Scotland’s National Orchestra 1
SØNDERGÅRD & BENEDETTI
Dedicated to the RSNO Conductors’ Circle
POLSKA SCOTLAND
This concert is dedicated to the RSNO Conductors’ Circle, in recognition of this exceptional group of supporters: 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 Thank you also to those generous donors who wish to remain anonymous. For more information on Individual Giving and joining the Conductors’ Circle, please see page 19.
SØNDERGÅRD & BENEDETTI Thomas Søndergård, Nicola Benedetti and the RSNO – the perfect partnership to begin our Spring/Summer Digital Season! Polish master Karol Szymanowski’s dazzling First Violin Concerto is a piece close to Nicola’s heart and is the spectacular centrepiece in this celebration of the music of Poland – from the flamboyant dance tunes of Mieczysław Weinberg to the heartfelt Sinfonia Sacra by Andrzej Panufnik, the great Polish composer whose music is as passionate as it is powerful.
WEINBERG Rhapsody on Moldavian Themes Op47 No1 [12’] SZYMANOWSKI Violin Concerto No1 Op35 [23’] PANUFNIK Sinfonia Sacra (Symphony No3) [22’] Thomas Søndergård Conductor Nicola Benedetti Violin Royal Scottish National Orchestra RECORDED AT GLASGOW ROYAL CONCERT HALL Broadcast Fri 16 Apr 2021, 7.30pm This performance has been recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
Jack Hunter Director Robert Baxter Script Supervisor Diana Dumi and Diego Almazán Camera Operators Diana Dumi Video Editor Phil Hobbs Producer Hedd Morfett-Jones Sound Supervisor Claire Bryan and Sam McErlean Sound Assistants
Dedicated to the RSNO Conductors’ Circle 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 NIEPODLEGŁA programme 2017-2022.
POLSKA SCOTLAND
POLSKA SCOTLAND
His Royal Highness The Prince Philip, Duke of Edinburgh 1921-2021 The Royal Scottish National Orchestra is deeply saddened at the passing of His Royal Highness The Prince Philip, Duke of Edinburgh. The Patronage of Her Majesty The Queen has been a source of inspiration and support to the RSNO since 1977. Our thoughts are with Her Majesty and The Royal Family at this time.
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POLSKA SCOTLAND
Welcome
POLSKA series with this concert. The series SCOTL is kindly AND supported by the Adam Mickiewicz Institute and the Consulate General of the Republic of Poland in Edinburgh, and we are truly grateful for their continued support of our work. This first concert captures themes and ideas that run through the whole nine-concert season: great Polish music, a chance for RSNO players to shine and a strong Scottish focus, with the fabulous Nicola Benedetti as soloist. We want to celebrate the diverse talent within the Scottish musical landscape and acknowledge the positive contribution that Polish people and culture have made to Scottish life. It is a combination we trust to deliver an inspiring set of concerts. Dear friends Welcome to this first concert in the RSNO’s Spring/Summer Digital Season. It is wonderful to be back in the Glasgow Royal Concert Hall and to return to the large-scale symphonic repertoire that we have missed so much over the past year. It feels like a long time since the full RSNO forces have been able to gather together, and quite a sight to see the players spread out from the back of the choir stalls to the middle of the auditorium floor. The distance between brass and strings is huge but in a piece like Panufnik’s Sinfonia Sacra – where spatial distance is core to the artistic concept – it works perfectly. Written to celebrate the thousand-year anniversary of the relationship between state and church in Poland, the listener is reminded that musicians playing with social distancing is nothing new. Gabrieli used the magnificent spaces of St Mark’s Basilica in Venice over 400 years ago and Panufnik’s writing clearly references that era of music making. We are delighted to continue our Polska Scotland
It has been a difficult year but your stellar support has ensured that the Orchestra has kept on playing. In particular, I would like to thank the members of our Conductors’ Circle, to whom this concert is dedicated – your inspiring generosity and support throughout the last year is deeply appreciated. We look forward with growing optimism to a return to live music but until then we are delighted to share this season of concerts with you.
Alistair Mackie CHIEF EXECUTIVE
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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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Rhapsody on Moldavian Themes Op47 No1
Mieczysław Weinberg (1919-1996)
FIRST PERFORMED Moscow, 30 November 1949 DURATION 12 minutes
Born Mojsze Wajnberg in 1919 in Warsaw to Jewish parents, the composer we know as Mieczysław Weinberg, after fleeing the German invasion of Poland, had by 1943 found his way to Moscow via Minsk and Tashkent. His family stayed in Warsaw, and were murdered by the Nazis. Weinberg lived in Moscow until his death 1996, converting to Christianity in 1995. In Warsaw he entered the Conservatory at the age of 12 to study piano, and had already turned to composition, completing a string quartet and some other pieces, before escaping from Poland. In Tashkent he met and married Natalya, the daughter of the prominent Soviet-Jewish actor Solomon Mikhoels, who showed the score of the young composer’s first symphony to his friend Dmitri Shostakovich, who was impressed enough to intercede with the authorities to allow Weinberg to move to Moscow. Weinberg and Shostakovich shared a lifelong, strong and very fruitful friendship: certainly Mietek was in awe of Dima, 13 years older than him, and much of his music has the feeling of a homage, but the influences went both ways and, living close to each other, they met or communicated daily for years. For his whole life, and a good while afterwards, Weinberg’s reputation languished in the shadow of Shostakovich, but he was a prolific and individual composer, completing 22 symphonies, 17 string quartets and seven operas over his life. Like many composers, he made his actual living by writing film scores – over 50 of them, including the music for the beloved Soviet cartoon version of Winnie the Pooh, the songs of which every Russian over 40 knows by heart.
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In recent years, Weinberg’s music, with its unique intensity and palpable qualities of mourning and elegy, has finally got the attention it deserves. The Rhapsody on Moldavian Themes, premiered in 1949 in Moscow by the All-Union Radio Symphony Orchestra conducted by Alexander Gauk, is far from typical, but this short medley of folk tunes, from melancholy to boisterous, recalls that Weinberg’s parents originally came to Poland from Moldavia in 1916. In 1949, basing a piece on folk tunes was a wise political move in an atmosphere in which accusations of modernist ‘formalism’ could be fatal. Weinberg’s short piece, with dark undertones from the first baleful low strings to the manic final dance, falls into the Russian tradition of ‘orientalism’ (think of Balakirev’s Islamey and Rimsky-Korsakov’s Scheherazade), with its exotic scales and intervals (and more than a hint of Jewish music), and there are echoes of similar folk-based Eastern European pieces by the likes of Bartók and Kodály. Weinberg adds modernist touches in his orchestration and shifts of harmony and modulation, while his signature of sorrow and grief is never quite drowned out by the exuberance. © Robert Thicknesse
What was happening in 1949? 1 Jan A United Nations-sponsored ceasefire in the Indo-Pakistani War of 1947/8 resulted in the division of Kashmir 10 Feb Arthur Miller’s Death of a Salesman opened at New York’s Morosco Theatre 2 Mar The B-50 Superfortress Lucky Lady II completed the first non-stop round-theworld flight – it was refuelled four times in midair 28 Mar Yorkshire-born astronomer Fred Hoyle coined the term ‘Big Bang’ during a BBC radio broadcast 4 Apr The North Atlantic Treaty was signed in Washington, DC, creating the NATO defence alliance 7 Apr Rodgers and Hammerstein’s South Pacific opened on Broadway 12 May The Soviet Union lifted its blockade of Berlin, which had prevented the Western Allies from reaching the city by land – in response, they had instigated the successful Berlin Airlift 8 Jun George Orwell’s dystopian novel Nineteen Eighty-Four was published in London 29 Aug The Soviet Union tested its first atomic bomb, RDS-1 1 Oct The People’s Republic of China was officially proclaimed
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Violin Concerto No1 Op35 Karol Szymanowski (1882-1937)
FIRST PERFORMED Warsaw, 1 November 1922 DURATION 23 minutes The fact that Szymanowski composed some of the most important violin music of the last century is due almost entirely to his friendship with the celebrated Polish violin virtuoso Paweł (‘Paul’) Konchański, who in 1901 (aged just 14) had been appointed concertmaster of the newly founded Warsaw Philharmonic Orchestra. Szymanowski’s First and Second Violin Concertos were composed especially for him – so too his three Myths for violin and piano. Szymanowski later paid tribute to his friend, declaring at his memorial that he was ‘indebted to him alone for imparting to me his profoundly penetrating, secret knowledge of the violin’. It is a sign of the high esteem in which Konchański was held that at his 1934 memorial service the pall-bearers included such musical legends as conductors Arturo Toscanini, Frank Damrosch, Walter Damrosch, Serge Koussevitzky and Leopold Stokowski, violinists Jascha Heifetz, Fritz Kreisler and Efrem Zimbalist, and pianist Vladimir Horowitz. Composed in 1916, the First Violin Concerto betrays Szymanowski’s new-found fascination with French culture and his exposure to the music of Debussy and Ravel. His orchestration exudes a sensual palette of colours, due in part to his employment of triple woodwind (including piccolo, cor anglais, E flat clarinet, bass clarinet and contrabassoon), two harps, piano, celeste, and an array of percussion instruments – timpani, bass drum, cymbals, glockenspiel, snare drum, tambourine and triangle – unusual for a concerto.
The immediate inspiration for the Concerto came from one of the Young Poland group of poets, Tadeusz Miciński, who had himself been profoundly influenced by the French symbolists. Szymanowski was drawn particularly towards some lines from Miciński’s poem May Night: All the birds pay tribute to me for today I wed a goddess. And now we stand by the lake in common blossom in flowing tears of joy, with rapture and fear, burning in amorous conflagration. Szymanowski chose to structure his Concerto as a single continuous movement in five main sections, welded together by an extensive solo cadenza that is almost entirely the work of Konchański. ‘There is much that is new,’ the composer explained in a letter while working on the Concerto, ‘but also something of a return to the old. It is terribly fantastical and unexpected.’ Little wonder that he reported excitedly from the premiere: ‘The sound is so magical that people were completely transfixed, and just imagine: the violin comes out on top the whole time!’ © Julian Haylock
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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.’
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
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Sinfonia Sacra (Symphony No3) On Holy Saturday 966, Mieszko I of the powerful Piast dynasty was baptised. His conversion to Christianity was a shrewd political decision, an attempt to unite the dispersed tribes that occupied the land between the Carpathian Mountains and the Baltic Sea under a single faith, and to gain influence among the rising Christian powers of Europe, notably the Holy Roman Empire and Bohemia. In one fell swoop, Mieszko’s baptism gave birth to the Polish state and firmly established its religious foundations.
Andrzej Panufnik (1914-1991)
FIRST PERFORMED Monte Carlo, 12 August 1964 DURATION 22 minutes Vision I Vision II Vision III Hymn
Almost one thousand years later, a Polish émigré living in Britain was asked to write a piece of music to commemorate this occasion. Panufnik must have been torn. He had risen through Poland’s musical establishment, studying at the national conservatory, and had gone on to become Music Director of both the Warsaw and Kraków Philharmonic orchestras. He had won prizes named after Poland’s most famous musical sons, Szymanowski and Chopin. Indeed, his own development as a composer had been intimately connected to Poland’s political struggles; in 1944, during the Warsaw Uprising, his entire oeuvre had been destroyed in the fires, leading to a period of remembrance, reconstruction, and renewal of his language. But by 1954, Panufnik had grown frustrated by the way his prominence as an artist was being weaponised as propaganda for Poland’s secular ruling class, and he fled. Almost overnight, he went from poster child of the communist regime to persona non grata. After almost a decade of exile, in which he had composed little and revived his conducting career (including two years as chief of the City of Birmingham Symphony Orchestra), the Sinfonia Sacra commission represented a way for Panufnik to reconnect with his cultural past.
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Although cast in an individual modernist style, the DNA of the Sinfonia has its origins in a Polish plainchant written during the Middle Ages. The Bogurodzica is Poland’s oldest anthem, and was written as a prayer hymn to the Virgin Mary. By the 15th century it was more widely sung as a rallying call for troops preparing to wage war. The dual nature of the work, combined with its deep roots in Polish identity, must have appealed to Panufnik. Indeed, Panufnik first heard the work through a radio broadcast during his student years and was so taken by its raw power that he stayed up all night fuelled by strong black coffee. Naturally, he failed a medical exam the next morning, which made him exempt from mandatory national service. In Sinfonia Sacra Panufnik faithfully renders the Bogurodzica’s solemnity and evocations of heroism in an updated, contemporary style. The opening intervals of the medieval melody provide the material for each of the three sections that form the first part: a perfect fourth for the rousing fanfare of antiphonal trumpets, placed at compass points around the orchestra (Vision I); a major second for the solemn miniature for strings that follows (Vision II); and a minor second, that most piercing of dissonances, for the agitated cacophony that falls swiftly to silence (Vision III). Only in the fourth movement, Hymn, do we hear the source material unfold, described here in the composer’s own words: The ‘Hymn’ has the character of a simple prayer to the Virgin, which would express adoration and warmth. It starts pianissimo with strings’ harmonics, growing gradually into a more and more ardent invocation until at last the full melody of the Bogurodzica finally breaks through, for the first time heard in its full melodic line,
at which point the trumpets round the orchestra repeat their summons from the first ‘Vision’, bringing Sinfonia Sacra to a climactic end. The strength of the work is in how Panufnik balances its core of religious devotion with elaborate modernist construction. The Sinfonia Sacra has a clear message, a compelling structural logic and, as one of his most popular works, continues to unify listeners beyond Poland’s ancient borders. Yet despite the work’s wide appeal, it was not heard in Poland for almost 15 years. That is, until the then Scottish National Orchestra, under Principal Conductor Sir Alexander Gibson, made it a part of their programme at the 1978 Warsaw Autumn Festival. This decision was controversial – ever since Panufnik had left Poland, there had been an effective moratorium on performing his work, lasting more than 20 years – and disapproved of by the communist authorities. Though as Panufnik’s widow, Lady Camilla Panufnik, recalls: ‘They did not welcome the performance, but nor did they stop it.’ © Mark Parker
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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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Thomas Søndergård CONDUCTOR Danish National Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Gewandhausorchester Leipzig, Deutsches Symphonie-Orchester Berlin, Mahler Chamber Orchestra and Bamberg Symphony. In February 2021, Thomas made his debut with the Berlin Philharmonic Orchestra in a Digital Concert Hall performance in the ‘Golden Twenties’ season.
Danish conductor Thomas Søndergård is Music Director of the Royal Scottish National Orchestra, making his debut in October 2018 after six seasons as Principal Guest Conductor. He served as Principal Conductor of the BBC National Orchestra of Wales (BBC NOW) from 2012 to 2018, and prior to this as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons. He conducted the RSNO on its New Year 2019 tour to China, Spring 2019 tour to the West Coast of the USA and September 2019 visit to Paris, as well as its January 2020 tour to Belgium, the Netherlands and Germany. He also conducted works by Mahler as part of the 2020 Edinburgh International Festival’s online My Light Shines On season. Thomas has conducted many leading orchestras, including the Chicago Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Concertgebouw Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Oslo Philharmonic Orchestra, Gothenburg Symphony Orchestra,
Thomas’ operatic engagements include the Bayerische Staatsoper (Turandot), Norwegian Opera (Die Zauberflöte) and Deutsche Oper Berlin (world premiere of Andrea Lorenzo Scartazzini’s Edward II ), and Tosca, Turandot and Dialogues des Carmélites with the Royal Swedish Opera. He was described as ‘a sensation’ at his debut with the Royal Danish Opera conducting Poul Ruders’ Kafka’s Trial, and subsequent productions there have included Il barbiere di Siviglia, Le nozze di Figaro, La bohème, The Cunning Little Vixen and Il viaggio a Reims. Thomas’ debut recording with the RSNO, of Richard Strauss’ Ein Heldenleben, was released by Linn Records in April 2019, followed in February 2020 by Prokofiev’s Symphonies 1 and 5. Releases with BBC NOW include Sibelius’ Symphonies 1, 2, 6 and 7 and a disc which shines light on Sibelius’ tone poems and theatre music (Linn Records). Other noteworthy recordings include Vilde Frang’s celebrated first recording for EMI, of Sibelius’ Violin Concerto and Prokofiev’s Violin Concerto No1, and Ruders’ Piano Concerto No2 on Bridge Records, nominated for a Gramophone Award in 2011. The Lutosławski and Dutilleux cello concertos with Johannes Moser were released on Pentatone in 2018. In 2011 Thomas was awarded the prestigious Queen Ingrid Foundation Prize for Services to Music in Denmark.
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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.
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On Stage FIRST VIOLIN Sharon Roffman
DOUBLE BASS Margarida Castro
TRUMPET Christopher Hart
Lena Zeliszewska
Michael Rae Paul Sutherland Sally Davis
Marcus Pope Jason Lewis Brian McGinley
Patrick Curlett Barbara Paterson Alan Manson Caroline Parry Jane Reid Susannah Lowdon Lorna Rough Liam Lynch Kirstin Drew
FLUTE Katherine Bryan
TROMBONE Dávur Juul Magnussen
Helen Brew Janet Richardson
Lance Green Alastair Sinclair
OBOE Adrian Wilson
TUBA John Whitener
SECOND VIOLIN Marion Wilson
Peter Dykes Henry Clay
LEADER
ASSOCIATE LEADER
Tamás Fejes
ASSISTANT LEADER
ASSOCIATE PRINCIPAL
Harriet Wilson Robin Wilson Emily Nenniger Paul Medd Wanda Wojtasinska Nigel Mason Gillian Risi Wen Wang Colin McKee VIOLA Asher Zaccardelli ASSISTANT PRINCIPAL
Claire Dunn Francesca Hunt Maria Trittinger David Martin Katherine Wren Nicola McWhirter David McCreadie CELLO Aleksei Kiseliov PRINCIPAL
Betsy Taylor Kennedy Leitch Arthur Boutillier Rachael Lee Sarah Digger
ASSOCIATE PRINCIPAL
PRINCIPAL
PRINCIPAL PICCOLO
PRINCIPAL
PRINCIPAL COR ANGLAIS
CLARINET Timothy Orpen PRINCIPAL
Rebecca Whitener Robert Digney Duncan Swindells
PRINCIPAL BASS CLARINET
BASSOON David Hubbard PRINCIPAL
Luis Eisen Paolo Dutto
PRINCIPAL
PRINCIPAL
PRINCIPAL BASS TROMBONE
PRINCIPAL
TIMPANI Paul Philbert PRINCIPAL
PERCUSSION Simon Lowdon PRINCIPAL
John Poulter Tom Hunter Stuart Semple HARP Pippa Tunnell Sharron Griffiths
PRINCIPAL CONTRABASSOON
PIANO Lynda Cochrane
HORN Christopher Gough
CELESTE Michael Bawtree
PRINCIPAL
Alison Murray Andrew McLean David McClenaghan Martin Murphy Peter McNeill Jamie Shield
EXPLORE pendereckisgarden.pl
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
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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
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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 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.
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 Stevenston Trust Tay 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
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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 Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Lady J Bute Miss S M Carlyon Mrs H S Chalmers 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 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 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 Søndergård & 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
EXECUTIVE ASSISTANT
HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS GRAPHICS AND NEW MEDIA DESIGNER
Kirsten Reid
INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER
RSNO BOARD OF DIRECTORS
CONCERTS AND ENGAGEMENT
Elected Directors Dame Susan Bruce DBE
Bill Chandler
Sam Stone
CHAIR
Ajda Šubelj
John Heasley
Michael Cameron
DRIVER AND DEPUTY STAGE MANAGER
HONORARY TREASURER
Samantha Campbell Bekah Cork
FINANCE AND CORPORATE SERVICES
Flora Farqhuarson
CHIEF OPERATING OFFICER
DIRECTOR OF CONCERTS AND ENGAGEMENT
HEAD OF LEARNING AND ENGAGEMENT
Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood
ARTISTIC PLANNING AND TOURS MANAGER CREATIVE ASSISTANT
Emma Hunter
TRUSTS AND PROJECTS COORDINATOR INFORMATION SERVICES MANAGER HEAD OF TRUSTS AND PROJECTS
Angela Moreland Ted Howie
FACILITIES COORDINATOR
DEPUTY ORCHESTRA MANAGER
Jack Hunter
LEARNING AND ENGAGEMENT OFFICER
Irene McPhail
HEAD OF ORCHESTRA MANAGEMENT
Hedd Morfett-Jones
LIBRARIAN
Susan Rennie
ARTISTIC PLANNING MANAGER
Abby Trainor
CONCERTS ADMINISTRATOR
Jade Wilson
Rosie Kenneally Ewen McKay
Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough
Naomi Stewart
Richard Payne
Tammo Schuelke
Matthias van der Swaagh Craig Swindells
VIDEO PRODUCER
ACCOUNTS AND PAYROLL ASSISTANT DIGITAL MANAGER
FINANCE MANAGER ADMINISTRATOR
FINANCE ASSISTANT
STAGE AND PRODUCTION MANAGER
Nominated Directors Cllr Frank Docherty
Christine Walker CHORUS MANAGER
GLASGOW CITY COUNCIL
Cllr Lezley Marion Cameron THE CITY OF EDINBURGH COUNCIL
Company Secretary Gordon Murray
EXTERNAL RELATIONS
PROGRAMMES EDITOR
Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk
EXTERNAL RELATIONS ADMINISTRATOR
Scottish Company No. 27809 Scottish Charity No. SC010702
Dr Jane Donald
DIRECTOR OF EXTERNAL RELATIONS
Ian Brooke
RSNO COUNCIL
Constance Carter-Fraser
Baroness Ramsay of Cartvale
Jessica Cowley
Lady Gibson Ms Ruth Wishart
Carol Fleming
/royalscottishnationalorchestra
Lorimer Macandrew
@RSNO
CHAIR
MARKETING MANAGER HEAD OF MARKETING
DIGITAL CONTENT PRODUCER
@rsnoofficial
COMMUNICATIONS MANAGER
Youtube.com/thersno
Catriona Mackenzie
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.
Next Digital Season Concert
Chamber:
LEWIS PLAYS MOZART Recorded at the RSNO Centre, Glasgow Broadcast date: Fri 23 April 2021, 7.30pm
Mozart Clarinet Trio K498 Kegelstatt-Trio Michael J Murray Psycho-Scherzo Weber Clarinet Quintet Mozart Piano Concerto No12 K414 for piano and string quintet Paul Lewis Piano Timothy Orpen Clarinet Adrian Wilson Oboe RSNO Chamber Ensemble