Scotland’s National Orchestra 1
BARBER VIOLIN CONCERTO Supported by Jennie S. Gordon Memorial Foundation
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
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BARBER VIOLIN CONCERTO
Brahms’ Fourth Symphony is the stirring climax to a whole concert of classics that don’t stint on either poetry or emotion. Rising British maestro Angus Webster opens the programme on the very edge of the British Isles, with Scottish composer Craig Armstrong’s impressions of St Kilda. Then RSNO Leader Maya Iwabuchi plays Barber’s Violin Concerto – music that’s exactly as gorgeous as you’d expect from the composer of the famous Adagio for Strings.
CRAIG ARMSTRONG Stac Lee from SCOTCH SCOTCH SCOTCH SNAPS SNAPS SNAPS The Lost Songs of St Kilda [9’] SCOTCH SCOTCH SCOTCH BARBER Violin Concerto Op14 [25’] SNAPS SNAPS SNAPS BRAHMS Symphony No4 in E Minor Op98 [41’] Angus Webster Conductor Maya Iwabuchi Violin Royal Scottish National Orchestra RECORDED AT THE RSNO CENTRE, GLASGOW Broadcast Fri 30 Apr 2021, 7.30pm This performance has been recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
Jack Hunter Director John Whitener Script Supervisor Diana Dumi and Diego Almazán Camera Operators Diana Dumi Video Editor Matthew Bennett Producer Hedd Morfett-Jones Sound Supervisor Claire Bryan and Sam McErlean Sound Assistants
Supported by Jennie S. Gordon Memorial Foundation
Next Digital Season Concert
Chamber:
CELLO JEWELS Beethoven Variations in F Major on ‘Ein Mädchen oder Weibchen’ for Cello and Piano Beethoven Cello Sonata No5 R Strauss Cello Sonata Dvořák Silent Woods for Cello and Piano Aleksei Kiseliov Cello Alasdair Beatson Piano
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Welcome
SCOTCH SNAPS master the art of conducting but sometimes it’s youth that can get to the heart of the matter.
Dear friends Welcome to the third of the RSNO’s Spring/ Summer Digital Season concerts. This concert was recorded at the end of 2020 in the RSNO Studio and features an RSNO debut for the brilliant young conductor Angus Webster. In 2019 I was privileged to watch Angus conduct during the private selection process for the Salonen Conducting Fellowship, a partnership between the Philharmonia Orchestra and the Colburn School in Los Angeles. As a 19-year-old student, he directed the music-making with the most extraordinary maturity and control. The best orchestras all have a particular style and sound – a default setting for any well-known piece of repertoire – and it takes an equally strong presence on the podium to shape and change that. What so impressed me about Angus was how he took Sibelius’ Seventh Symphony and almost immediately made his own voice heard through that glorious work. It can take a lifetime to
Back when I was 19, I was introduced to the Barber Violin Concerto for the first time when I took part in performances given by the National Youth Orchestra of Great Britain with the British violinist Anthony Marwood. The piece had a profound effect, and throughout my life has remained one that never fails to move me. Barber’s music has a rare and unique beauty, and nowhere is that more apparent than in the first two movements of his Violin Concerto. The third movement is an altogether different story, with the soloist delivering the musical narrative at break-neck speed and the orchestra frantically trying to keep up. It’s great fun for everyone, and RSNO Leader Maya Iwabuchi and her colleagues will be tested to the limit. Stac Lee by Craig Armstrong, from the bestselling Lost Songs of St Kilda album, opens the programme. As part of our Scotch Snaps series, the two short pieces breathe life back into melodies that were nearly lost forever. As one of the world’s leading film composers, Craig is no stranger to using music to define drama, and here he captures both the stillness and the grandeur of this huge and forbidding sea stack at dawn and dusk. We are incredibly grateful for all the support we have received through this difficult year and tonight want to give particular thanks to the John Ellerman Foundation, Jennie S. Gordon Memorial Foundation and our partners at Classic FM.
Alistair Mackie CHIEF EXECUTIVE
SCOTCH SNAPS
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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
8 Barber Violin Concerto
Stac Lee from The Lost Songs of St Kilda
SCOTCH SNAPS
The St Kilda archipelago is one of Scotland’s furthest-flung island groups, situated far out in the stormy Atlantic to the west of the Outer Hebrides. Despite its isolation, however, it supported a small population who survived mainly on mutton and island birds. From the middle of the 19th century, the inhabitants became increasingly reliant on resources ferried in from the mainland, and the population dwindled. By 1930, living conditions had become so tough that the islanders themselves asked to leave, and to begin new lives on the Scottish mainland. St Kilda was evacuated. The last of the native St Kildans died in 2016 at the age of 93, having been evacuated aged eight.
Craig Armstrong (Born 1959)
DURATION 9 minutes Stac Lee – Dawn Stac Lee – Dusk Music used by permission of the composer
The haunting tale of St Kilda forms the background to Scottish composer Craig Armstrong’s equally haunting Stac Lee, named after an imposing sea stack to the north of the archipelago. And the connection between the Glasgow-born composer – known as much for his film scores, including Baz Luhrmann’s Romeo + Juliet and Moulin Rouge!, as well as Love Actually and The Incredible Hulk, as he is for his concert works – and the evacuation of St Kilda forms a story every bit as remarkable as that of St Kilda itself. In 2006, a volunteer at an Edinburgh care home was struck by the atmospheric, strangely unforgettable tunes that resident Trevor Morrison would play him on a piano, and decided to record them. Morrison explained that they were melodies he’d learnt from his piano teacher, one of the original St Kilda evacuees, and that they formed a rare link back to the islanders’ own music. Strictly speaking, instrumental music was forbidden on the islands for reasons of religious piety, but Morrison’s teacher had remembered the songs well enough to be able to pick them out on a keyboard.
SCOTCH SNAPS
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The recording of Morrison’s piano tunes caught the attention of record company Decca, which in 2016 released the album The Lost Songs of St Kilda. The disc brought together the original piano recordings with new arrangements and new works inspired by the St Kilda story, involving some of Scotland’s most prominent musical figures, including Sir James MacMillan, C Duncan, Julie Fowlis – and Craig Armstrong. Armstrong wrote two short pieces for the project, imagining the massive Stac Lee sea stack at both dawn and dusk. He used Morrison’s piano recording as the basis for the pieces, which also draw on the intricate and highly distinctive style of psalm singing found across the water in the Outer Hebrides. In his notes on the two pieces, Armstrong writes: I found the original piano recordings to be both beautiful and haunting, and it was a very easy flight of imagination as a composer to want to continue the story from these forgotten songs, the atmosphere of what it would have been like to be living on St Kilda and the history of this very special place. It’s easy to imagine the swelling seas and slowly gathering light in Stac Lee – Dawn, as well as hearing chilly breezes in string tremolos and raindrops conjured by plucked notes. Yet there’s an unsettling feeling, too, to Armstrong’s evocation of daybreak at this mighty rock. Stac Lee – Dusk is more brooding and more melancholy, with a prominent part for the harp, and slides gradually to the orchestra’s highest and lowest notes as the edifice is slowly engulfed by the gathering darkness. © David Kettle
SCOTCH SNAPS
SCOTCH SNAPS
SCOTCH SNAPS
The RSNO Scotch Snaps series is supported by the
10 Barber Violin Concerto
Violin Concerto Op14 Samuel Barber was just 29 in 1939 when he wrote his Violin Concerto for the rising Russianborn violinist Iso Briselli, but his career was already going places. In fact, he was already famed as the composer of the Adagio for Strings – a work which had begun life in 1936 as the second movement of his String Quartet and then been orchestrated at the request of Arturo Toscanini, who conducted its 1938 premiere on national radio. So Barber was in demand, and consequently an obvious choice when Briselli’s sponsor and guardian wanted a new concerto to give his ward’s career a further boost. And to make things even more perfect, Barber and Briselli had been in the same year at Philadelphia’s Curtis Institute of Music, graduating together in 1934.
Samuel Barber (1910-1981)
FIRST PERFORMED Philadelphia, 7 February 1941 DURATION 25 minutes Allegro Andante Presto in moto perpetuo
However, what happened next was rather less perfect. One version of events is that when Barber sent the first two movements, Briselli was disappointed by their lack of virtuosic flash. When the third movement arrived, its virtuosities were so technically demanding that he couldn’t play it at all. Another more recent explanation offered by Briselli’s estate is that the problem was in fact Briselli’s teacher, Albert Meiff: that Meiff, having decided that the lack of fireworks in the first two movements made the piece a bad showcase for his pupil, was so scathing about Barber’s writing for the violin that by the time the final movement arrived there was no saving the situation. Either way, it was Albert Spalding who eventually premiered the Concerto with the Philadelphia Orchestra, in 1941. Even less perfect even than all that, though, is the amount of ink that’s been spilt on the story since. To the extent that, if you want to write a non-run-of-the-mill programme note about this most-loved of all 20th-century violin concertos, all you need do is major more on the music than on Briselli!
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There is so much to say about the music, too. Beginning with where Barber sat stylistically in his time, somewhat unusually for an American composer of his generation, he was neither modernist nor deliberately writing music for ‘the common man’. Instead, while his music sounded intrinsically American, it was equally audibly rooted in the late-Romantic European style. Plus, Barber was clearly inspired as much by Europe itself as he was by its music: a stay in Austria had inspired the String Quartet, and with the Violin Concerto commission in hand he headed off to Switzerland (and later to Paris) with the intention of composing the entire work in Europe. However, he had only composed the first two movements before the outbreak of World War II forced him home. Certainly it’s the European tradition you’re hearing from the Concerto’s opening, because highly unusually, the violin enters on the first note – surely the young composer’s homage to Mendelssohn’s Violin Concerto, which famously introduces the violin almost immediately. Still, where Mendelssohn’s opening is tense, urgent and pulsing, Barber’s is a story of serene, cloudless skies. Barber himself described the first two movements as ‘lyric and intimate’, and his unusual addition of a piano to the orchestral texture heightens the atmosphere. There’s also Americana, most notably when the clarinet brings the bouncier second theme with its dotted snap. As for whether the brief but dramatic minor-keyed clouds are an acknowledgement of war on the horizon, who knows, but it’s possible. The slow central movement opens with one of the greatest orchestral solos of all time – an exquisitely tender, long-lined solo for oboe, which has to be a homage to another of the great violin concertos of the classical tradition, this time that of Brahms. When the
violin eventually enters, Barber gives it every bit as much melodic gold, initially with the impassioned second subject, but later also the theme, which in a stroke of genius he places first in the instrument’s duskiest and most velvety lower registers. If any movement could be heard as being war-influenced then it’s the racing, minorkeyed finale penned off the back of Barber’s hasty flight from Paris. This is a high-octane perpetuum mobile for the violin, whose relentless quicksilver streams of notes are played out against offbeat chords from the orchestra, coloured by some wonderful woodwind and brass writing. Yet for all the tension, the overall feel is ultimately one more of jubilation and triumph than terror. In fact, if anything, its orchestral tuttis with their crowd-pleasingly exhilarating syncopations and colliding rhythms are most reminiscent of Eric Korngold, the European then making a splash in Hollywood, whose swashbuckling score to The Adventures of Robin Hood had won a 1938 Academy Award for Best Original Score. Whatever Barber’s inspiration, it is a glittering conclusion to a work which thoroughly deserved its immediate entry into the standard repertoire. © Charlotte Gardner
12 Barber Violin Concerto
Symphony No4 in E Minor Op98 philanthropist Elizabeth von Herzogenberg, with the following note: Will you allow me to send you a piece of a piece of mine, and would you have time to glance at it and send me a word about it? Generally speaking, my pieces are, unfortunately, pleasanter than I am, and people find less in them that needs putting right! The cherries in this part of the world never grow sweet and are uneatable – so if the thing is not to your taste don’t hesitate to say so. I am not at all eager to write a bad No4.
Johannes Brahms (1833-1897)
FIRST PERFORMED Meiningen, 25 October 1885 DURATION 41 minutes Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato Brahms wrote his Fourth Symphony during the summers of 1884 and 1885 in Mürzzuschlag, the quiet Alpine town where he invariably went to compose. He had recently turned 50, was at the height of his powers, and widely regarded as Germany’s greatest living composer. Nevertheless, he was, as ever, plagued by self-doubt, and anxious about how his new symphony would be received. Towards the end of August 1885, he sent the manuscript of the first movement to his friend, the musician and
Despite all Brahms’ misgivings, the premiere of the Fourth Symphony, with Brahms himself conducting Hans von Bülow’s Meiningen Court Orchestra, was little short of a triumph, with the audience vociferously applauding each movement. One of them reported: After the public had left the hall, the Duke of Meiningen and his entourage, along with the foreign guests, remained behind in order to hear the first and third movements again. This time Brahms directed with, if possible, even greater fire and the orchestra seemed electrified. Hans von Bülow himself was fulsome in his praise: No4 gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last. The Symphony begins quietly, with a simple rising and falling melody from which much of the rest of the movement evolves organically and seamlessly. Interrupting the everdeveloping progress of this opening theme are fanfare-like calls for woodwind, which give the movement a somewhat archaic air.
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A new fanfare motif, this time for two horns playing in unison, begins the Andante moderato, and there is a shift from the E Minor which opened the Symphony to E Major. The unusual sonority of this slow movement comes from Brahms’ use of the Phrygian mode, a scale common in medieval and Renaissance music, and another example of Brahms’ homage to earlier musical styles. Donald Tovey called the following movement ‘perhaps the greatest scherzo since Beethoven’, and certainly the boisterous energy and ebullient humour of this Allegro giocoso owe much to the earlier master.
What was happening in 1885? 26 Jan ‘Gordon of Khartoum’ was killed two days before British troops relieved the Sudanese city from the Mahdi’s besieging forces 16 Feb Charles Dow published the first Dow Jones Industrial Average, the US stock market index 14 Mar The Mikado, Gilbert & Sullivan’s comic opera, opened at the Savoy Theatre, London
For the Finale, Brahms broke with symphonic tradition and turned to the Baroque chaconne, a theme and variation form which, wrote Brahms, ‘could inspire a whole world of the deepest thoughts and most powerful feelings’. The movement consists of 32 variations, plus an extensive coda, based on the chaconne theme from the closing movement of J S Bach’s Cantata 150 Nach dir, Herr, verlanget mich (For Thee, O Lord, do I long).
29 May King Leopold II of Belgium announced the Congo Free State as his own personal possession
The last orchestral concert Brahms attended, in March 1897, just a few weeks before he died, was given by the Vienna Philharmonic Orchestra and featured the Fourth Symphony. Florence May, Brahms’ first English biographer, was present. She recorded:
29 Aug Gottlieb Daimler was granted a German patent for the Daimler Reitwagen, the first motorcycle
Tears ran down his cheeks as he stood there at the end of the performance, and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgement from the master, and Brahms and his Vienna had parted forever. © Mark Fielding
6 Jul Louis Pasteur and Émile Roux successfully tested their rabies vaccine on 9-year-old Joseph Meister 23 Jul Ulysses S Grant, Commanding General of the Union Army and 18th President of the United States, died
11 Sep English novelist D H Lawrence was born 15 Sep P T Barnum’s circus elephant Jumbo was hit and killed by a train at St Thomas, Ontario 28 Dec The Indian National Congress, or Congress Party, was established in Bombay (now Mumbai)
14 Barber Violin Concerto
Maya Iwabuchi VIOLIN A committed chamber musician, Maya has been a member of Mobius Ensemble since 2004, and she has also collaborated with artists such as Steven Isserlis and Gil Shaham. Maya has garnered much admiration in her role as leader from artists and critics alike, and has been regularly invited to lead orchestras such as the Royal Philharmonic, City of Birmingham Symphony, Royal Liverpool Philharmonic, Scottish Chamber Orchestra, Orquestra de Cadaqués (Catalonia) and the John Wilson Orchestra.
Maya has been Leader of the RSNO since 2011. She began violin lessons at the age of two. Her main influences that remain integral to her working life are professors Alice Schoenfeld and Rodney Friend. Since her first concert at the age of five, Maya has enjoyed an international career as a solo violinist, chamber musician and orchestral leader. Her performances have taken her to major concert halls worldwide such as the Royal Festival Hall and Wigmore Hall in London, Musikverein in Vienna, Royal Concertgebouw in Amsterdam, Lincoln Center and Carnegie Hall in New York and Suntory Hall in Tokyo. Highlights for Maya as soloist include appearances with the Los Angeles Philharmonic, New York Philharmonic and the Philharmonia Orchestra, and she has appeared at numerous renowned music festivals such as the BBC Proms, Aldeburgh, Bath and Chichester, and the International Musicians Seminar at Prussia Cove in Cornwall.
After 18 years, Maya ended her tenure as Leader of the Philharmonia Orchestra in 2012, having led for conductors of the calibre of Sir Andrew Davis, Christoph von Dohnányi, Gustavo Dudamel, Valery Gergiev, Lorin Maazel, Riccardo Muti, Gennady Rozhdestvensky, EsaPekka Salonen and Kurt Sanderling.
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Angus Webster CONDUCTOR Praised by orchestras for his inspiring musicianship, British conductor Angus Webster is one of the most promising young musicians of his generation. In February 2020 he made his debut with the Philharmonia Orchestra conducting Brahms’ Second Symphony and Beethoven’s Third Symphony. Born in 1999, Angus began to study the piano aged six and learned many of his formative lessons about music from Elena Needham and Tim Boulton. He started studying conducting aged 11, becoming the principal conductor of Cornwall Youth Orchestra aged 14. After being awarded both joint top prize and orchestra prize at the Panula International Conducting Competition in 2018, Angus was chosen to become one of the first Salonen Conducting Fellows at the Colburn School in Los Angeles, where he studied with Esa-Pekka Salonen. A dedicated chamber musician, Angus is also sought after as a collaborative pianist and works closely with many singers, instrumentalists and ensembles. He currently studies piano with Alasdair Beatson at the Royal Birmingham Conservatoire and has played in masterclasses with Ferenc Rados and Rita Wagner at the International Musicians Seminar at Prussia Cove in Cornwall. This concert marks Angus’ debut with the RSNO.
16 Barber Violin Concerto
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 Lena Zeliszewska
DOUBLE BASS Ana Cordova
TROMBONE Dávur Juul Magnussen
Emily Davis
Michael Rae Paul Sutherland John Clark
Lance Green Alastair Sinclair
Patrick Curlett Barbara Paterson Caroline Parry Lorna Rough Ursula Heidecker Allen Elizabeth Bamping Susannah Lowdon
FLUTE Helen Brew
TIMPANI Paul Philbert
SECOND VIOLIN Xander van Vliet
PRINCIPAL
ASSOCIATE LEADER ASSOCIATE LEADER
Tamás Fejes
ASSISTANT LEADER
PRINCIPAL
ASSOCIATE PRINCIPAL
Janet Richardson PRINCIPAL PICCOLO
OBOE Adrian Wilson
PRINCIPAL
PRINCIPAL BASS TROMBONE
PRINCIPAL
PERCUSSION John Poulter
ASSOCIATE PRINCIPAL
Peter Dykes
HARP Pippa Tunnell
Jacqueline Speirs Marion Wilson Harriet Wilson Anne Bünemann Robin Wilson Paul Medd Nigel Mason
CLARINET Timothy Orpen
PIANO Lynda Cochrane
VIOLA Tom Dunn
PRINCIPAL
PRINCIPAL
PRINCIPAL
Felix Tanner Lisa Rourke Francesca Hunt Maria Trittinger Nicola McWhirter
PRINCIPAL
Duncan Swindells
PRINCIPAL BASS CLARINET
BASSOON David Hubbard Luis Eisen Paolo Dutto
PRINCIPAL CONTRABASSOON
HORN Christopher Gough PRINCIPAL
CELLO Aleksei Kiseliov
Alison Murray Andrew McLean David McClenaghan Martin Murphy
Kennedy Leitch Arthur Boutillier Rachael Lee Sarah Digger
TRUMPET Christopher Hart
PRINCIPAL
PRINCIPAL
Marcus Pope Jason Lewis
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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
20 Barber Violin Concerto
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.
RSNO: Scotland’s National Orchestra 23
Charitable Trusts and Foundations Charitable trusts and foundations have a long and illustrious history of supporting the RSNO, both on the concert platform and through our Learning and Engagement programmes in the community. Grants and awards of all sizes are greatly appreciated, and range from one-off donations for specific projects through to large-scale support over a number of years, including support of the acclaimed RSNO Junior Chorus and our flagship educational project, the National Schools Concert Programme. We are fortunate in having developed long-term relationships with a number of trusts who have sustained their invaluable support over many years, enabling a significant amount of our work and mission to go ahead each year that otherwise would simply not happen. Our 2020:21 Season of concerts and Learning and Engagement programmes is generously supported by the following trusts and foundations: Aberbrothock Skea Charitable Trust Aberdeen Endowments Trust Alexander Moncur Charitable Trust Austin and Hope Pilkington Trust Balgay Children’s Society Boshier-Hinton Foundation Cruden Foundation David and June Gordon Memorial Trust D’Oyly Carte Charitable Trust Dunclay Charitable Trust Educational Institute of Scotland Ettrick Charitable Trust Fidelio Charitable Trust Forteviot Charitable Trust Gannochy Trust Garrick Charitable Trust Gordon Fraser Charitable Trust Hugh Fraser Foundation Idlewild Trust James Wood Bequest Fund Jean & Roger Miller’s Charitable Trust Jennie S. Gordon Memorial Foundation John Ellerman Foundation John Mather Charitable Trust John Scott Trust Fund J T H Charitable Trust Leche Trust Leng Charitable Trust McGlashan Charitable Trust MEB Charitable Trust Meikle Foundation Michael Tippett Musical Foundation Mickel Fund Murdoch Forrest Charitable Trust Nancie Massey Charitable Trust Noël Coward Foundation Northwood Charitable Trust PF Charitable Trust Privy Purse Charitable Trust PRS Foundation R J Larg Family Trust Robertson Trust
Ronald Miller Foundation Russell Trust RVW Trust Scott-Davidson Charitable Trust Solti Foundation 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
24 Barber Violin Concerto
RSNO Circle The Circle is a vital part of the RSNO family. Our community of music-lovers inspire and support us. Supporting us by joining the Circle will help us to bring music to so many people, from our Learning and Engagement programmes to our brand-new digital performances. As part of our community and family, we will keep in touch with our exclusive magazine Inner Circle, our Circle member webpage and invitations to special events throughout the year. To find out more about joining the Circle please visit rsno.org.uk/circle or get in touch with our Individual Giving and Partnerships Officer, Kirsten Reid, RSNO, 19 Killermont Street, Glasgow G2 3NX Email: kirsten.reid@rsno.org.uk To all our existing Circle members, thank you. Thank you for your unwavering support that allows us to continue sharing the joy of music. Virtuoso
Ms Catherine Y Alexander Mrs A M Bennett Dame Susan and Mr John Bruce Mrs Stina Bruce-Jones Stephen and Morny Carter Philip and Mary Contini Sir Sandy and Lady Crombie Gavin and Kate Gemmell Dr M I and Mrs C R Gordon Scott and Frieda Grier Iain MacNeil and Kat Heathcote Miss A McGrory Miss M Michie Mr James Miller CBE Meta Ramsay Mr George Ritchie Mr P Rollinson Mr and Mrs W Semple Mr Ian Taft Claire and Mark Urquhart Raymond and Brenda Williamson Mr Hedley G Wright
Symphony
Ronnie and Evelyne Anderson Mr Alan and Mrs Carolyn Bonnyman Mr John Brownlie Miss L Buist Mr and Mrs J K Burleigh Mr J L Donaldson Mr I Gow Mr J D Home Mrs J Kennedy Mrs A Lamont Mr I C MacNicol Professor J and Mrs S Mavor Mrs A McQueen Morag Millar Mr Miller Graham and Elizabeth Morton Mr and Mrs David Robinson Mr D Rogerson Mrs Ann M Stephen Mr Alistair M and Mrs Mandy Struthers Mr and Mrs M Whelan Mrs A Wolfson
Concerto
Dr K Chapman and Ms S Adam Mr A Alstead Miss D Blackie Mr L Borwick Neil and Karin Bowman Dr C M Bronte-Stewart Dr F L Brown Mr and Mrs Burnside Ms H Calvert Mr A Campbell Sir Graeme and Lady Catto Mr R Cavanagh Myk Cichla Dr J Coleiro Mr and Mrs B H Cross Christine and Jo Danbolt Mr P Davidson Mr J Diamond Miss C Dixon-Carter OBE Mr S Dunn Mr C Ffoulkes Mrs E Gibb Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Mr W Gray Mrs S Hawthorn Richard and Linda Holden Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Norman and Christine Lessels Mr Alistair Mackie Mr D MacPherson Mr R G Madden Mr S Marwick Mr and Mrs G McAllister Ms M McDougall Mr E and Mrs S McGeachan Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Mrs A C Morrison Dr and Mrs D Mowle Mr and Mrs D Pirie Ms A and Miss I Reeve
Miss L E Robertson Ross family Dr and Mrs G K Simpson Mr and Mrs A Stewart Mrs M Stirling Mr G Stronach Dr G R Sutherland Mr I Szymanski Professor D E M Taylor Mr and Dr Tom Thomson Mr J B and Mrs M B Watson Mr and Mrs D Weetman Mrs Wigglesworth Mr and Mrs Zuckert
Sonata
Ms S Ace Mr K Allen Mrs P Anderson Ms D Baines Mr O Balfour Mr N Barton Dr A D Beattie Professor G Beeston Mrs H Benzie Mr R Billingham Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Lady J Bute Miss S M Carlyon Mrs H S Chalmers Mr J Claxon Mr T Cole and Mrs J Leslie-Cole Lady Coulsfield Adam and Lesley Cumming Ms K Cunningham Mr F Dalziel and Mrs S Walsh Dr J K and Mrs E E Davidson Mr and Mrs K B Dietz Mrs C Donald Jane Donald and Lee Knifton Ms P Dow Mrs P du Feu Mr John Duffy Mr and Mrs M Dunbar Mr R M Duncan
Brigadier and Mrs C C Dunphie Mrs E Egan Mr R Ellis Miss L Emslie Mr R B Erskine Dr E Evans Mr D Fraser Mr D and Mrs A Fraser Mr D Frew Ms J Gardner Dr P and Dr K Gaskell Mr W G Geddes Mrs M Gibson Mr D Gibson Mrs M Gillan Mr R M Godfrey Dr J A Graham and Mrs H M Graham Professor and Mrs A R Grieve Mr and Mrs G Y Haig Lord and Lady Hamilton Dr P J Harper Dr N Harrison Mr and Mrs R J Hart Mr D Hartman Ms V Harvey Dr and Mrs P Heywood Bobby and Rhona Hogg Mr R Horne Mr and Mrs F Howell Mrs A S Hunter Professor R N Ibbett Ms J Incecik Mr A Kilpatrick Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson Mr R M Love Dr D A Lunt Mrs Lesley P Lyon Mr and Mrs R MacCormick Mr and Mrs MacGillivray Lady Lucinda L Mackay Dr A K and Mrs J C Martin Mr and Mrs J Martin Mr and Mrs D H Marwick Ms S McArthur Mr G McCormack
Mrs L McCormick Mrs M McDonald Mr M McGarvie Mrs C McGowan-Smyth Dr Colin McHardy Dr A H McKee Mr Patrick McKeever Mr G McKeown Ms H L McLaren Mrs E McLean Ms Fiona McLeod Mr and Mrs B Mellon Mr and Mrs I Mills Mrs P Molyneaux Mr R Morley Mr B Morrison Mr K M Murray Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Ms S Park Mr R Parry Mr J Paterson Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr W Ramage Mr M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb Mrs E Robertson Mr I Robertson Mr H and Mrs J Robson Ms A Robson Mrs E K Ross Mrs S Scott Mrs J Shanks Mr J A Shipley Dr M J and Mrs J A Shirreffs Dr Colin and Mrs Kathleen Sinclair Mr M J Smith
Mrs E Smith Mr M A Snider Dr and Mrs B Stack Mrs Lorna Statham Mrs T Stevenson Rev N and Mr R Stewart Mrs R F Stewart Mr and Mrs Struthers Mr and Mrs B Tait Dr and Mrs T Thomson Mr C Turnbull Dr S Tweedie Dr Morag Ward Mr W Watters Dr and Mrs T Weakley Mrs V Wells Mr G West Miss M Whitelaw Dr and Mrs D T Williams Mr D Woolgar Mr R Young
Thank you to all our members of the Circle, including those who wish to remain anonymous. Every one of you makes a real difference.
26 Barber Violin Concerto
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
Liz Wallace
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
Bekah Cork
ARTISTIC PLANNING AND TOURS MANAGER
DEPUTY ORCHESTRA MANAGER
Angela Moreland
Rosie Kenneally
CHIEF OPERATING OFFICER
Ted Howie
Jack Hunter
Richard Payne
Irene McPhail
Tammo Schuelke
Hedd Morfett-Jones
Matthias van der Swaagh
Susan Rennie
Craig Swindells
Abby Trainor
Christine Walker
Jade Wilson
STAGE AND PRODUCTION MANAGER CHORUS MANAGER
Company Secretary Gordon Murray
FACILITIES COORDINATOR
Ewen McKay
CONCERTS ADMINISTRATOR
THE CITY OF EDINBURGH COUNCIL
COMMUNICATIONS MANAGER (MATERNITY COVER)
Emma Hunter
ARTISTIC PLANNING MANAGER
Cllr Lezley Marion Cameron
HEAD OF TRUSTS AND PROJECTS
FINANCE AND CORPORATE SERVICES
LIBRARIAN
GLASGOW CITY COUNCIL
INFORMATION SERVICES MANAGER
CREATIVE ASSISTANT
HEAD OF ORCHESTRA MANAGEMENT
Nominated Directors Cllr Frank Docherty
TRUSTS AND PROJECTS COORDINATOR
Flora Farqhuarson
LEARNING AND ENGAGEMENT OFFICER
Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough
Naomi Stewart
EXTERNAL RELATIONS
VIDEO PRODUCER
ACCOUNTS AND PAYROLL ASSISTANT DIGITAL MANAGER
FINANCE MANAGER ADMINISTRATOR
FINANCE ASSISTANT
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 (MATERNITY LEAVE)
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.