RSNO Spring/Summer Digital Season: Chan & Benedett

Scotland’s National Orchestra 1

CHAN & BENEDETTI

POLSKA SCOTLAND Financed by the Ministry of Culture, National Heritage and Sport of the Republic of Poland as part of the Multi-annual Programme NIEPODLEGŁA 2017–2022

Spring/Summer 2021

Available from Fri 16 April 2021

NINE SPECTACULAR CONCERTS BROADCAST FROM OUR HOME TO YOURS Featuring Thomas Søndergård • Nicola Benedetti Elim Chan • Benjamin Grosvenor Paul Lewis and more

On Sale Now! rsno.org.uk

CHAN & BENEDETTI

No one makes music come alive quite like Nicola Benedetti, and few living violinists bring quite so much beauty to Szymanowski’s shimmering, sensuous Second Violin Concerto. First, though, we take a musical trip to St Kilda with a Mercury-nominated Scottish composer, and also unleash Bartók’s showstopping Concerto for Orchestra. It’s the ultimate workout for a full symphony orchestra – 40 minutes of spicy tunes and untamed emotion, all crowned with a mighty shout of joy.

TRADITIONAL arr. CHRISTOPHER DUNCAN SCOTCH SCOTCH SCOTCH SNAPS SNAPS SNAPS Stac Dona from The Lost Songs of St Kilda [4’] SCOTCH SCOTCH SCOTCH SZYMANOWSKI Violin Concerto No2 Op61 [21’] SNAPS SNAPS SNAPS BARTÓK Concerto for Orchestra [40’] Elim Chan Conductor Nicola Benedetti Violin Royal Scottish National Orchestra RECORDED AT GLASGOW ROYAL CONCERT HALL Broadcast Fri 11 Jun 2021, 7.30pm This performance has been recorded for the RSNO Archive.

Supported by the Iain and Pamela Sinclair Legacy.

Jack Hunter Director Diana Dumi and Diego Almazán Camera Operators Robert Baxter and Kellen Gray Script Supervisors Claire Bryan Show Caller Diana Dumi Video Editor Eli Dolliver Video Production Intern Phil Hobbs Producer Hedd Morfett-Jones Sound Supervisor Sam McErlean Sound Engineering Intern

This concert is part of the RSNO’s Polska Scotland series. Polska Scotland is supported by the Adam Mickiewicz Institute and by the Consulate General of the Republic of Poland in Edinburgh as part of the international cultural programme marking the centenary of Poland’s regained independence. Financed by the Ministry of Culture, National Heritage and Sport of the Republic of Poland as part of the Multi-annual Programme NIEPODLEGŁA 2017–2022.

POLSKA SCOTLAND

POLSKA SCOTLAND

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RSNO: Scotland’s National Orchestra 5

POLSKA SCOTLAND

Welcome

POLSKA SCOTLAND

Welcome to this final concert in the RSNO’s Spring/Summer Digital Season.

I would like to thank you all for supporting the Orchestra through both seasons of digital concerts. The support you’ve given has sustained and encouraged us through the most difficult of times and I’m delighted that despite all the challenges of the past year the Orchestra is playing as well as ever.

It has been fantastic to be able to keep making music with our Music Director Thomas Søndergård and Principal Guest Conductor Elim Chan, and all the wonderful soloists and conductors who have joined us. These artists have had to endure quarantine, testing and travel chaos to take part in the broadcasts and we are deeply grateful to them for all the effort they have made.

I would also like to thank the Adam Mickiewicz Institute and the Consulate General of the Republic of Poland in Edinburgh for their continuing support of the RSNO. Without their generosity it would have been impossible to deliver such an ambitious programme of concerts.

As this Digital Season draws to a close, I am delighted to say that we are now planning a return to live concerts. Whether it’s in a concert hall, a tent, a country house garden or even a school playground, I hope you will be able to join us soon. As much as we have enjoyed creating these digital concerts, I know I speak for all the RSNO in saying that we can’t wait to welcome you back!

Alistair Mackie CHIEF EXECUTIVE

This concert is dedicated in loving memory of Adam Parry 28 March 1989 – 6 May 2021

‘Where words fail, music speaks’ Hans Christian Andersen justgiving.com/fundraising/fred-parry1

6 Chan & Benedetti

73-80

64–72

55–63

46–54

37–45

28–36

19–27

10–18

1–9

Royal Scottish National Orchestra

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ARTISTIC TEAM Thomas Søndergård MUSIC DIRECTOR Elim Chan PRINCIPAL GUEST CONDUCTOR Neeme Järvi CONDUCTOR LAUREATE Alexander Lazarev CONDUCTOR EMERITUS

Gregory Batsleer

1 2 3 4 5

CHORUS DIRECTOR, RSNO CHORUS

Patrick Barrett

6 CHORUS DIRECTOR, RSNO JUNIOR CHORUS

FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska

7 8 9

ASSOCIATE LEADER

Emily Davis ASSOCIATE LEADER 10 Tamás Fejes ASSISTANT LEADER 11 Patrick Curlett ASSISTANT PRINCIPAL 12 Barbara Paterson SUB PRINCIPAL 13 Jane Reid 14 Caroline Parry 15 Ursula Heidecker Allen 16 Lorna Rough 17 Susannah Lowdon 18 Alan Manson 19 Elizabeth Bamping 20 SECOND VIOLIN Xander van Vliet PRINCIPAL Jacqueline Speirs ASSOCIATE PRINCIPAL

21 22

Marion Wilson ASSOCIATE PRINCIPAL 23 Harriet Wilson SUB PRINCIPAL 24 Nigel Mason 25 Wanda Wojtasinska 26 Paul Medd 27 Anne Bünemann 28 Sophie Lang 29 Robin Wilson 30 Emily Nenniger 31

VIOLA Tom Dunn PRINCIPAL Asher Zaccardelli

32

ASSISTANT PRINCIPAL

33

Susan Buchan SUB PRINCIPAL Lisa Rourke SUB PRINCIPAL David Martin Nicola McWhirter Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt

34 35 36 37 38 39 40 41

CELLO Aleksei Kiseliov PRINCIPAL 42 Betsy Taylor ASSOCIATE PRINCIPAL 43 Kennedy Leitch ASSISTANT PRINCIPAL 44 Arthur Boutillier SUB PRINCIPAL 45 William Paterson 46 Rachael Lee 47 Sarah Digger 48 DOUBLE BASS Ana Cordova PRINCIPAL Margarida Castro

49 50

ASSOCIATE PRINCIPAL Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis

51 52 53 54

FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson

55 56 57

PRINCIPAL PICCOLO

OBOE Adrian Wilson PRINCIPAL Peter Dykes ASSOCIATE PRINCIPAL Henry Clay PRINCIPAL COR ANGLAIS

58 59 60

CLARINET Timothy Orpen PRINCIPAL CLARINET Duncan Swindells

61 62

PRINCIPAL BASS CLARINET

BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto

63 64 65

PRINCIPAL CONTRABASSOON

HORN Christopher Gough PRINCIPAL 66 Alison Murray ASSISTANT PRINCIPAL 67 Andrew McLean 68 ASSOCIATE PRINCIPAL 69 David McClenaghan Martin Murphy ASSISTANT PRINCIPAL 70 TRUMPET Christopher Hart PRINCIPAL Marcus Pope SUB PRINCIPAL Jason Lewis ASSOCIATE PRINCIPAL

71 72 73

TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair

74 75 76

PRINCIPAL BASS TROMBONE

TUBA John Whitener PRINCIPAL

77

TIMPANI Paul Philbert PRINCIPAL

78

PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL

79 80

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Stac Dona from The Lost Songs of St Kilda Christopher Duncan, the arranger of the nearly lost St Kildan tune Stac Dona, might be better known to some by just his initial.

As C Duncan, he’s a Glasgow-born singer, multi-instrumentalist and creator of three albums of beautifully crafted pop, Architect (nominated for the 2015 Mercury Music Prize), The Midnight Sun and Health (shortlisted for the 2019 Scottish Album of the Year Award).

The son of two classical musicians, Duncan studied composition at the Royal Conservatoire of Scotland, and was one of the figures from across Scottish music – alongside Sir James MacMillan, Julie Fowlis and Craig Armstrong – approached in 2016 to contribute to a new album, The Lost Songs of St Kilda.

Traditional arr.

Christopher Duncan (Born 1989)

DURATION 4 minutes

One of Scotland’s furthest-flung island groups, the St Kilda archipelago sits far out in the storm-lashed North Atlantic to the west of the Outer Hebrides. Despite its remote location, it was inhabited for centuries, but its population slowly dwindled, and in 1930 the remaining 36 islanders were evacuated to the Scottish mainland at their own request.

In 2006, a volunteer at an Edinburgh care home was struck by the atmospheric tunes that resident Trevor Morrison would play to him at the piano. Morrison explained that they were melodies he’d learnt from his piano teacher, one of those St Kilda evacuees. A recording of the tunes caught the attention of record company Decca, which in 2016 released the album The Lost Songs of St Kilda, bringing together Morrison’s piano recordings with new orchestral arrangements of them.

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Stac Dona, the tune that Duncan arranged for string ensemble and harp, takes its name from a tiny, conical sea stack just off the smaller of St Kilda’s two main islands, Soay. Of hearing the tune, Duncan remembers: ‘Whenever I listened to it, I actually had a tear in my eye. I can imagine it being just like the landscape there, very serene and beautiful, and quite bleak as well, and I just fell in love with it.’ His orchestral reimagining brings a lush, Romantic opulence to the lilting melody, complete with moments of darkness and bright light as though clouds and sun are playing on the sea stack, and the gentle lapping of waves ever-present.

What was happening in 2016?

4-5 Jan The highest ever individual cricket score – 1,009 not out – was made

by Pranav Dhanawade for K C Gandhi High School in Kalyan, India 5 Jan French composer, conductor and writer Pierre Boulez died 14 Mar Sir Peter Maxwell Davies, Master of the Queen’s Music and long-time resident of Orkney, died 1 Jun The Gotthard Base Tunnel, at 35.5 miles (57km) the world’s longest railway tunnel, opened through the Swiss Alps

© David Kettle

16 Jun British Labour MP Jo Cox was murdered in Birstall, West Yorkshire

SCOTCH SNAPS

SCOTCH SNAPS

SCOTCH SNAPS

The RSNO Scotch Snaps series is supported by the

23 Jun The UK voted in a referendum to leave the European Union 5 Aug The Summer Olympics opened in Rio de Janeiro, Brazil, the first time the event had been held in South America 30 Sep Two paintings stolen from Amsterdam’s Vincent Van Gogh Museum in 2002 were recovered near Naples, Italy 8 Nov The businessman and TV personality Donald Trump was elected 45th President of the United States 27 Dec Carrie Fisher, best known as Princess Leia in the Star Wars films, died

10 Chan & Benedetti

Violin Concerto No2 Op61 Karol Szymanowski (1882-1937)

FIRST PERFORMED Warsaw, 6 October 1933 DURATION 21 minutes When in the summer of 1932, celebrated Polish violin virtuoso Paweł Kochański suggested Szymanowski write a new concerto for him, the composer was initially reluctant until he discovered his old friend was terminally ill from liver cancer. ‘He squeezed the concerto out of me like a desiccated tube of toothpaste,’ he later reflected, having produced a first draft of the score in just under a month. Kochański helped write and edit the violin part as the composer went along, as speed was naturally of the essence: he died just three months after giving the world premiere on 6 October 1933.

Szymanowski inscribed the published score, ‘To the memory of a great musician, my dear and unforgettable friend, Paweł Kochański.’

In the manner of his First Violin Concerto, Szymanowski elected to structure his latest masterwork in one continuous flow, divided into two large sections, welded together by an extensive solo cadenza that is almost entirely the work of Kochański. Profoundly influenced by the folk music of the Goral people of southern Poland, Szymanowski plays against expectations by dovetailing the solo and orchestral parts into a virtually seamless flow of symphonic poetics. The distinctly Gallic sensuality of the First Concerto, flavoured by (Richard) Straussian eroticism, is here transmuted into a more distinctly personal sound world.

Both tonally and structurally, the Second Concerto possesses a stronger sense of cohesion, articulated by a heightened sense

of expectation and resolution. Although on paper the orchestral forces are not entirely dissimilar from the First Concerto, rather than creating a sense of time-suspending sonic allure, Szymanowski adopts a more objective stance, imparting a greater sense of clarity to line and texture that compels the music along, reflecting, no doubt, the creative imperative behind its creation.

The folkish element is well to the fore as the Concerto’s long opening section gradually unfolds, with the soloist’s hypnotic musings – interwoven at one point with muted horn and trumpet – gathering in intensity as the rest of the orchestra joins in. This immediately establishes the Concerto’s sound world, poised tantalisingly between beguiling simplicity and sophisticated intricacy. A second climax gives way to an iridescent solo cadenza, which marks the end of the main opening section. This leads without a break into three shorter meditations of unmistakable character: a lively scherzo based ingeniously on the work’s opening theme, a tender andantino in the form of a mazurka and a final section of great rejoicing and captivating brilliance. © Julian Haylock

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POLSKA SCOTLAND

Karol Szymanowski

Born 6 October 1882, Tymoszówka (now Tymoshivka), Ukraine Died 29 March 1937, Lausanne, Switzerland Karol Szymanowski was one of the most enigmatic and individual composers to emerge during the early 20th century. At a time when many musicians were making the pilgrimage to Paris to absorb the intoxicating range of contemporary styles on offer, Szymanowski devoted himself to studying the folk music of his native Polish Tatra mountains, enthusing that ‘each man must go to the earth from which he derives’.

He nevertheless developed a particular fascination with French culture, especially the sensual and exotic music of Claude Debussy: ‘I shall never cease in my conviction’, he reasoned, ‘that a true and deep understanding of French music … is one of the conditions for the development of our Polish music.’

POLSKA SCOTL AND As time went by, Szymanowski’s style became gradually more complex, incorporating influences as varied as the Russian composer Alexander Scriabin’s mysticism and Maurice Ravel’s neoclassicism. ‘Our national music is not the ossified ghosts of the polonaise or the mazurka,’ he maintained, ‘rather it is the lonely, joyous, unbound song of the nightingale on a fragrant Polish night.’

Pivotal to his musical development were the war years (1914-18), which he spent at his family’s country estate – he had been exempted from active duty in the Russian army due to a childhood knee injury. While some composers sought emotional refuge in the dazzling array of popular idioms emerging from the United States, Szymanowski forged a mystical, visionary creative style that incorporated elements not only from the Western classical tradition, but also the indigenous folk music of Poland, alongside captivating musical incense from the eastern Mediterranean and Middle East.

Despite bouts of ill health, during his final years Szymanowski helped revitalise Poland’s musical aspirations – he was Director of the Warsaw Conservatory in 1926-8 and 1930-2 – while inspiring a new generation of homegrown composers, including Witold Lutosławski, who after hearing Szymanowski’s Third Symphony enthused that he ‘felt quite dizzy for a number of weeks’. © Julian Haylock

12 Chan & Benedetti

Concerto for Orchestra Béla Bartók was almost 60 when he fled his native – and at that time Nazi-sympathising – Hungary for the US in 1940. In his homeland he had been a highly successful composer, pianist and teacher; in America, however, he had virtually nothing. Friends found him a job at Columbia University cataloguing the institution’s collection of eastern European folk music, but the work soon dried up. He gained a small income from performing with his wife Ditta, but ill health soon curtailed that too. And in 1943, following a year of declining health, Bartók was finally diagnosed with leukaemia.

Béla Bartók (1881-1945)

FIRST PERFORMED Boston, 1 December 1944 DURATION 40 minutes Introduzione: Andante non troppo– Allegro vivace Giuoco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto

It was against this bleak backdrop that Bartók, ironically, wrote one of his most enduringly popular and life-affirming works, the Concerto for Orchestra. The composer himself described the piece as ‘a gradual transition from the sternness of the first movement and the lugubrious deathsong of the third, to the lifeassertion of the last one’.

It was written to a commission from the conductor Serge Koussevitzky, who visited Bartók in hospital and requested a large-scale orchestral work from him (funded, unbeknown to Bartók, by fellow Hungarian émigrés, violinist Joseph Szigeti and conductor Fritz Reiner). Bartók initially refused, suspicious that the commission was merely an act of charity, but on Koussevitzky’s insistence finally took it on. Its premiere – in December 1944, by the Boston Symphony Orchestra under Koussevitzky – was an enormous success, and gave Bartók a renewed confidence that resulted in the remarkable Third Piano Concerto and Viola Concerto that he (almost) finished before his death in 1945.

The title – Concerto for Orchestra – might sound like a contradiction in terms. After all, isn’t a traditional concerto meant to have a

RSNO: Scotland’s National Orchestra 13

soloist battling against the full might of the orchestra? Bartók’s wasn’t the first, but it’s the best known, and the composer explained that he called the piece a concerto because of the way he treats the orchestral instruments in soloistic, virtuosic ways. Just about everyone in the orchestra gets a moment in the spotlight at one point or another, and the piece combines a democracy of spirit (maybe a comment on the totalitarian darkness Bartók left behind in Europe) with a requirement for its players to rise to the virtuosic challenges the composer sets them.

The first movement begins with a slow, ominous introduction kicked off by a sepulchral rising and falling theme on cellos and basses, before the movement’s main, faster music plays around with three main melodies: an unpredictable, racing tune on violins; a distinctive, fanfare-like melody first heard on a solo trombone; and a gentler, folk-like theme introduced by a solo oboe.

After a solo side drum raps out a memorable rhythm, the second movement – whose Italian title translates as ‘Game of Pairs’ – features duos of bassoons, oboes, clarinets, flutes and trumpets playing the same perky melody. A solemn chorale on trumpets, trombones, horns and tuba provides contrast, before the duos return and the side drum has the final word.

The tortured third movement contrasts mysterious, half-heard outer sections with a powerful inner core, complete with soaring violins and pounding timpani, and a birdsonglike tune on a solo piccolo providing a glimpse of light.

The fourth movement is an ‘Interrupted Intermezzo’, the unmistakable interruption to Bartók’s flowing viola tune coming courtesy

of a parody of a melody from Shostakovich’s Leningrad Symphony, which Bartók felt was getting far more attention than it deserved (and which ends up being mocked by raucous laughter from trombones, trumpets and woodwind).

A big horn fanfare announces the whirling, seemingly unstoppable dance of the fifth movement. In a later section, a striding theme is passed back and forth between different sections of the orchestra in complex counterpoint, before a final build-up and a race to the finish. © David Kettle

14 Chan & Benedetti

Nicola Benedetti VIOLIN Teachers’ Association. She has formalised her vision and expanded her commitment to the education of young people and support of music teachers by establishing a charitable organisation, The Benedetti Foundation.

Launched in 2020, it provides transformative orchestra-based workshops for young people and teachers. In May 2020, during lockdown, the Foundation went online with ‘virtual sessions’, providing over 7,000 musicians of all ages and stages with tutorials and workshops.

Nicola Benedetti’s ability to captivate audiences with her innate musicianship and spirited presence, coupled with her wide appeal as a high-profile advocate for classical music, makes her one of the most influential classical artists of today.

Born in Scotland of Italian heritage, she began violin lessons at the age of five with Brenda Smith. In 1997 she entered the Yehudi Menuhin School, where she studied with Natasha Boyarskaya. On leaving, she continued her studies with Maciej Rakowski and then Pavel Vernikov.

With concerto performances at the heart of her career, Nicola is in great demand with major orchestras around the globe. She is also a devoted chamber musician, and has collaborated with cellist Leonard Elschenbroich and pianist Alexei Grynyuk as a trio since 2008.

Nicola is a dedicated, passionate ambassador and leader in music education. Her commitment to supporting the UK’s music practitioners was underlined in 2018 when she became President of the European String

Nicola holds key positions in a number of Scotland’s music organisations, including the National Children’s Orchestras (Vice President), Sistema Scotland (Big Sister), National Youth Orchestras of Scotland’s Junior Orchestra (Patron), Music in Secondary Schools’ Trust (Patron) and Junior Conservatoire at the Royal Conservatoire of Scotland (Patron).

Winner of the GRAMMY Award for Best Classical Instrumental Solo in 2020, as well as Best Female Artist at both the 2012 and 2013 Classical BRIT Awards, Nicola records exclusively for Decca (Universal Music). Her critically acclaimed recent recording of Elgar’s Violin Concerto entered at No1 in the UK’s Official Classical Album Chart. Other recent recordings include the GRAMMY Awardwinning album written especially for her by jazz musician Wynton Marsalis.

Nicola was appointed CBE in the 2019 New Year Honours list, awarded the Queen’s Medal for Music in 2017, the youngest-ever recipient, and appointed MBE in 2013 in recognition of her international music career and work with music charities throughout the UK. Nicola appeared most recently with the RSNO on the Orchestra’s tour to Germany, Belgium and the Netherlands in January 2020. She plays the Gariel Stradivarius (1717), courtesy of Jonathan Moulds, and appears courtesy of Decca Classics.

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Elim Chan CONDUCTOR included engagements with the Deutsche Kammerphilharmonie, Royal Stockholm Philharmonic and Sydney Symphony Orchestra alongside returns to the Los Angeles Philharmonic and Rotterdam Philharmonic Orchestra.

Elim Chan is Chief Conductor of the Antwerp Symphony Orchestra and Principal Guest Conductor of the RSNO. One of the most sought-after young conductors, she was the first female winner of the Donatella Flick Conducting Competition.

In the 2019-20 season Elim appeared at the BBC Proms with the BBC National Orchestra of Wales, and made her debut with the Konzerthausorchester Berlin, GürzenichOrchester Köln, Gothenburg Symphony and Netherlands Philharmonic orchestras, Swedish Radio and Toronto Symphony orchestras and the National Youth Orchestra of Great Britain.

She returned to the Royal Concertgebouw Orchestra in Amsterdam, as well as to the Philharmonia Orchestra, Hong Kong Philharmonic Orchestra, London Symphony Orchestra and Australian Youth Orchestra.

Celebrated by the press for her debuts with the Philadelphia Orchestra and Deutsches Symphonie-Orchester Berlin earlier in 2019, other highlights that season

Elim was Assistant Conductor of the London Symphony Orchestra in 2015/16 and was appointed to the Dudamel Fellowship programme with the Los Angeles Philharmonic in 2016/17. Previously she led the Orchestre de la Francophonie as part of the NAC Summer Music Institute in 2012, where she worked with Pinchas Zukerman, and participated in the Musical Olympus Festival in St Petersburg as well as in workshops with the Cabrillo Festival and Baltimore Symphony orchestras. She also took part in masterclasses with Bernard Haitink in Lucerne in 2015.

Elim Chan holds degrees from Smith College and the University of Michigan. She served as Music Director of the University of Michigan Campus Symphony Orchestra and the Michigan Pops Orchestra. She also received the Bruno Walter Conducting Scholarship in 2013.

16 Chan & Benedetti

Royal Scottish National Orchestra

Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor.

The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe.

The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan.

Formed in 1978 by Jean Kidd, the acclaimed RSNO Junior Chorus, under its director Patrick

Barrett, also performs regularly alongside the Orchestra. Boasting a membership of over 400 members aged from 7 to 18, it has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television.

The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Strauss’ Ein Heldenleben, was released in 2019.

The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life.

The team is committed to placing the Orchestra at the centre of Scottish communities via workshops and annual residencies.

RSNO: Scotland’s National Orchestra 17

On Stage FIRST VIOLIN Maya Iwabuchi

DOUBLE BASS Roberto Carrillo-Garcia

TRUMPET Christopher Hart

Emily Davis

Margarida Castro Michael Rae Sally Davis

Jason Lewis Rebecca Wilson

LEADER

ASSOCIATE LEADER

Tamás Fejes

ASSISTANT LEADER

GUEST PRINCIPAL

Patrick Curlett Barbara Paterson Alan Manson Jane Reid Susannah Lowdon Lorna Rough Elizabeth Bamping Ursula Heidecker Allen

FLUTE Katherine Bryan

SECOND VIOLIN Marion Wilson

PRINCIPAL

ASSOCIATE PRINCIPAL

Harriet Wilson Robin Wilson Sophie Lang Wanda Wojtasinska Anne Bünemann Nigel Mason Paul Medd Kirstin Drew John Robinson VIOLA Tom Dunn PRINCIPAL

Asher Zaccardelli Lisa Rourke Maria Trittinger Claire Dunn Francesca Hunt Nicola McWhirter Katherine Wren CELLO Betsy Taylor

ASSOCIATE PRINCIPAL

Kennedy Leitch Arthur Boutillier Rachael Lee Sarah Digger Miranda Phythian-Adams

PRINCIPAL

Helen Brew Janet Richardson PRINCIPAL PICCOLO

OBOE Adrian Wilson

PRINCIPAL

TROMBONE Dávur Juul Magnussen PRINCIPAL

Lance Green Alastair Sinclair

PRINCIPAL BASS TROMBONE

TUBA John Whitener PRINCIPAL

Peter Dykes Henry Clay

TIMPANI Paul Philbert

CLARINET Timothy Orpen

PERCUSSION Simon Lowdon

Robert Digney Duncan Swindells

John Poulter Stuart Semple David Kerr

BASSOON David Hubbard

HARP Pippa Tunnell Sharron Griffiths

PRINCIPAL COR ANGLAIS

PRINCIPAL

PRINCIPAL BASS CLARINET

PRINCIPAL

Luis Eisen Paolo Dutto

PRINCIPAL CONTRABASSOON

HORN Christopher Gough PRINCIPAL

Alison Murray Andrew McLean David McClenaghan Martin Murphy

PRINCIPAL

PRINCIPAL

PIANO Lynda Cochrane

Institut français d’Ecosse West Parliament Square Edinburgh EH1 1RF Contact us at 0131 285 6030 frenchclassesife@gmail.com @institutfrancaisecosse

@ifecosse @ifecosse www.ifecosse.org.uk

HYBRID SUMMER TERM 5-30 JULY

2-weeks semi-intensive online French course with 1h30 morning classes, On-Site Creative Lab for adults with the award-winning French author Franck Magloire, & On-Site Summer Camps for kids in partnership with Theatre Sans Accents

RSNO: Scotland’s National Orchestra 19

Supporting the RSNO I am honoured and extremely proud to be Music Director of the RSNO. It is through the continued generosity of you, our friends, donors and supporters, that we can continue to achieve and realise the most ambitious goals of the Orchestra.

The absence of live performance and the separation of musicians from the stage make these difficult times for all. It has reinforced for us all how vital music is in helping us overcome hardship, fear and loneliness. The creativity and dedication shown by RSNO musicians in recent months has been incredible. This is despite the pattern of our working lives being dramatically

interrupted and being separated, not just from one another, but also from our audiences and communities. I hope you will choose to support us now as we adapt and embark upon this next chapter in RSNO history.

Thank you for your support

Thomas Søndergård MUSIC DIRECTOR, RSNO

RSNO Conductors’ Circle The RSNO Conductors’ Circle is an inspirational group of individual supporters at the heart of the RSNO’s Individual Giving programme.

Our members’ annual philanthropic gifts enable us to realise the Orchestra’s most ambitious goals. Conductors’ Circle members support inspirational concert performances for our audiences alongside transformational education programmes in communities across Scotland, via our ground-breaking initiative Music for Life.

The relationship between the RSNO and Conductors’ Circle members involves exceptional levels of access to all aspects of Orchestra life. We design bespoke private events tailored to individual interests and passions, providing insight into the artistic process and bringing our supporters further into the RSNO family. Members of the Conductors’ Circle benefit from an intimate and long-lasting connection with the RSNO Artistic Team and particularly with RSNO Music Director Thomas Søndergård, Principal Guest Conductor Elim Chan and the many

renowned guest Conductors we are privileged to welcome to the RSNO each year.

The RSNO is very grateful for the continued support of its Conductors’ Circle: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young We would also like to thank those generous donors who wish to remain anonymous.

For more information on Individual Giving and becoming part of the Conductors’ Circle please contact Jenny McNeely at jenny.mcneely@rsno.org.uk

20 Chan & Benedetti

Patron Programme CHAIR PATRON From musical activities in schools with the musicians of the future to working in community venues across Scotland, as a Chair Patron you are enabling RSNO musicians to explore the many facets of their art and the positive impact it has on people’s lives. Supporting an individual musician puts you at the heart of the RSNO family. You’re connected directly to the musicians on stage and get to enjoy privileged behind-the-scenes access. RSNO musicians truly appreciate our Chair Patrons and enjoy developing personal relationships with our supporters.

Assistant Conductor Kellen Gray

Cello Aleksei Kiseliov PRINCIPAL

Horn Christopher Gough PRINCIPAL

First Violin Maya Iwabuchi LEADER Sharon Roffman LEADER

Kennedy Leitch

Alison Murray

Arthur Boutiller

David McClenaghan

The Bill and Rosalind Gregson Chair

The Ardgowan Charitable Trust Chair

Patrick Curlett

Rachael Lee

Trumpet Christopher Hart PRINCIPAL

The Solti Foundation Chair

Dunard Fund Chair

Tamás Fejes Assistant LEADER

ASSISTANT PRINCIPAL The RSNO Circle Chair

Jane Reid

The James Browning Chair

ASSISTANT PRINCIPAL The David and Anne Smith Chair

The Christine and Arthur Hamilton Chair

Double Bass Ana Cordova PRINCIPAL

The James Wood Bequest Fund Chair

The Kate and Gavin Gemmell Chair

Alan Manson

John Clark

Elizabeth Bamping

Flute Katherine Bryan PRINCIPAL

The Hugh and Linda Bruce-Watt Chair The WL and Vera Heywood Chair

The Gregor Forbes Chair

The David and Anne Smith Chair

Second Violin Xander van Vliet PRINCIPAL

Helen Brew ASSISTANT PRINCIPAL

Sophie Lang

The Ian and Evelyn Crombie Chair

Oboe Adrian Wilson PRINCIPAL

Viola Lisa Rourke SUB PRINCIPAL

Peter Dykes

The Hilda Munro Chair

The Meta Ramsay Chair

David Martin

The Miss Grace MM Mitchell Bequest Chair

Francesca Hunt

The Rolf and Celia Thornqvist Chair

The Gordon Fraser Charitable Trust Chair

The Hedley Wright Chair

ASSOCIATE PRINCIPAL Witherby Publishing Group Charitable Trust Chair

Cor Anglais Henry Clay PRINCIPAL

The Springbank Distillers Chair

ASSISTANT PRINCIPAL Mr & Mrs Pierre and Alison Girard The J & A Mitchell Chair

Ms Chris Grace Hartness

Marcus Pope SUB PRINCIPAL

The Nigel and Margot Russell Chair

Trombone Dávur Juul Magnussen PRINCIPAL The Mitchell’s Glengyle Chair

Lance Green

ASSOCIATE PRINCIPAL The William Cadenhead Chair

Timpani Paul Philbert

Ms Chris Grace Hartness

Percussion John Poulter

ASSOCIATE PRINCIPAL The Dot and Syd Taft Chair

Director of Concerts and Engagement Bill Chandler The James and Iris Miller Chair

In memory of a dear friend, Fiona H

Bassoon David Hubbard PRINCIPAL

The James and Morag Anderson Chair

We would like to acknowledge the generous contribution of Mr Hedley Wright in supporting the RSNO Chair Patron Programme.

RSNO: Scotland’s National Orchestra 21

LEARNING AND ENGAGEMENT PATRON Our Learning and Engagement activity is structured around our Music for Life programme. From apps for babies to concerts and workshops for school children, and lunchtime concerts for older adults, the range of projects is vast. As a Patron, you will have access to our projects to bring you closer to the communities we serve across Scotland.

Learning and Engagement Patrons Neil and Nicola Gordon Professor Gillian Mead Mr Maurice Taylor CBE RSNO Principal Oboe, Adrian Wilson Witherby Publishing Group Charitable Trust NEW WORKS PATRON The RSNO is dedicated to bringing new works and outstanding new talent to audiences across Scotland. Our New Works Patrons contribute a significant legacy to orchestral music that extends beyond the RSNO, providing new music for orchestras and audiences around the world – for generations to come.

New Works Patron Susie Thomson We are also grateful to those who give but wish to remain anonymous.

If you would like more information or would like to discuss how you can become part of the RSNO Family of Supporters, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk

We would like to thank all those who have made donations to the RSNO Covid Appeal over the recent months. The generosity of our supporters at this time is deeply appreciated.

Musical Memories Leave a gift to the RSNO and ensure future generations can create their own Musical Memories of the Royal Scottish National Orchestra.

We all have special Musical Memories. It could be learning to play an instrument when you were a child, or a special piece of music that just left you breathless the first time you heard the Orchestra play it. Maybe it was seeing a soloist you had always wanted to hear, or just a great concert shared with friends. Memories such as these make music such an important part of our lives.

Leaving a gift to the RSNO in your will is the single most important way you can help us to make music and to create memories. Your legacy will support the work of the Orchestra for years to come, ensuring that we can continue to bring great music to a new generation of children, young people and adults right across Scotland.

It is easy to leave a gift. After you have made provisions for family and friends, please think of the Orchestra.

Your gift is important to us and to everyone in Scotland who enjoys music. Contact your solicitor to draft a will or add a codicil to your current will.

If your estate is subject to inheritance tax, a gift to a charity, such as the RSNO, is tax-free and will reduce the amount of tax payable to the Government. Please ask your solicitor for details.

For more information please visit rsno.org.uk/memories If you would like to discuss this further, please contact Kirsten Reid, Individual Giving and Partnerships Officer, in the strictest confidence at kirsten.reid@rsno.org.uk To the many among you who have pledged to leave a gift already – thank you.

RSNO: Scotland’s National Orchestra 23

Charitable Trusts and Foundations Charitable trusts and foundations have a long and illustrious history of supporting the RSNO, both on the concert platform and through our Learning and Engagement programmes in the community. Grants and awards of all sizes are greatly appreciated, and range from one-off donations for specific projects through to large-scale support over a number of years, including support of the acclaimed RSNO Junior Chorus and our flagship educational project, the National Schools Concert Programme. We are fortunate in having developed long-term relationships with a number of trusts who have sustained their invaluable support over many years, enabling a significant amount of our work and mission to go ahead each year that otherwise would simply not happen. Our 2020:21 Season of concerts and Learning and Engagement programmes is generously supported by the following trusts and foundations: Aberbrothock Skea Charitable Trust Aberdeen Endowments Trust Alexander Moncur Charitable Trust Austin and Hope Pilkington Trust Balgay Children’s Society Boshier-Hinton Foundation Cruden Foundation David and June Gordon Memorial Trust D’Oyly Carte Charitable Trust Dunclay Charitable Trust Educational Institute of Scotland Ettrick Charitable Trust Fidelio Charitable Trust Forteviot Charitable Trust Gannochy Trust Garrick Charitable Trust Gordon Fraser Charitable Trust Hugh Fraser Foundation Idlewild Trust James Wood Bequest Fund Jean & Roger Miller’s Charitable Trust Jennie S. Gordon Memorial Foundation John Ellerman Foundation John Mather Charitable Trust John Scott Trust Fund J T H Charitable Trust Leche Trust Leng Charitable Trust McGlashan Charitable Trust MEB Charitable Trust Meikle Foundation Michael Tippett Musical Foundation Mickel Fund Murdoch Forrest Charitable Trust Nancie Massey Charitable Trust Noël Coward Foundation Northwood Charitable Trust PF Charitable Trust Privy Purse Charitable Trust PRS Foundation R J Larg Family Trust Robertson Trust Ronald Miller Foundation

Russell Trust RVW Trust Scott-Davidson Charitable Trust Solti Foundation Souter Charitable Trust Stevenston Trust Tay Charitable Trust Thistle Trust Thriplow Charitable Trust Tillyloss Trust Trades House of Glasgow W A Cargill Fund Walter Craig Charitable Trust Walter Scott Giving Group Wavendon Foundation William Syson Foundation Witherby Publishing Group Charitable Trust We are also grateful to a number of trusts that wish to stay anonymous.

If you would like more information about our work and how you can make a difference, please contact Ajda Šubelj, Head of Trusts and Projects, at ajda.subelj@rsno.org.uk

24 Chan & Benedetti

RSNO Circle The Circle is a vital part of the RSNO family. Our community of music-lovers inspire and support us.

Supporting us by joining the Circle will help us to bring music to so many people, from our Learning and Engagement programmes to our brand-new digital performances. As part of our community and family, we will keep in touch with our exclusive magazine Inner Circle, our Circle member webpage and invitations to special events throughout the year.

To find out more about joining the Circle please visit rsno.org.uk/circle or get in touch with our Individual Giving and Partnerships Officer, Kirsten Reid, RSNO, 19 Killermont Street, Glasgow G2 3NX Email: kirsten.reid@rsno.org.uk To all our existing Circle members, thank you. Thank you for your unwavering support that allows us to continue sharing the joy of music.

Virtuoso

Ms Catherine Y Alexander Mrs A M Bennett Dame Susan and Mr John Bruce Mrs Stina Bruce-Jones Stephen and Morny Carter Philip and Mary Contini Sir Sandy and Lady Crombie Gavin and Kate Gemmell Dr M I and Mrs C R Gordon Scott and Frieda Grier Iain MacNeil and Kat Heathcote Miss A McGrory Miss M Michie Mr James Miller CBE Meta Ramsay Mr George Ritchie Mr P Rollinson Mr and Mrs W Semple Mr Ian Taft Claire and Mark Urquhart Raymond and Brenda Williamson Mr Hedley G Wright

Symphony

Ronnie and Evelyne Anderson Mr Alan and Mrs Carolyn Bonnyman Mr John Brownlie Miss L Buist Mr and Mrs J K Burleigh Mr J L Donaldson Mr I Gow Mr J D Home Mrs J Kennedy Mrs A Lamont Mr I C MacNicol Professor J and Mrs S Mavor Mrs A McQueen Morag Millar Mr Miller Graham and Elizabeth Morton Mr and Mrs David Robinson Mr D Rogerson Mrs Ann M Stephen Mr Alistair M and Mrs Mandy Struthers Mr and Mrs M Whelan Mrs A Wolfson

Concerto

Dr K Chapman and Ms S Adam Mr A Alstead Miss D Blackie Mr L Borwick Neil and Karin Bowman Dr C M Bronte-Stewart Dr F L Brown Mr and Mrs Burnside Ms H Calvert Mr A Campbell Sir Graeme and Lady Catto Mr R Cavanagh Myk Cichla Dr J Coleiro Mr and Mrs B H Cross Christine and Jo Danbolt Mr P Davidson Mr J Diamond Miss C Dixon-Carter OBE Mr S Dunn Mr C Ffoulkes Mrs E Gibb Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Mr W Gray Mrs S Hawthorn Richard and Linda Holden Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Norman and Christine Lessels Mr Alistair Mackie Mr D MacPherson Mr R G Madden Mr S Marwick Mr and Mrs G McAllister Ms M McDougall Mr E and Mrs S McGeachan Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Mrs A C Morrison Dr and Mrs D Mowle Mr and Mrs D Pirie Ms A and Miss I Reeve

Miss L E Robertson Ross family Dr and Mrs G K Simpson Mr and Mrs A Stewart Mrs M Stirling Mr G Stronach Dr G R Sutherland Mr I Szymanski Professor D E M Taylor Mr and Dr Tom Thomson Mr J B and Mrs M B Watson Mr and Mrs D Weetman Mrs Wigglesworth Mr and Mrs Zuckert

Sonata

Ms S Ace Mr K Allen Mrs P Anderson Ms D Baines Mr O Balfour Mr N Barton Dr A D Beattie Professor G Beeston Mrs H Benzie Mr R Billingham Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Lady J Bute Miss S M Carlyon Mrs H S Chalmers Mr J Claxon Mr T Cole and Mrs J Leslie-Cole Lady Coulsfield Adam and Lesley Cumming Ms K Cunningham Mr F Dalziel and Mrs S Walsh Dr J K and Mrs E E Davidson Mr and Mrs K B Dietz Mrs C Donald Jane Donald and Lee Knifton Ms P Dow Mrs P du Feu Mr John Duffy Mr and Mrs M Dunbar Mr R M Duncan

Brigadier and Mrs C C Dunphie Mrs E Egan Mr R Ellis Miss L Emslie Mr R B Erskine Dr E Evans Mr D Fraser Mr D and Mrs A Fraser Mr D Frew Ms J Gardner Dr P and Dr K Gaskell Mr W G Geddes Mrs M Gibson Mr D Gibson Mrs M Gillan Mr R M Godfrey Dr J A Graham and Mrs H M Graham Professor and Mrs A R Grieve Mr and Mrs G Y Haig Lord and Lady Hamilton Dr P J Harper Dr N Harrison Mr and Mrs R J Hart Mr D Hartman Ms V Harvey Dr and Mrs P Heywood Bobby and Rhona Hogg Mr R Horne Mr and Mrs F Howell Mrs A S Hunter Professor R N Ibbett Ms J Incecik Mr A Kilpatrick Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson Mr R M Love Dr D A Lunt Mrs Lesley P Lyon Mr and Mrs R MacCormick Mr and Mrs MacGillivray Lady Lucinda L Mackay Dr A K and Mrs J C Martin Mr and Mrs J Martin Mr and Mrs D H Marwick Ms S McArthur Mr G McCormack

Mrs L McCormick Mrs M McDonald Mr M McGarvie Mrs C McGowan-Smyth Dr Colin McHardy Dr A H McKee Mr Patrick McKeever Mr G McKeown Ms H L McLaren Mrs E McLean Ms Fiona McLeod Mr and Mrs B Mellon Mr and Mrs I Mills Mrs P Molyneaux Mr R Morley Mr B Morrison Mr K M Murray Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Ms S Park Mr R Parry Mr J Paterson Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr W Ramage Mr M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb Mrs E Robertson Mr I Robertson Mr H and Mrs J Robson Ms A Robson Mrs E K Ross Mrs S Scott Mrs J Shanks Mr J A Shipley Dr M J and Mrs J A Shirreffs Dr Colin and Mrs Kathleen Sinclair Mr M J Smith

Mrs E Smith Mr M A Snider Dr and Mrs B Stack Mrs Lorna Statham Mrs T Stevenson Rev N and Mr R Stewart Mrs R F Stewart Mr and Mrs Struthers Mr and Mrs B Tait Dr and Mrs T Thomson Mr C Turnbull Dr S Tweedie Dr Morag Ward Mr W Watters Dr and Mrs T Weakley Mrs V Wells Mr G West Miss M Whitelaw Dr and Mrs D T Williams Mr D Woolgar Mr R Young

Thank you to all our members of the Circle, including those who wish to remain anonymous. Every one of you makes a real difference.

26 Chan & Benedetti

A big Thank You to our supporters FUNDERS

CORPORATE SUPPORTERS

PRINCIPAL MEDIA PARTNER

PRINCIPAL TRANSPORT PARTNER

BROADCAST PARTNER

PARTNERS Glasgow Chamber of Commerce • Institute of Directors • Scots Magazine The Scottish Council for Development & Industry • Smart Graphics

PROJECT PARTNERS Abertay University • Children’s Classic Concerts • Children’s Hospices Across Scotland • Dundee University • Gig Buddies Glasgow Association for Mental Health (GAMH) • Glasgow Life • Horsecross Arts • National Youth Orchestras of Scotland Prescribe Culture (University of Edinburgh) • Royal Conservatoire of Scotland • Scottish Book Trust Tayside Healthcare Arts Trust • Usher Hall • Young Scot

CHAIR SPONSORS

If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Kirsten Reid, Individual Giving and Partnerships Officer, at kirsten.reid@rsno.org.uk

RSNO: Scotland’s National Orchestra 27

Royal Scottish National Orchestra PATRON

CHIEF EXECUTIVE

Jenny McNeely

Her Majesty The Queen

Alistair Mackie Nicola Shephard

Graham Ramage

HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS

EXECUTIVE ASSISTANT

GRAPHICS AND NEW MEDIA DESIGNER

RSNO BOARD OF DIRECTORS

CONCERTS

INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER

Elected Directors Dame Susan Bruce DBE

DIRECTOR OF CONCERTS AND ENGAGEMENT

Bill Chandler

Michael Cameron

DRIVER AND DEPUTY STAGE MANAGER

CHAIR

Bekah Cork

John Heasley

ARTISTIC PLANNING AND TOURS MANAGER

HONORARY TREASURER

Emma Hunter

Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood

DEPUTY ORCHESTRA MANAGER

Ewen McKay

HEAD OF ORCHESTRA MANAGEMENT

Richard Payne

Craig Swindells

Nominated Directors Cllr Frank Docherty

Samantha Campbell

STAGE AND PRODUCTION MANAGER

Christine Walker CHORUS MANAGER

LEARNING AND ENGAGEMENT

Andrew Stevenson

DIRECTOR OF LEARNING AND ENGAGEMENT HEAD OF LEARNING AND ENGAGEMENT

Flora Farqhuarson CREATIVE ASSISTANT

Rosie Kenneally

Company Secretary Gordon Murray

LEARNING AND ENGAGEMENT OFFICER

RSNO COUNCIL

Dr Jane Donald

Baroness Ramsay of Cartvale

Ian Brooke

Lady Gibson Ms Ruth Wishart

INFORMATION SERVICES MANAGER

Ajda Šubelj

HEAD OF TRUSTS AND PROJECTS

Liz Wallace

COMMUNICATIONS MANAGER (MATERNITY COVER)

Angela Moreland

Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough

CHAIR

Sam Stone

ARTISTIC PLANNING MANAGER CONCERTS ADMINISTRATOR

THE CITY OF EDINBURGH COUNCIL

TRUSTS AND PROJECTS COORDINATOR

FINANCE AND CORPORATE SERVICES

Matthias van der Swaagh

Cllr Lezley Marion Cameron

Naomi Stewart

LIBRARIAN

Tammo Schuelke

GLASGOW CITY COUNCIL

Kirsten Reid

EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS PROGRAMMES EDITOR

Constance Carter-Fraser

EXTERNAL RELATIONS ADMINISTRATOR

Jessica Cowley

CHIEF OPERATING OFFICER

Eli Dolliver

VIDEO PRODUCTION INTERN

Ted Howie

FACILITIES COORDINATOR

Jack Hunter VIDEO PRODUCER

Sam McErlean

SOUND ENGINEERING INTERN

Irene McPhail

ACCOUNTS AND PAYROLL ASSISTANT

Hedd Morfett-Jones DIGITAL MANAGER

Susan Rennie FINANCE MANAGER

Abby Trainor ADMINISTRATOR

Jade Wilson

FINANCE ASSISTANT

Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk Scottish Company No. 27809 Scottish Charity No. SC010702

MARKETING MANAGER

Carol Fleming

/royalscottishnationalorchestra

Lorimer Macandrew

@RSNO

Catriona Mackenzie

@rsnoofficial

HEAD OF MARKETING

DIGITAL CONTENT PRODUCER

COMMUNICATIONS MANAGER (MATERNITY LEAVE)

Youtube.com/thersno

The RSNO is one of Scotland’s National Performing Companies, supported by the Scottish Government.

Orchestra list and programme details correct at time of going to print. Contents © Copyright RSNO and named authors.