correspondingly filling

the score with traditional dance forms including grand waltzes and a pas de deux.

The selections from the ballet performed tonight demonstrate the scope and magic of Prokofiev’s original score. Emotive sobbing violin melodies depict Cinderella’s suffering, jaunty and piercing wind and brass scoring brings the evil stepsisters to life, and the celeste and flutes conjure the magic of the prince’s first sight of Cinderella.

After a testing time with the authorities, the ballet premiered to great success in November 1945, in the aftermath of World War 2, sweeping its audiences away with its fantastical and magical score after the alltoo-real horrors of war.

By Jack Johnson (© NYOS, 2022)

FURTHER LISTENING

Prokofiev – Scythian Suite

Music from Prokofiev’s (abandoned) first ballet, the composer writing for huge orchestral forces in a more challenging, avant-garde musical language than much of his later output.

Tchaikovsky – The Sleeping Beauty

Another spellbinding fairy tale spectacle

Béla Bartók (1881-1945)

Viola Concerto, op.posth., BB 128 (Serly version)

DURATION 21 minutes

YEAR OF COMPOSITION 1945

The famous Scottish violist William Primrose commissioned Bartók’s Viola Concerto in 1945. At first the composer was unsure of his ability to write a work for the viola; he felt he didn’t understand the instrument’s capabilities and limits. After hearing Primrose perform William Walton’s Viola Concerto he reconsidered and began listening to other viola concertos, specifically the most famous of all, Berlioz’s Harold in Italy. Feeling confident he could complete the commission, he finally accepted Primrose’s offer. Time, however, was not on his side – he would die before its completion.

THE WORLD IN 1945...

World War Two ends, and the United Nations is formed alongside the International Court of Justice and World Bank, as the world’s governments strive for a spirit of international cooperation.

Tibor Serly was a composer and orchestral violist who held positions with the Cincinnati, Philadelphia, and NBC Orchestras. He first met Bartók in Budapest when Serly was a student of Zoltán Kodály. When Bartók fled to the United States in 1940, he and Serly became friends. A violist and champion of the composer, Serly was the perfect choice to complete Bartók’s Viola Concerto.

After Bartók’s death, Serly completed the orchestration of the last few bars of the Piano Concerto No.3 and set to work on the Viola Concerto. Serly was fortunate to have some of the orchestration questions answered for him by Bartók himself. In a letter to Primrose, Bartók wrote, “The orchestration will be rather transparent, more transparent than in the Violin Concerto…’. In the interim, Primrose had lost hope of ever getting his commission. That is until in 1949 when he heard a rumour that the concerto was being reworked for

cello. It was only then that he learned Serly had completed the concerto. He collected his commission and premiered the work in 1949 with the Minneapolis Symphony Orchestra.

The Viola Concerto is filled with chromaticism, traditional church modes, whole-tone and octatonic sections, various pitch collections and folk tunes. The first movement is in sonata form and begins with the viola playing in a soloistic manner, accompanied only by soft pizzicato cellos. The transition between the first and second movement is effortlessly handled by an interlude played by the principal bassoon, who then hands the spotlight over to the soloist. The transition to the third movement is handled by the solo viola, which leads into a rondo whose principal thematic material is a Scottish folk tune, perhaps a nod to the familial roots of William Primrose.

In 1970 William Primrose commented on the wisdom of his commission:

‘When I commissioned the concerto, most people thought I had made a big mistake, including people in my manager’s office. Who on earth was going to ask me to play a concerto by Béla Bartók? I paid him what he asked—$1,000—and I played the concerto well over a hundred times for fairly respectable fees. So, it was almost like getting in on the ground floor in investing in Xerox or the Polaroid camera.’

Edited by Jack Johnson (© New Mexico Philharmonic)

FURTHER LISTENING

Jennifer Higdon – Viola Concerto Winner of the 2018 Grammy Award for Best Classical Contemporary Composition.

John Woolrich – Ulysses Awakes

A haunting solo viola leads a small string ensemble in a creative transcription of the first aria from Monteverdi’s ‘Il ritorno d’Ulisse in patria’

Plaque marking the birthplace of violist William Primrose in Glasgow’s West End

Maurice

Ravel (1875-1937)

Daphnis et Chloé: Suites Nos.1 & 2

DURATION 34 minutes

THE WORLD IN 1912...

The RMS Titanic hits an iceberg and sinks.

Harriet Quimby becomes the first woman to fly across the English Channel.

The Scoville Unit (used to measure the heat of peppers) is devised and tested by Wilbur Scoville

Ravel produced a relatively small number of compositions over his lifetime, and none longer than the full ballet version of Daphnis et Chloé which is only around an hour long, but his expert craftsmanship and mastery of the orchestra have ensured nearly everything he wrote is still heard regularly in concert halls around the world today. Daphnis et Chloé was written for an exceptionally large orchestra, which allows for a wide array of orchestral colours and textures, particularly because Ravel often spotlights solo players in the orchestra, writing for the instruments in a style that recalls chamber music with many individual lines, sometimes dividing the strings into over ten parts, as opposed to thinking of them as a block.

His work shows the influence of many styles, old and new: a classical sense of structure indebted to Mozart and Schubert, the vibrant orchestral colour and modal harmonies of the late-19th-century Russian composers and a fascination with the rhythms and regional dances of Spain.

Daphnis et Chloé is widely regarded as his masterpiece, although the work had a difficult gestation. It was commissioned in 1909 by Sergei Diaghilev of the Ballets Russes as part of a drive to present new work, resulting most infamously in Stravinsky’s The Rite of Spring, which was premiered a year after Ravel’s ballet. Although the work didn’t inspire the supposed riots that occurred at the premiere of Stravinsky’s ballet, it was not a success. Diaghilev

remarked on receiving the score ‘it is not a ballet, it is a painting of a ballet’, and the dancers were confused by the lack of clear, accented beats. Ravel arranged these two orchestral suites following the ballet’s premiere, which are the form in which the music is most often heard today.

The story, adapted from the sole surviving novel of a second-century Greek author, Longus, concerns the blossoming relationship between a shepherd and shepherdess, Daphnis and Chloé. They must overcome obstacles, not least abduction by a band of pirates, with the help of Greek deity Pan and an array of mythological creatures before they can affirm their love in a riotous celebration that concludes the work.

Suite No.1 draws on material from the first act of the ballet portraying Daphnis and Chloé's courtship and her abduction and miraculous escape from the pirates.

Suite No.2 is essentially a recreation of the ballet’s final act, opening with the famous ‘Daybreak’ section, which is renowned for its exceptional orchestration. Harps, flutes and clarinets flutter over hushed strings, which are muted, Ravel directing the strings section to remove their mutes one by one, a unique musical direction, allowing the music to gradually blossom into an incredibly evocative sunrise.

The work concludes with the wild and joyous Danse Générale, a bacchanale, meaning a dance movement depicting a

drunken, riotous celebration honouring Bacchus, the God of wine and pleasure, which deploys the huge orchestral forces with all their might to bring the work to a rapturous conclusion.

By Jack Johnson (© NYOS, 2022)

FURTHER LISTENING

Mayuzumi – Bacchanale

The Bacchanale provides an exceptional format for this composer’s eclectic range of influences honed from his studies in Tokyo and Paris.

Saint-Saëns – Bacchanale from ‘Samson and Delilah’ – the most famous bacchanale in the repertoire, much pastiched and parodied since its premiere 150 years ago.

First Violin

Scott Bryant, Kilwinning (Leader)

Thomasina Adamson, Glasgow

Eleanor Allen, Edinburgh

Helena Downie, Glasgow

Sophie Hamilton, Glasgow

Fraser Hannah, Castle Douglas

Lucy Hanson, Huddersfield

Chun-Yi Kang, Glasgow

Meredith Kennedy, Dunoon

Naomi Priestnall, Prestwick

Annabel Stevens, Glasgow

Rosie Stewart, Dunblane

Jack Sweet, Edinburgh

Yilin Xu, Glasgow

Second Violin

Jonathan Assur, Ayr

Isobel Barber, Haddington

Alasdair Campbell, Glasgow

Fiona Cantlay, Callander

Matthew Davis, Ayr

Paul Ersfeld Mandujano, Glasgow

Reuben Gilson-Barnett, Glasgow

Daniel Higgins, Newport on Tay

Naomi Kurt-Elli, Le Mont sur Lausanne

Dodie Simmers, Keith

Matthew Smith, Glasgow

Ola Stanton, Kinross

Daniel Stroud, Edinburgh

Claire Tootill, Edinburgh

Viola

Gordon Cervoni, Linlithgow

Sarah Hanniffy, Glasgow

Mairi McKellar, Aberdeen

Gordon McLaren, Kilwinning

Elena Muscat, Malta

Daisy Richards, Dunblane

Orla Smyth, Oxford

Cello

Tess Anderson, Glasgow

Michelle Campbell, Perth

Charlotte Hay, Laurencekirk

Janani Mohan, Aberdeen

Gemma Ramsay, Aberdeen

Chloe Randall, Glasgow

Andrew Rogers, Manchester

Beau Taneus-Miller, Edinburgh

Karenza Williams, Newmachar

Ruaraidh Williams, Newmachar

Double Bass

Euan Coyle, Glasgow

Rhona MacDonald, Glasgow

Joseph McLaren, Glasgow

Brendan Norris, Biggar

Megan Warnock, Glasgow

Flute

Tilly Coulton, Glasgow

Molly Gribbon, Glasgow

Criseyde Holman, Glasgow

Jamie McClenaghan, Glasgow

Lucy Walsh, Isle of Arran

Oboe

Caterina Lue, Glasgow

Annabelle Pizzey, Glasgow

Laura Ritchie, Stonehaven

Ross Williams, Glasgow

Clarinet

Louisa Buchan, Glasgow

Adam Lee, Irvine

Anthony McKenna, Motherwell

Amelia Neilson, Dumbarton

Cara Smith, Greenock

Bassoon

Cameron Deverill, Glasgow

Freya Edington, Glasgow

William Gold, Glasgow

Callum Hendry, Johnstone

Kaylyn McKeown, Glasgow

French Horn

Isabella Gonzalez Diaz, Glasgow

Esmé MacBride-Stewart, Edinburgh

LikWang Ng, Glasgow

Kirstin Spence, Anstruther

Rachel Wood, Hamilton

Trumpet

Finn Cormack, Glasgow

Calum Kerr, Glasgow

Maciej Meszka, Lossiemouth

Callum Robb, Innerleithen

Trombone

Anthony Connolly, Glasgow

Owen Pickering, Edinburgh

Ciadh Takahashi, Glasgow

Euan Wilson, Glasgow

Tuba

Jack Archibald, Glasgow

Sophie Smart, Mosstodloch

Percussion

Lewis Blackwood, Falkirk

Linzi Brain, Greenock

Robbie Bremner, Hamilton

Steven Meikle, Livingston

Ewan Millar, Glasgow

Zach Mitchell, Kilwinning

Callum Speirs, Blantyre

Ceri-Ann Townsend, Dalkeith

Harp

Beatrice Cheng, Glasgow

Clara Harrigan Lees, Edinburgh

Hannah Middleton, Glasgow

Piano

Esther Ersfeld Mandujano, Glasgow

Correct at the time of going to print.

Special thanks to the Leverhulme Trust for supporting our young musicians. As Leverhulme Arts Scholarship recipients, many of the musicians listed have received bursary support thanks to funding from the Leverhulme Trust.

STATUTORY FUNDING

Creative Scotland Regular Funding

Creative Scotland Youth Music Initiative

SPONSORSHIP

John Lewis Partnership

TRUSTS & FOUNDATIONS

A M Pilkington Charitable Trust

The AMW Charitable Trust

Angus Allnatt Charitable Foundation

A Sinclair Henderson Trust

The Cruach Trust

Cruden Foundation

David and June Gordon Memorial Trust

The Dunclay Charitable Trust

Dundee Music Grants

Ecton Trust

The Educational Institute of Scotland (EIS)

The Endowment Trust of the National Youth

Orchestras of Scotland

Ernest Cook Trust

Evelyn Drysdale Charitable Trust

The Forteviot Charitable Trust

The Gannochy Trust

Gibson Graham Charitable Trust

The Gordon Fraser Charitable Trust

Hinshelwood Gibson Trust

Hugh Fraser Foundation

Jennie S Gordon Memorial Trust

Jimmie Cairncross Charitable Trust

John Mather Trust

J R Gibb Charitable Trust

The J T H Charitable Trust

The Leng Charitable Trust

Len Thomson Charitable Trust

The Leverhulme Trust

The Mackintosh Foundation

The Martin Charitable Trust

McGlashan Trust

The MEB Charitable Trust

Merchants House of Glasgow

Miss E C Hendry Trust

Misses Barrie Charitable Trust

Miss Jean R Stirrat’s Charitable Trust

Mr and Mrs J M B Charitable Trust

Nancie Massey Charitable Trust

Peter Coats’ Trust

P F Charitable Trust

Portrack Charitable Trust

Probus Club of Lomond

The Radcliffe Trust

R J Larg Family Trust

The Robertson Trust

Robertson Ness Trust

Ronald Miller Foundation

Samuel Gardner Memorial Trust

Scott Davidson Charitable Trust

Scottish Secondary Teachers’ Association

The Sheila and Denis Cohen Charitable Trust

Sir Iain Stewart Foundation

The St Katharine’s Fund

Talteg Ltd

Tay Charitable Trust

Tillyloss Charitable Trust

The Turtleton Trust

W A Cargill Fund

Walter Craig Charitable Trust

The Zich Trust

CONDUCTORS’ CIRCLE

Ms Lindsay Pell and Professor Chris Morris

Professor Marjorie and Dr David Rycroft

NYOS SYMPHONY ORCHESTRA

Principal Chair Sponsors

The Baron of Balvaird Principal Harp

Mrs A M Bennett Double Bass

Mr and Mrs Timothy Laing Piano/Celeste

Geoffrey and Jean Lord Percussion

Mr Michael J Pell Bassoon

Dr Myra Soutar French Horn

St Fillans Music Circle Viola

Chair Sponsors

Kirsty Adam Cello

Charles Arbuthnot

Lord and Lady Cameron of Lochbroom Violin

Colin E Christison Viola

Alan Davis Cello

Dr T and Mrs Y Fitzgerald Violin

Mr Andrew Hadden Violin

Mrs Iain Harrison Cello

Professor David Hamilton Lawson Oboe

Alison Hunter Cello

Carolyn Lawson Timpani

Duncan and Sarah MacIntyre Violin

The Rt Hon Lord MacLean

Mr and Mrs Thomas McCreery

Mr Robin Pagett and Mrs Kate Longworth

Professor and Mrs Kenneth Paterson

In memory of Ian Robertson Bassoon

Mr and Mrs Mark Seymour

Maureen Simpson Cello

Dr C D and Mrs K A Sinclair

Mr A L Stewart French Horn

Lorna and Patrick Stewart Double Bass

Graham Taylor MBE Trombone

Peter Thierfeldt Double Bass

Mrs Ann Verney Cello

Mr and Mrs R M Williamson

Graeme and Ella Wilson

Dr and Mrs Paul Wilson

NYOS JAZZ ORCHESTRA

Chair Sponsors

Tim and Sally Barraclough Percussion

Theo and Noah Rossi Piano

NYOS JUNIOR ORCHESTRA

Leader Chair Sponsor

Alan and Jan Simpson

Principal Chair Sponsor

Dr Myra Soutar Second Violin

HONORARY CHAIR SPONSORS

In memory of Richard Chester MBE

Sarah Chester

We are incredibly grateful to all our Sponsors and Funders listed above for their continued support. NYOS also acknowledges those who wish to remain anonymous.

Professor and Mrs Andrew Bain

Sandra Bale

Mr Douglas Burke

Mr Graham Bygrave

Kevin and Linda Clarke

Dr Joseph Coleiro

Mrs R Coleman

Mr and Mrs Cooper

Mr and Mrs Morrison Dunbar

Mr and Mrs A Craig Duncan

The Countess of Elgin and Kincardine

Janey and Leslie Fleming

Mr Malcolm Fleming

Professor and Mrs Andrew Hamnett

Mr Patrick Harrison

Peter and Barbara-Ann Hawkey

Penelope Johnston

Mr Christopher Judson

Mr Andrew Keener

Mrs Mary K Lawson

Mr and Mrs Crawford Logan

Dr and Mrs Warren Luke

Professor M A Lumsden

Mr and Mrs R P Manson

Mr James McBeath

Mr George McCaig

Mr John McLeod

Mr and Mrs D McVicar

Mr and Mrs Neil G Meldrum

Mr Allan Murray

Mr David A J Noble

Mr Philip Oppenheim

Mr John B Park

Simon and Lesley Paterson

Mr and Mrs Alex Perry

Dr Stephen and Dr Alison Rawles

Alastair Rennie

Jennifer and David Rimer

Alan and Catriona Robertson

Mrs Kay Robertson

Mr and Mrs Ian M T Sandison

Angus Scott-Brown

Irene and Fred Shedden

Dr and Mrs Trust

George and Isobel Walker

The Hon Lord Weir

Mr Colin West

Elizabeth Wood

We are incredibly grateful to all our Friends and supporters listed above for their continued support. NYOS also acknowledges those who wish to remain anonymous.

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Course Staff, Tutors, NYOS Board & Management Team

Tutors

Ondřej Soukup Assistant Conductor

Chris George First Violin & Strings

Bernard Docherty Second Violin

Jane Atkins Viola

Clea Friend Cello

Sarah Neil Double Bass

Ruth Morley Flute & Woodwind

Peter Dykes Oboe

Jozef Pacewicz Clarinet

Vahan Khourdoian Bassoon

Sue Baxendale French Horn

Mark O’Keeffe Trumpet

Cillain Ó Ceallacháin Trombone

Andrew Duncan Tuba & Brass

Matthew Hardy &

Louise Goodwin Percussion

Sharron Griffiths Harp

Course Staff

Helen Douthwaite Course Manager

Madeleine Coxshott Course Manager

Daniel Cunniffe Orchestra Logistics

Cameron Logistics Transport

Pastoral Team

Kayleigh Sharp Head

Lewis Banks

Stephanie Colley

Alasdair Garrett

Rebecca Goodwin

Duncan Hughes

Vickie Whitelaw

NYOS Management

Kirsteen Davidson Kelly

Chief Executive

Jacqueline Rossi

Head of Development

Carole Lyons

Head of Finance

Judith Archibald

Head of Ensembles

Anthony Coia

Marketing & Communications Manager

Jack Johnson

Development Manager

Nicole Bull

Finance Officer

Hayley Gough

Administration Manager &

PA to Chief Executive

Helen Douthwaite

Classical Ensembles Manager

Joanna Burns

Jazz Ensembles & Outreach Manager

Madeleine Coxshott

Ensembles Co-ordinator

Amy Cook

Kickstart Projects Assistant

NYOS Soundings

nyos.co.uk/soundings

NYOS is developing a new strategy to build on our 40-year legacy of youth music delivery.

To do this we need to hear from people with a wide variety of experiences: young musicians, parents, former NYOS members, music teachers, partner organisations and audience members, as well as those who aren’t involved with NYOS but might like to be.

To share your views about NYOS and its future direction, please use the QR code below or visit nyos.co.uk/soundings and complete a short survey. NYOS members are also invited to join an online focus group discussion on 24 or 30 August from 6.30pm to 9pm. All survey and focus group participants will be invited to enter our prize draw to win a £100 Ticketmaster gift card.

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Calendar of Events

FRIDAY 14 APRIL 2023, 7.30PM

NYOS Symphony Orchestra

Usher Hall, Edinburgh

T: 0131 228 1155

W: usherhall.co.uk

SATURDAY 15 APRIL 2023, 7.30PM

NYOS Symphony Orchestra

Glasgow Royal Concert Hall

T: 0141 353 8000

W: glasgowconcerthalls.com

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