RSNO Spring/Summer Digital Season: Schumann Symphony No2

Scotland’s National Orchestra 1

SCHUMANN SYMPHONY No2

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

SCHUMANN SYMPHONY No2

Robert Schumann was in love when he wrote his Second Symphony, and you can tell. His devotion to his new wife Clara just kept spilling over – in tender moments, passionate outbursts and moments of pure, uninhibited joy. Music from the heart, then: the perfect complement to Mahler’s ravishing Blumine and Schubert’s haunting songs, sung by Susanna Hurrell and Felix Kemp, and conducted by the inspirational Kevin John Edusei.

MAHLER Blumine [8’] SCHUBERT (orch. BRAHMS) Six Songs for Voice and Orchestra [23’] SCHUMANN Symphony No2 in C Major Op61 [37’] Kevin John Edusei Conductor Susanna Hurrell Soprano Felix Kemp Baritone Royal Scottish National Orchestra RECORDED AT GLASGOW ROYAL CONCERT HALL Broadcast Fri 21 May 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, Diego Almazán and Yutsil Hoyo Diaz Martinez Camera Operators Robert Baxter Script Supervisor 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

Next Digital Season Concert

POLISH REFLECTIONS Britten Phantasy Quartet for Oboe & String Trio Szymanowski Violin Sonata in D Minor Lutosławski Epitaph for Oboe and Piano Bacewicz String Quartet No4 Adrian Wilson Oboe Lena Zeliszewska Violin RSNO Chamber Ensemble

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

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Welcome The pandemic has robbed us of so much choral music and it will be a great day when the RSNO Chorus is able to perform again.

Until then, we are fortunate to have Susanna and Felix shaping the beautiful lines of Schubert’s music.

The concert closes with Schumann’s Second Symphony. Like much of last week’s concert, this irrepressibly joyous music was written in a period of suffering for Schumann. Struggling with both physical and mental illness, it’s miraculous that he was able to write such an uplifting piece.

Dear friends Welcome to the sixth concert in the RSNO’s Digital Season.

This concert features RSNO debuts for conductor Kevin John Edusei and singers Susanna Hurrell and Felix Kemp. We’re particularly grateful to Felix for stepping in at exceptionally short notice.

All three of the composers in this concert had a particularly close association with the human voice. Even without a singer, the vocal quality of their writing is often evident. In Blumine it’s the trumpet that carries the ‘song’. A rare gift from Mahler to trumpet players, along with the off-stage posthorn solo in his Third Symphony, it’s the only time he chose to write such extensive melodic material for the trumpet player.

In the Schubert Songs arranged by Brahms, it’s wonderful to hear the Glasgow Royal Concert Hall resonate with the sound of singing again.

It was a pleasure to watch Kevin John Edusei work with the RSNO players in rehearsal for this concert. Schubert’s music is perhaps most often heard in Leider with delicate rubatos defining so much of the expression.

Despite the challenges of social distancing, Kevin was determined to let the music bend and move, giving individual soloists the time and space to express themselves. It’s a lot to ask of a socially distanced orchestra, but Kevin and the RSNO musicians’ skill and perseverance delivered what I feel is a memorably expressive performance.

I hope you enjoy it.

Alistair Mackie CHIEF EXECUTIVE

6 Schumann Symphony No2

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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Blumine Blumine, or ‘bouquet of flowers’, is both pure Mahler and surprisingly un-Mahler-like. On the one hand, this lushly romantic depiction of a perfect fairy-tale countryside could have been written by no one else. On the other hand, its unabashed sentimentality is rather at odds with the fact that Mahler was a consummate pessimist whose turbulent life and forebodings of the future invariably ended up in his music as ironic or doom-laden interjections. The reason for this paradox, more than the fact that this is a very early work, is most probably that Mahler originally composed Blumine to a storyline given to him, and that he never intended it as a stand-alone piece.

Gustav Mahler (1860-1911)

FIRST PERFORMED As incidental music to Der Trompeter von Säckingen: Kassel, 23 June 1884; as original second movement of Symphony No1: Budapest, 20 November 1889; as stand-alone piece: Aldeburgh, 18 June 1967 DURATION 8 minutes

Mahler first composed Blumine in 1884, when he was 23. He was working in the Hessian town of Kassel as Music and Choral Director of the Theatre Royal, and when the theatre decided to stage the popular epic poem Der Trompeter von Säckingen, Mahler was commissioned to write the incidental music. Blumine, scored for small orchestra and trumpet solo, was one of seven pieces he composed. It was obviously Mahler’s favourite because, in 1889, it reappeared in the version we have today, still with trumpet soloist, as the Andante second movement of his Symphony No1.

Mahler later described the Andante as ‘a sentimentally indulgent movement’ and a ‘love episode’, both of which are a fitting description for the simple romance of it. After a tranquil first section in which the trumpet’s main melody is kept largely intact, the more unsettled central section shifts the action to the minor key and submits the theme to greater development. A pathos-ridden oboe solo is taken up by the strings and softened

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back into a major key. The oboe tries again to claim the music back for the minor, but doesn’t succeed. Instead, the strings win out with a gloriously lush climactic swell as the initial theme returns.

Given that the score for Der Trompeter is now lost, we will never know to what extent Mahler revised Blumine for its new symphonic home. What we do know is that, gorgeous as it is, Blumine’s inclusion in the First Symphony was one of history’s less successful musical cut-and-paste jobs. It survived the first three performances but was cut before the score was published, and then lost until 1966 when it was discovered in a collection bequeathed to Yale University in America. It was performed as a stand-alone piece for the first time at the 1967 Aldeburgh Festival, conducted by Benjamin Britten. © Charlotte Gardner

What was happening in 1884?

4 Jan The socialist organisation, the Fabian Society, was founded in London 13 Mar The siege of Egyptian-held Khartoum, under the command of British General Gordon, by Mahdist forces began 22 Apr The Great English Earthquake, at 4.6 on the Richter scale, caused extensive damage and up to 5 fatalities around Colchester, Essex 12 May Bedřich Smetana, Czech composer of Ma Vlast, died in Prague 8 May Harry S Truman, 33rd US President, was born 23 Jul The first tennis tournament was held, in the grounds of Shrubland Hall in Leamington Spa 15 Sep Karl Koller announced the invention of local anaesthesia, using cocaine, in Heidelberg, Germany 15 Nov The Berlin Conference, convened to regulate European colonisation of and trade in Africa, began 6 Dec The Washington Monument was completed in Washington, DC, becoming the world’s tallest predominantly stone structure at 169m (554ft) 10 Dec Mark Twain’s Adventures of Huckleberry Finn was first published, in London

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Six Songs for Voice and Orchestra Franz Schubert (1797-1828)

Orchestrated by Johannes Brahms (1833-97) DURATION 23 minutes

An Schwager Kronos D369/Op19, No1 First known performance Vienna, 1827 First known performance of Brahms’ orchestration (Anh. 1a/12) Hamburg, 1867 Brahms made four of his six arrangements of Schubert’s songs at the request of the distinguished baritone Julius Stockhausen in 1862, though they remained unpublished in his lifetime. Two others – including An Schwager Kronos – were originally choral, designed to be sung in unison by a male-voice choir.

One of Schubert’s 75 settings of the great German poet Johann Wolfgang von Goethe, this 1816 song is addressed to the Coachman Kronos, or Father Time, whom the singer urges to speed him on into the challenges of life and then, finally, before mental and physical decay set in, towards death. Goethe wrote the poem on a coach journey, whose violent motion is emphasised in Schubert’s setting and in Brahms’ orchestration.

An Schwager Kronos Spute dich, Kronos!

Fort den rasselnden Trott!

Bergab gleitet der Weg: Ekles Schwindeln zögert Mir vor die Stirne dein Zaudern.

To Coachman Kronos Make haste, Kronos!

Begone with your ponderous trot!

Downhill tumbles the path: Nauseating dizziness beats My brow at your delay.

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Frisch, holpert es gleich, Über Stock und Steine den Trott Rasch ins Leben hinein!

Once more, jolting forward, Trotting over hill and dale Hurtling into life!

Nun schon wieder Den eratmenden Schritt Mühsam berghinauf.

Auf denn, nicht träge denn Strebend und hoffend hinan!

Weit, hoch, herrlich Rings den Blick ins Leben hinein; Vom Gebirg zum Gebirge Schwebet der ewige Geist, Ewigen Lebens ahndevoll.

Now once again The breathless stride Arduously striving uphill.

Up then, no idling there, Onwards, striving and hoping!

Vast, high and wondrous, The view comes into being; From peak to peak The eternal spirit floats, Bringing the promise of eternal life.

Seitwärt des Überdachs Schatten Zieht dich an Und ein Frischung verheissender Blick Auf der Schwelle des Mädchens da Labe dich! – Mir auch, Mädchen, Diesen schäumenden Trank, Diesen frischen Gesundheitsblick!

The shady canopy Draws you aside, And the fresh, promising gaze Of the maid on the doorstep Indulge yourself! – for me too, maiden, This frothy drink, This look of freshness and health!

Ab denn, rascher hinab!

Sieh, die Sonne sinkt!

Eh sie sinkt, eh mich Greisen Ergreift im Moore Nebelduft, Entzahnte Kiefer schnattre Und das schlotternde Gebein,

Off then, descending faster, See, the sun is sinking!

Ere it sinks, ere the waft of fog Seizes me, an old man, on the moor, Toothless jaws chattering And limbs trembling,

Trunken vom letzten Strahl Reiss mich, ein Feuermeer Mir im schäumenden Aug’ Mich geblendeten Taumelnden In der Hölle nächtliches Tor.

Tear me away, drunk from the final rays, A sea of fire in my foaming eyes, Staggering blinded In hell’s nocturnal gate.

Töne, Schwager, in’s Horn, Rassle den schallenden Trab, Dass der Orkus vernehme: wir kommen, Dass gleich an der Tür Der Wirt uns freundlich empfange.

Sound your horn, coachman, Rattle your resounding trot That Orcus might hear: we are coming, That, on the threshold, The landlord might kindly receive us.

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Memnon D541/Op6, No1 First performance Not known. Published Vienna, 1821 First known performance of Brahms’ orchestration (Anh. 1a/13) Hamburg, 1863 Schubert set 47 texts by his close friend the poet Johann Mayrhofer. This example dates from 1817. Due to the warming rays of the sun, the ancient Egyptian statue known as Memnon (in fact, a memorial to Pharoah Amenhotep III, rather than of the mythical Egyptian king slain by Achilles at Troy) used to emit a sound like singing or wailing every morning. In Schubert’s setting, Memnon voices his grief and his longing to be united, as a star, with his mother, the goddess of dawn.

Memnon Den Tag hindurch nur einmal mag ich sprechen, Gewohnt zu schweigen immer und zu trauern: Wenn durch die nachtgebor’nen Nebelmauern Aurorens Purpurstrahlen liebend brechen.

Memnon Throughout the day I speak but once, Accustomed to silence and mourning: When the Aurora’s crimson rays Break fondly through the night-born walls of mist.

Für Menschenohren sind es Harmonien.

Weil ich die Klage selbst melodisch künde Und durch der Dichtung Glut des Rauhe ründe, Vermuten sie in mir ein selig Blühen.

For human ears they are harmonies.

Since I myself announce the melodic lament and the embers of poetry transform my anguish, they imagine in me a joyful blossoming.

In mir, nach dem des Todes Arme langen, In dessen tiefstem Herzen Schlangen wühlen; Genährt von meinen schmerzlichen Gefuehlen Fast wuetend durch ein ungestillt Verlangen:

In me, to whom death’s arms extend, In whose deepest heart snakes writhe; Nourished by my sorrowful feelings Well-nigh enraged by unquenched desire:

Mit dir, des Morgens Göttin, mich zu einen, Und weit von diesem nichtigen Getriebe, Aus Sphären edler Freiheit, aus Sphären reiner Liebe, Ein stiller, bleicher Stern herab zu scheinen.

To unite with you, goddess of the morning, And far from this futile haste, A still, pale star to shine down From spheres of noble freedom, from spheres of purest love.

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Geheimes D719/Op14, No2 First performance Not known. Published Vienna, 1822.

First known performance of Brahms’ orchestration (Anh. 1a/15) Hanover, 1863 Again a setting of Goethe, dating from March 1821. Schubert’s song, delicately orchestrated

by Brahms, discloses the secret glance from the beloved that picks the latter out from the rest of the company, and slyly promises happiness to come.

Geheimes Über meines Liebchens Äugeln Stehn verwundert alle Leute; Ich, der Wissende, dagegen, Weiss recht gut, was das bedeute.

A Secret Everyone gazes in wonder at my sweetheart’s eyes; But I, the one who knows, Know well what they mean.

Denn es heisst: ich liebe diesen Und nicht etwa den und jenen.

Lasset nur, ihr guten Leute, Euer Wundern, euer Sehnen!

For they mean: it is he I love Not this one or that one.

Enough, good people, Stop your wondering and your longing!

Ja, mit ungeheuren Mächten Blicket sie wohl in die Runde; Doch sie sucht nur zu verkünden Ihm die nächste süße Stunde.

She may well gaze around With formidable sway; But she seeks only to reveal To him the next sweet hour.

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Greisengesang D778/Op60, No1 First performance Not known. Published Vienna, 1826.

First known performance of Brahms’ orchestration (Anh.1a/16) Hanover, 1863 Friedrich Rückert’s stoical poem is sung by an old man within whom some feelings of love still linger – if only in his dreams. Schubert began three settings, completing only the final one in 1826.

Brahms darkens the orchestration by leaving out violins.

Greisengesang Der Frost hat mir bereifet des Hauses Dach; Doch warm ist mir’s geblieben im Wohngemach.

Der Winter hat die Scheitel mir weiß gedeckt; Doch fließt das Blut, das rote, durchs Herzgemach.

Song of the Old Man The frost has decked the roof with rime; But my chamber is still warm.

The Winter has covered my head with white; But the blood runs red in the chambers of my heart.

Der Jugendflor der Wangen, die Rosen sind Gegangen, all gegangen Einander nach – Wo sind sie hingegangen? ins Herz hinab: Da blühn sie nach Verlangen, wie vor so nach.

The bloom of youth within my cheeks, the roses are Gone, all gone one after the other – Where have they gone? Down into the heart: There they blossom with desire, as they ever did.

Sind alle Freudenströme der Welt versiegt?

Noch fließt mir durch den Busen ein stiller Bach.

Sind alle Nachtigallen der Flur verstummt?

Noch ist bei mir im Stillen hier eine wach.

Have all the streams of joy in the world dried up?

Still a silent brook flows through my bosom.

Have all the nightingales in the field been silenced?

Still here in the stillness one lies awake within me.

Sie singet: ‘Herr des Hauses! verschleuß dein Tor, Dass nicht die Welt, die kalte, dring ins Gemach.

Schleuß aus den rauhen Odem der Wirklichkeit, Und nur dem Duft der Träume gib Dach und Fach!’

She sings: ‘Lord of the house, bolt the door, Lest the cold world enter the chamber.

Banish the harsh breath of reality, And grant shelter only to the scent of dreams!’

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Ellens Zweiter Gesang D838/Op52, No2 First performance Possibly Gmunden, June 1825. Published Vienna, 1826.

First known performance of first version of Brahms’ orchestration (Anh.1a/18) Unknown In 1825 Schubert made eight settings of texts from Sir Walter Scott’s influential Romantic poem The Lady of the Lake (1810), set in a divided Scotland under King James V (1512-42). In this poem, the second of her two songs, Ellen, the Lady of the Lake, is singing to her father’s enemy the king, who is travelling in disguise. In this slumber song, Ellen describes a hunter – as James appears to be – at rest. Brahms made two versions, of which we hear the first, scored for solo voice, three bassoons and four horns. It dates from around 1862. The second, which adds two more female voices, was premiered in Vienna in 1873, probably with Marie Fillunger as soloist.

Ellens Gesang II Sir Walter Scott, translated by Adam Storck

Ellen’s Song II Sir Walter Scott

Jäger, ruhe von der Jagd!

Weicher Schlummer soll dich decken, Träume nicht, wenn Sonn’ erwacht, Dass Jagdhörner dich erwecken.

Huntsman, rest! thy chase is done; While our slumbrous spells assail ye, Dream not, with the rising sun, Bugles here shall sound reveille.

Schlaf! der Hirsch ruht in der Höhle, Bei dir sind die Hunde wach, Schlaf, nicht quäl’ es deine Seele, Dass dein edles Ross erlag.

Sleep! the deer is in his den, Sleep! thy hounds are by thee lying, Sleep! nor dream in yonder glen How thy gallant steed lay dying.

Jäger, ruhe von der Jagd!

Weicher Schlummer soll dich decken; Wenn der junge Tag erwacht, Wird kein Jägerhorn dich wecken.

Huntsman, rest! thy chase is done; While our slumbrous spells assail ye, For at dawning to assail ye, Here no bugles sound reveille.

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Gruppe aus dem Tartarus D583/Op24, No1 First performance Vienna, 1821 First known performance of Brahms’ orchestration (Anh. 1a/14) Vienna, 1871 Schubert set 44 of Schiller’s texts in all – in this case twice, the first a fragment from March 1816, the second a complete setting dating from September 1817. This was arranged by Brahms originally for unison male-voice chorus. The poem considers a group of inhabitants of Hades longing for an end to their despair, which never comes – all underlined by the fierce tensions of Schubert’s setting and especially Brahms’ orchestral version.

Gruppe aus dem Tartarus Horch – wie Murmeln des empörten Meeres, Wie durch hohler Felsen Becken weint ein Bach, Stöhnt dort dumpfigtief ein schweres – leeres, Qualerpresstes Ach!

Group from Hades Hark – like murmurs of an outraged sea, Like a beck weeping through hollow rocks, Moans from the musty depths a heavy – empty, Agonised groan!

Schmerz verzerret Ihr Gesicht – Verzweiflung sperret Ihren Rachen fluchend auf.

Hohl sind ihre Augen – ihre Blicke Spähen bang nach des Cocytus Brücke, Folgen tränend seinem Trauerlauf.

Pain distorts Their faces – despair locks Their throats wide with cursing.

Hollow are their eyes – their gazes Peering fearfully towards Cocytus’ bridge, Tearfully following his course of mourning.

Fragen sich einander ängstlich leise, Ob noch nicht Vollendung sei?

Ewigkeit schwingt über ihnen Kreise, Bricht die Sense des Saturns entzwei.

Asking each other anxiously, softly, Whether consummation is yet nigh?

Eternity spirals round above them, Breaking Saturn’s scythe in two.

Programme notes © George Hall Translations (except Ellens Gesang II) © Katherine Wren, RSNO Viola

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Symphony No2 in C Major Op61

Robert Schumann (1810-1856)

FIRST PERFORMED Leipzig, 5 November 1846 DURATION 37 minutes Sostenuto assai–Allegro ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace As early as 1828, Robert Schumann had suffered from depression, or melancholia, as it was then termed, a state that would alternate perpetually and more dominantly with the brightness of inspiration for the rest of his life.

By 1842, when he had his first serious breakdown caused by overwork and exhaustion, he had already tried to take his own life, although his marriage to Clara Wieck in 1840 had temporarily brought him out of the darkness, with a huge outpouring of songs and

creativity. And yet in 1844, he had a catastrophic breakdown, his intermittent bouts of melancholy becoming all-consuming, his physical ‘itches’, as he termed them, flittering all over his body, mystifying his doctors. His symptoms ranged from trembling to phobias (of sharp metallic objects, heights, insanity and death), and tinnitus that wouldn’t stop. For a year, he found himself largely unable to write or even listen to music. Clara wrote that he would suffer nightmares and wake ‘bathed in tears.

He quite gave himself up.’ He embarked on a programme of cold baths to help his health, and inched himself back into compositional work by studying Bach and composing studies in counterpoint. And one day, in the midst of this mental darkness that cast its shadow long into 1845, he started to hear a recurring musical motif. ‘Drums and trumpets in C have been blaring in my head,’ he wrote to Felix Mendelssohn in August. ‘I have no idea what will come of it.’

A few months later, he shaped the bare bones of his Symphony No2, its opening marked with a sombre brass chorale and trumpet fanfares in C, the trumpets recurring in more joyous resolution towards the end of the Symphony.

He continued to work on the orchestration into the New Year, although his progress was dogged by repeated and debilitating episodes in his illness, and on 5 November 1846, Mendelssohn, who had long encouraged Schumann in the venture, conducted the premiere at the Leipzig Gewandhaus.

For Schumann, his mental ill health was the weight around the Symphony’s neck: I wrote the Symphony in December 1845, when I was still ill. I feel that people are bound to notice this when they hear the work. ... Only in the final movement did I

18 Schumann Symphony No2

begin to feel my old self again, but it was only after I had completed the whole work that I really felt any better. Otherwise, as I say, it reminds me of a black period.

It was Clara who had first encouraged her husband to compose orchestral works, writing that ‘his imagination cannot find sufficient scope on the piano’. Schumann’s approach was innovative, his approach to the symphonic form novelistic, and while he made efforts to differentiate himself from Beethoven’s legacy, the Symphony No2 is perhaps the most Beethovenian, albeit never anything other than dominated by Schumann’s own highly individual romanticism.

It begins in brooding, atmospheric vein, with its hints of chorale – Schumann’s immersion in Bach perhaps making itself felt – and intimations of heroism never far from the surface. The trumpets underline the quickly evolving energy of the first movement, with its victorious C Major climax, before an impelled scherzo with its moments of lyricism, and a very lovely Adagio.

The final, troubled movement has always divided critics on Schumann’s ability to resolve the various strands and ingenious interlay of motifs, but with its echoes of the ‘Nimm sie hin denn, diese Lieder’ of Beethoven’s An die ferne Geliebte, ‘Take, then, these songs of mine’ – perhaps here in tribute to Clara – transformed into a chorale, there is a rather satisfying bringing together of Beethoven and Bach under Schumann’s umbrella, in a battle towards conclusive serenity and jubilation. © Sarah Urwin Jones

What was happening in 1846?

13 Jan The 3.2km (2 miles) long railway bridge over the Venetian Lagoon was opened 26 Feb William F ‘Buffalo Bill’ Cody, American soldier, bison hunter and showman, was born 9 Mar The first Anglo-Sikh War ended, with Kashmir ceded to the British East India Company and the Koh-i-Noor diamond surrendered to Queen Victoria 25 Apr The Mexican-American War began, over the disputed border of Texas 16 Jun Pope Pius IX became the 255th pope and reigned for 31 years, the longest confirmed reign 25 Jun The House of Commons voted to repeal the Corn Laws, in order to introduce free trade 27 Jun Irish nationalist politician Charles Stewart Parnell was born 28 Jun The saxophone was patented by Adolphe Sax 23 Sep Neptune was first observed, by German astronomers Johann Gottfried Galle and Heinrich Louis d’Arrest 27 Dec Iowa was admitted as the 29th US state

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Susanna Hurrell SOPRANO Previous highlights include First Lady in The Magic Flute at ENO, Despina in Così fan tutte at Opéra de Limoges, Norina in Don Pasquale at Longborough Festival Opera, Governess in The Turn of the Screw with Nevill Holt Opera, Northern Ireland Opera and the Kolobov Novaya Opera Theatre, Moscow, Rose Maurrant in Street Scene for The Opera Group, Théâtre du Châtelet, Paris and Gran Teatre del Liceu, Barcelona, Nymph in L’Orfeo and Erisbe in Cavalli’s L’Ormindo for the ROH, and the title role in Rodelinda for the London Handel Festival.

British soprano Susanna Hurrell recently made successful role debuts as Cleopatra in Handel’s Giulio Cesare with English Touring Opera and as Gretel in Humperdinck’s Hänsel und Gretel for English National Opera.

Other recent engagements include Lauretta in Gianni Schicchi and Micaëla in Carmen at the Royal Opera House, Covent Garden, Anne Trulove in The Rake’s Progress for Opera Glass Works, Mélisande in Pelléas et Mélisande at Norwegian National Opera and Aldimira in Cavalli’s Erismena at the Festival d’Aix-enProvence.

Equally at home in contemporary repertoire, she has sung the title role in Ravi Shankar’s opera Sukanya with the London Philharmonic Orchestra, Isabel in the Russian premiere of George Benjamin’s Lessons in Love and Violence at the Mariinsky Concert Hall in St Petersburg, and Suzy in Philip Venables’ 4.48 Psychosis for the ROH, Prototype Festival in New York and Opéra national du Rhin, a role she originated in 2016.

On the concert platform, Susanna has performed Mahler’s Symphony No4 with the BBC Symphony Orchestra, Britten’s Les Illuminations with the English Chamber Orchestra, the world premiere of David Oppenheimer’s Deborah with the Southbank Sinfonia, Dido in Dido and Aeneas with The English Concert, Handel’s Messiah with the Royal Liverpool Philharmonic Orchestra, Royal Northern Sinfonia and Mozart Festival Orchestra, and Bach’s Mass in B Minor with the BBC Singers.

Susanna’s discography includes Messiah with the BBC Singers and the Norwegian Wind Band for Resonus Classics, and Ethel Smyth’s Mass in D with the BBC SO for Chandos.

This concert marks Susanna’s debut with the RSNO.

20 Schumann Symphony No2

Felix Kemp BARITONE A Britten-Pears Young Artist, Felix Kemp’s engagements have included Don Fernando in Fidelio for Lyric Opera, Dublin, Giove in Cavalli’s La Calisto for Longborough Festival Opera, Le Brigadier in Hérold’s Le Pré aux Clercs at the Wexford Festival, Marchese d’Obigny in La Traviata as an Opera Holland Park Young Artist, Melot in Tristan und Isolde for Grange Park Opera, J S Bach’s Lutheran Mass in G Minor and Mozart’s Requiem on tour with the Israel Camerata, and recitals with Roderick Williams for the Momentum: our future now initiative, Oxford Lieder and at the Royal Opera House, Covent Garden.

Felix’s recordings include Juan in Joseph Phibbs’ Juliana, awaiting release on Resonus Classics CD, and Pierrot in Ethel Smyth’s Fête Galante for Retrospect Opera CD, selected as a Favourite CD of 2019 by Manchester Classical Music.

His current engagements include Luke Styles’ Awakening Shadow (a combination of original scenes by Luke Styles and Benjamin Britten’s Canticles) at the Cheltenham and Presteigne festivals, the 2021 Leeds Castle Open Air Classical Concert with the Royal Philharmonic Orchestra and An Obsession with Hedonism – Baudelaire for the 2021 London Song Festival.

This concert marks Felix’s debut with the RSNO.

RSNO: Scotland’s National Orchestra 21

Kevin John Edusei CONDUCTOR Janáček’s Kátya Kabanová and a cycle of the Mozart-Da Ponte operas. Elsewhere, he has conducted at the Semperoper Dresden (Mozart’s Die Entführung aus dem Serail and Hindemith’s Cardillac), and in 2018 he made his debut at the Hamburg State Opera. He has also conducted Mozart’s Die Zauberflöte and Don Giovanni at the Volksoper Wien and Komische Oper Berlin. In 2019/20 he made his debuts at the Hannover State Opera in a new production of Puccini’s Tosca and at English National Opera in a new production of Mozart’s The Marriage of Figaro.

Kevin John Edusei has been Chief Conductor of the Munich Symphony Orchestra since 2014. He has conducted widely across Europe, dividing his time equally between the concert hall and opera house. He conducts a broad range of repertoire from baroque to contemporary, with a particular interest in German music from the early romantic period and early 20th century.

With the MSO, Kevin has been applauded for introducing an eclectic range of repertoire into concert programmes and cultivating a loyal, trusting audience. In recognition of these achievements, the MSO was awarded the Excellence Initiative of the German Federal Government in 2018. In 2019 Kevin led the MSO on its first tour of China and Korea.

In 2019 Kevin concluded his tenure as Chief Conductor of Bern Opera House, where he led new productions of Britten’s Peter Grimes, Strauss’ Salome and Ariadne auf Naxos, Bartók’s Bluebeard’s Castle, Wagner’s Tannhäuser,

Kevin’s discography includes recordings with the Bern Symphony Orchestra, Chineke!

Orchestra and Tonkünstler Orchestra, and he is currently midway through a cycle of the complete Schubert symphonies with the MSO. Kevin was born in Germany. In 2004 he was awarded the fellowship for the American Academy of Conducting at the Aspen Music Festival by David Zinman. In 2007 he was a prize-winner at the Lucerne Festival conducting competition under the artistic direction of Pierre Boulez and Peter Eötvös, and in 2008 he won the International Dimitris Mitropoulos Competition for Conductors.

This concert marks Kevin’s debut with the RSNO.

22 Schumann Symphony No2

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 23

On Stage FIRST VIOLIN Maya Iwabuchi

CELLO Betsy Taylor

HORN Christopher Gough

Lena Zeliszewska

Kennedy Leitch Arthur Boutillier William Paterson Rachael Lee Sarah Digger

Alison Murray Andrew McLean David McClenaghan Martin Murphy

LEADER

ASSOCIATE LEADER

Tamás Fejes

ASSISTANT LEADER

Patrick Curlett Barbara Paterson Ursula Heidecker Allen Alan Manson Caroline Parry Jane Reid Susannah Lowdon Lorna Rough Elizabeth Bamping SECOND VIOLIN Xander van Vliet PRINCIPAL

Marion Wilson Harriet Wilson Emily Nenniger Wanda Wojtasinska Anne Bünemann Nigel Mason Robin Wilson Sophie Lang Liam Lynch

ASSOCIATE PRINCIPAL

DOUBLE BASS Peter Fry GUEST PRINCIPAL

Margarida Castro John Clark Sally Davis FLUTE Helen Brew

ASSOCIATE PRINCIPAL

Janet Richardson PRINCIPAL PICCOLO

OBOE Adrian Wilson PRINCIPAL

Peter Dykes CLARINET Timothy Orpen PRINCIPAL

VIOLA Tom Dunn

Duncan Swindells

Asher Zaccardelli Susan Buchan Claire Dunn Francesca Hunt David Martin Lisa Rourke Katherine Wren

BASSOON David Hubbard

PRINCIPAL

PRINCIPAL BASS CLARINET

PRINCIPAL

Luis Eisen Paolo Dutto

PRINCIPAL CONTRABASSOON

PRINCIPAL

TRUMPET Jason Lewis

ASSOCIATE PRINCIPAL

Marcus Pope TROMBONE Dávur Juul Magnussen PRINCIPAL

Lance Green Alastair Sinclair

PRINCIPAL BASS TROMBONE

TIMPANI Paul Philbert PRINCIPAL

HARP Pippa Tunnell

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RSNO: Scotland’s National Orchestra 25

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

26 Schumann Symphony No2

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 27

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 29

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

30 Schumann Symphony No2

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.

32 Schumann Symphony No2

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 33

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.