Scotland’s National Orchestra 1
GROSVENOR PLAYS CHOPIN
POLSKA SCOTLAND Financed by the Ministry of Culture, National Heritage and Sport of the Republic of Poland as part of the Multi-annual Programme NIEPODLEGŁA 2017–2022
Spring/Summer 2021
Available from Fri 16 April 2021
NINE SPECTACULAR CONCERTS BROADCAST FROM OUR HOME TO YOURS Featuring Thomas Søndergård • Nicola Benedetti Elim Chan • Benjamin Grosvenor Paul Lewis and more
On Sale Now! rsno.org.uk
GROSVENOR PLAYS CHOPIN
‘Cannons hidden in flowers’ was how one writer described the music of Chopin, and throughout the long and stormy history of Polish music, dazzling colours and heartfelt romance have gone hand in hand with fiery national pride. Expect poetry and panache as Benjamin Grosvenor reunites with Elim Chan and the RSNO following their recent Gramophone Award-winning recording of Chopin’s beautiful Piano Concerto No1, while Chan also lights up the sky with luminous Polish classics from Lutosławski and the Oscar-winning modern master Wojciech Kilar.
KILAR Orawa [9’] CHOPIN Piano Concerto No1 in E Minor Op11 [39’] LUTOSŁAWSKI Concerto for Orchestra [32’] Elim Chan Conductor Benjamin Grosvenor Piano Royal Scottish National Orchestra RECORDED AT GLASGOW ROYAL CONCERT HALL Broadcast Fri 4 Jun 2021, 7.30pm This performance has been recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
Jack Hunter Director Diego Almazán Camera Operator Robert Baxter Script Supervisor Diana Dumi Video Editor Eli Dolliver Video Production Intern Phil Hobbs Producer Hedd Morfett-Jones Sound Supervisor Sam McErlean Sound Engineering Intern
This concert is part of the RSNO’s Polska Scotland series. Polska Scotland is supported by the Adam Mickiewicz Institute and by the Consulate General of the Republic of Poland in Edinburgh as part of the international cultural programme marking the centenary of Poland’s regained independence. Financed by the Ministry of Culture, National Heritage and Sport of the Republic of Poland as part of the Multi-annual Programme NIEPODLEGŁA 2017–2022.
POLSKA SCOTLAND
POLSKA SCOTLAND
Next Digital Season Concert
CHAN & BENEDETTI Traditional arr. Christopher Duncan Stac Dona from The Lost Songs of St Kilda Szymanowski Violin Concerto No2 Bartók Concerto for Orchestra Elim Chan Conductor Nicola Benedetti Violin
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
POLSKA SCOTLAND
Welcome to the eighth – and penultimate – concert in the RSNO’s Spring/Summer Digital Season, in which we continue our Polska Scotland series with a full programme of pieces by Polish composers. It has been wonderful to have Principal Guest Conductor Elim Chan back working with the Orchestra for this first of two concerts. In it she renews her partnership with Benjamin Grosvenor for a reprise of their Gramophone Award-winning performance of Chopin’s Piano Concerto No1. There are also exhilarating works by Wojciech Kilar – perhaps best known as a composer of film scores such as that for Francis Ford Coppola’s Bram Stoker’s Dracula – and Witold Lutosławski, his Concerto for Orchestra, an undoubted 20th-century classic. In next week’s concert, Elim conducts Nicola Benedetti in Szymanowski’s Violin Concerto No2 – her scintillating performance earlier in the season of the composer’s First Violin Concerto is still available to watch – and another spectacular Concerto for Orchestra, this time by Bartók.
It was an unforgettable experience to witness the level of control Elim achieved over the huge forces of a socially distanced RSNO, a phenomenal feat of leadership that clearly demonstrated why she is considered one of the very finest young conductors in the world today. The RSNO continues to acknowledge and to be most grateful to the Adam Mickiewicz Institute and the Consulate General of the Republic of Poland in Edinburgh for their support of the Polska Scotland series. I hope you enjoy the concert!
Alistair Mackie CHIEF EXECUTIVE
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73-80
64–72
55–63
46–54
37–45
28–36
19–27
10–18
1–9
Royal Scottish National Orchestra
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ARTISTIC TEAM Thomas Søndergård MUSIC DIRECTOR Elim Chan PRINCIPAL GUEST CONDUCTOR Neeme Järvi CONDUCTOR LAUREATE Alexander Lazarev CONDUCTOR EMERITUS
Gregory Batsleer
1 2 3 4 5
CHORUS DIRECTOR, RSNO CHORUS
Patrick Barrett
6 CHORUS DIRECTOR, RSNO JUNIOR CHORUS
FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska
7 8 9
ASSOCIATE LEADER
Emily Davis ASSOCIATE LEADER 10 Tamás Fejes ASSISTANT LEADER 11 Patrick Curlett ASSISTANT PRINCIPAL 12 Barbara Paterson SUB PRINCIPAL 13 Jane Reid 14 Caroline Parry 15 Ursula Heidecker Allen 16 Lorna Rough 17 Susannah Lowdon 18 Alan Manson 19 Elizabeth Bamping 20 SECOND VIOLIN Xander van Vliet PRINCIPAL Jacqueline Speirs ASSOCIATE PRINCIPAL
21 22
Marion Wilson ASSOCIATE PRINCIPAL 23 Harriet Wilson SUB PRINCIPAL 24 Nigel Mason 25 Wanda Wojtasinska 26 Paul Medd 27 Anne Bünemann 28 Sophie Lang 29 Robin Wilson 30 Emily Nenniger 31
VIOLA Tom Dunn PRINCIPAL Asher Zaccardelli
32
ASSISTANT PRINCIPAL
33
Susan Buchan SUB PRINCIPAL Lisa Rourke SUB PRINCIPAL David Martin Nicola McWhirter Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt
34 35 36 37 38 39 40 41
CELLO Aleksei Kiseliov PRINCIPAL 42 Betsy Taylor ASSOCIATE PRINCIPAL 43 Kennedy Leitch ASSISTANT PRINCIPAL 44 Arthur Boutillier SUB PRINCIPAL 45 William Paterson 46 Rachael Lee 47 Sarah Digger 48 DOUBLE BASS Ana Cordova PRINCIPAL Margarida Castro
49 50
ASSOCIATE PRINCIPAL Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis
51 52 53 54
FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson
55 56 57
PRINCIPAL PICCOLO
OBOE Adrian Wilson PRINCIPAL Peter Dykes ASSOCIATE PRINCIPAL Henry Clay PRINCIPAL COR ANGLAIS
58 59 60
CLARINET Timothy Orpen PRINCIPAL CLARINET Duncan Swindells
61 62
PRINCIPAL BASS CLARINET
BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto
63 64 65
PRINCIPAL CONTRABASSOON
HORN Christopher Gough PRINCIPAL 66 Alison Murray ASSISTANT PRINCIPAL 67 Andrew McLean 68 ASSOCIATE PRINCIPAL 69 David McClenaghan Martin Murphy ASSISTANT PRINCIPAL 70 TRUMPET Christopher Hart PRINCIPAL Marcus Pope SUB PRINCIPAL Jason Lewis ASSOCIATE PRINCIPAL
71 72 73
TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair
74 75 76
PRINCIPAL BASS TROMBONE
TUBA John Whitener PRINCIPAL
77
TIMPANI Paul Philbert PRINCIPAL
78
PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL
79 80
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Orawa Nestled on the southern edge of Poland, straddling Slovakia’s border and cut through by the Tatra Mountains, lies Orawa. This rugged region, at the highest swoop of the Carpathian range, is one of the most dramatic landscapes in Europe. Pastured meadows are set deep in valleys overcast by snow-capped peaks, which are home to lynx, bears and wolves. And as rich as the natural surroundings of Orawa is its culture and folklore, full of dancing and songs in the distinctive dialect. The area feels not so much isolated, as suspended, protected and precious.
Wojciech Kilar (1932–2013)
FIRST PERFORMED Zakopane, Poland, 10 March 1986 DURATION 9 minutes
One hundred miles to the north is the city of Katowice, a thriving metropolitan and mercantile urban centre where composer Wojciech Kilar lived and worked for 65 years. A graduate of the conservatory at Kraków, one of the first Polish participants at the Darmstadt summer courses for new music, and a student of the renowned Nadia Boulanger in Paris (whose rigorous private counterpoint studio sharpened the skills of Aaron Copland, Quincy Jones and Philip Glass, among many others), Kilar had classical credibility. Yet most of us will have heard his work through the big screen. His music has appeared in over 150 films, including original material written for major blockbusters like Francis Ford Coppola’s Bram Stoker’s Dracula, Roman Polanski’s The Pianist (for which he won both a BAFTA and a César), even The Truman Show. Despite all this commercial activity, Kilar still found the time and creative space to write a sizeable body of concert works, which translate the vivid evocations of his film scores into pure sound. Orawa, for string orchestra, exemplifies this quality. The piece begins
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almost in medias res, as the ear is drawn along a darting melodic line that is Orawa’s melodic DNA, the stream that cuts through its world. Within the first minute, we are introduced to the techniques that characterise the rest: propulsive rhythms, clipped measures to disrupt the rhythmic flow, abrupt shifts in mood, a ratcheting up of harmonic tension, and the gradual layering of strings into a rich, symphonic whole. The piece is almost a single unbroken arc, but with enough variety to maintain interest along its course. There are a few episodes that stand out, like the breakdown of melody at the centre to lay harsh bowing bare, but this is really a nine-minute climax. The piece reaches its conclusion in a radiant, piercing closing cadence, sealed with a vocal cry from the orchestra itself. Orawa continues the tradition of symphonic poems, and within Kilar’s works it is the fourth and final part of a series for orchestra rooted in the Tatra scenery. It is also one of Kilar’s most popular works, and one of his personal favourites: Orawa is the only piece in which I wouldn’t change a single note, though I have looked at it many times . . . What is achieved in it is what I strive for – to be the best possible Kilar. © Mark Parker
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What was happening in 1986?
1 Jan Spain and Portugal entered the European Community (later the European Union) 28 Jan The Space Shuttle Challenger disintegrated 73 seconds after launch, killing all seven astronauts on board 19 Feb The Soviet Union launched the Mir Space Station 28 Feb Swedish Prime Minister Olof Palme was shot and killed in Stockholm 13 Apr Pope John Paul II visited the Great Synagogue of Rome, the first visit to a synagogue by a modern pope 26 Apr More than 4,000 people died following radioactive fallout from the nuclear power plant at Chernobyl in the Ukrainian Soviet Socialist Republic 22 Jun Diego Maradona scored the ‘Hand of God’ goal and ‘The Goal of the Century’, as Argentina beat England at the World Cup 9 Oct Andrew Lloyd Webber’s The Phantom of the Opera opened at Her Majesty’s Theatre in London 16 Oct Arthur Grumiaux, the Belgian virtuoso violinist, died 29 Oct Prime Minister Margaret Thatcher officially opened the London orbital M25 motorway
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Piano Concerto No1 in E Minor Op11 prowess. Its premiere was so successful that he set about writing another immediately, then premiered it in October 1830. This, in E Minor, was the first to be published and is therefore inaccurately called No1. The music is steeped in the youthful composer’s passions on the one hand for the folk music of his native Poland and, on the other, for Italian bel canto singing. He heard the latter frequently as a student in Warsaw, where his infatuation with a young singer, Constantia Gładkowska, led him often to the opera house to listen to her.
Fryderyk Chopin (1810-1849)
FIRST PERFORMED Warsaw, 11 October 1830 DURATION 39 minutes Allegro maestoso Romanze: Larghetto Rondo: Vivace To some, a Romantic concerto might symbolise a trial of strength, the pitting of the individual against society. Nothing could be further from Fryderyk Chopin’s concept for his own two. These are creations focusing on collaboration rather than combat, in which teamwork and carefully calibrated sensibility are key. Both are early works, the official ‘second’ concerto pre-dating the first. The F Minor Concerto was written when Chopin was only 19, as a vehicle to display his own pianistic
Although his crush is reflected most directly in the F Minor Piano Concerto, which includes a dramatic recitativo episode in the slow movement, bel canto continued to influence Chopin for the rest of his life; indeed, one reason he decided to settle in Paris, after going into exile following the 1830 revolution in Poland, was the city’s fine opera house. He left Warsaw only weeks after this Concerto’s premiere, heading for Vienna and little thinking that he would never see his homeland again. Chopin is often criticised for his orchestration, but a closer look reveals that he is creating a very particular effect. It’s true that it is the piano, rather than the orchestra, that interests him the most; but he uses the latter in a way little mirrored by any other composer, with the possible exception of Bach in his St Matthew Passion, in which Christ’s recitatives are accompanied by a halo of string sound. Whether or not he knew that work – Mendelssohn had recently resuscitated it in Berlin – Chopin appears to be doing something similar, the strings creating a sort of aura around the gleaming tone of the piano. His
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soloist is set into the orchestral texture like a gem in an elegant piece of jewellery. At other moments the soloist duets with the wind instruments in true chamber-music fashion: the central Romanze is a case in point, the duet specifically with the bassoon. That choice of instrument might seem unusual, but perhaps it’s not a coincidence it was the low notes of Constantia Gładkowska that Chopin most admired, enthusing with his friends over her deep B in an aria from Rossini’s La donna del lago. Chopin takes up Mozart’s three-movement concerto structure – processional first movement, lyrical slow movement and dance-like finale – but clothes that skeleton with his own artistic preoccupations. The first movement, in triple time, is akin to a polonaise, the dance that traditionally opens a grand ball. Unusually for a Romantic concerto, Chopin neither offers a cadenza nor provides a place for his soloist to do so, but so demanding is the solo part, and so extensive the virtuoso passagework throughout this movement, that probably none seemed necessary. The slow movement is a nocturnal idyll, its much-embellished melodies enriched with Italianate thirds and sixths. The finale is a lively Krakowiak (a fast, duple-time dance from the Kraków region): folksy and sophisticated at the same time, full of delicate bravura glitter for the pianist, it carries the Concerto to a suitably triumphant conclusion. © Jessica Duchen
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What was happening in 1830?
5 Feb The Philharmonic Society of London’s Argyll Rooms concert venue was destroyed by fire 26 Mar The Book of Mormon, the sacred text of the Latter Day Saint movement, was first published by Joseph Smith in Palmyra, New York 26 Jun William IV succeeded his brother George IV as King of the United Kingdom 26 Jul The July Revolution in France resulted in the deaths of 1,800 rioters and 300 soldiers 2 Aug Charles X abdicated as King of France 15 Sep The Liverpool and Manchester Railway, the first intercity passenger line to be operated by steam locomotives, opened 29 Nov The Polish November Uprising against Russian rule began in Warsaw 5 Dec Hector Berlioz’s Symphonie Fantastique was premiered in Paris 10 Dec American poet Emily Dickinson was born
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Concerto for Orchestra As well as being one of his most important works, Concerto for Orchestra marks a personal and professional breakthrough for Lutosławski. On one level it represents the high point of his engagement with the folk music of his native Poland – an attitude very much encouraged by the Communist authorities in the late 1940s and early ’50s. But the folk elements Lutosławski draws on, especially the distinctive rhythmic and modal patterns of Poland’s Kurpie region, are transformed into something sharply focused, often dissonant in harmony and purged of any hint of nostalgia.
Witold Lutosławski (1913-1994)
FIRST PERFORMED Warsaw, 26 November 1954 DURATION 32 minutes Intrada: Allegro maestoso Capriccio notturno ed Arioso: Vivace Passacaglia, Toccata e Corale: Andante con moto–Allegro giusto
Lutosławski had already shown a highly developed ear for orchestral colour and texture in his Symphonic Variations of 1939, but at that stage his style was still strongly influenced by the luscious exoticism of his great Polish forebear Karol Szymanowski. There are moments of intricate detail and gorgeous instrumental colour in Concerto for Orchestra too, but now the sound has a luminous clarity of its own, and the clean-cut, rhythmic drive gives the music an exhilarating freshness and urgency far removed from the perfumed languor so often characteristic of Szymanowski. In spirit this is very much music of the second half of the 20th century, and although its melodic folk elements make it relatively accessible, at the same time one can hear the foundations of Lutosławski’s mature modernist style being laid with impressive confidence and élan. It was the conductor Witold Rowicki who in 1950 suggested to Lutosławski that he compose something substantial for orchestra, and Lutosławski acknowledged his debt by dedicating the score to Rowicki. Work on Concerto for Orchestra started that same year, but it wasn’t completed until 1954; works of self-discovery often demand extra time
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and energy of their creators, and the sense of achievement in the Concerto’s dazzlingly triumphant final pages is matched by few other post-war orchestral works. But there may also have been an element of political expediency. By 1954, the Soviet dictator Joseph Stalin had died, and across the Soviet bloc (Poland very much included) there were signs of a cultural and political thaw – a much better climate for the reception of an audacious new work. Before then Lutosławski’s highly original take on his country’s folk music might easily have been condemned as ‘formalist distortion’, in which case it would soon have been silenced. Instead, the Concerto went on to achieve huge success internationally, establishing Lutosławski across the Western world as a major musical force. The new-found boldness of approach is evident right from the start. Above a regular pounding drum beat, a dancing theme is built up in lean, muscular and increasingly complex counterpoint. The influence of baroque music, especially Bach, is evident here, yet the effect is quite new. A huge, strenuously balletic climax follows, then the excitement subsides, and the opening theme returns, now magically transformed into music of radiant, scintillating stillness. Lutosławski’s delightful, if sometimes wicked, sense of humour is foregrounded in the rapid nocturnal Capriccio, which features some of his most daring and delicious sound-wizardry. The virtuosic instrumental writing reminds us why Lutosławski called this a ‘concerto for orchestra’ rather than a ‘symphony’. Nevertheless, the mood changes drastically in the (surely?) ironically entitled Arioso. There’s plenty of expressive writing here, but the blaring brass and militaristic percussion, then
POLSKA SCOTL AND the anguished strings, seem to speak directly of the violence and suffering Lutosławski experienced from early boyhood. The Capriccio returns, but it is now eerily subdued. The finale is in three parts. It begins with a set of variations on a skeletal bass theme on deep plucked basses and harp. This builds gradually to a powerful climax, then the theme unwinds slowly on spectral high violin harmonics. An energetic, determined Toccata follows, in which something of the trauma of the second movement’s Arioso is recalled. A dignified chorale appears, first on woodwind, with rippling harps and dancing solo strings, then in gorgeous, widely spaced string harmonies. More toccata-like brilliance follows, then as the excitement reaches its height, the chorale returns on brass, sounding with majestic defiance through the surrounding earthquake, wind and fire. Finally the orchestra unites in one last spectacular theatrical flourish. © Stephen Johnson
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Witold Lutosławski
brother wasn’t so lucky.) In Warsaw he joined his friend, the composer Andrzej Panufnik, playing banned music in underground cafés. It was in one of these that he met his future wife, Danuta Bogusławska, who in later years helped him develop his highly personal style of musical notation. After the war, the Polish-Soviet Treaty led to an increasingly Stalinist political climate in Poland. Lutosławski was able to write accessible, folk-based pieces to satisfy the authorities, but his more exploratory works were branded ‘formalist’ and banned. After Stalin’s death in 1953, however, came a degree of liberalisation, and Lutosławski’s brilliant and audacious Concerto for Orchestra (1954) even won him two state prizes.
Born 25 January 1913, Warsaw, Poland Died 7 February 1994, Warsaw, Poland Almost from the start, Witold Lutosławski’s life was marked by trauma and upheaval. He was just two when German forces invaded his native Warsaw. The family fled to Moscow, but after the Bolshevik Revolution in 1917 Lutosławski’s father and brother Marian were arrested and shot by the Communist authorities. Back in Poland, Witold’s musical talents were soon apparent, and hearing Szymanowski’s opulent, intensely mystical Third Symphony at age 11 was a turning point. He studied piano and composition at the Warsaw Conservatory and planned to continue his education in Paris, but then came the German invasion of Poland in 1939. Lutosławski enlisted, and was soon captured, but he managed to escape, walking 250 miles back to Warsaw. (His sole surviving
From this, Lutosławski went on to develop a style which was later dubbed ‘avant garde with a human face’. He incorporated Schoenbergian serial techniques in Musique funèbre (Funeral Music, 1958) and ‘aleatoric’ (random) elements in his Jeux vénitiens (Venetian Games, 1960-1) but, in contrast to the deadly earnestness of much Central European modernism of the times, there was always an element of playfulness, of delight in invention, and of warm expression in his music. In later years there was an increasing reengagement with 19th- and early 20thcentury tradition, especially in the magnificent Third Symphony (1983), a recording of which was played by the Solidarity movement during protests against the imposition of Martial Law in 1981. In 1994, just before his death, Lutosławski was awarded Poland’s highest honour, the Order of the White Eagle. His wife Danuta died soon afterwards. © Stephen Johnson
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Benjamin Grosvenor PIANO to sign to the label. His most recent CD on the label, his second concerto recording, features Chopin’s Piano Concertos recorded with the RSNO under the baton of Elim Chan. Named Recording of the Month by Gramophone magazine, the disc went on to win in the Concerto category at the 2020 Gramophone Classical Music Awards, and was also awarded a Diapason d’Or, with Diapason’s critic declaring it ‘a version to rank among the best, and confirmation of an extraordinary artist’. To date, Benjamin has received Gramophone’s Young Artist of the Year and Instrumental awards, a Classic Brits Critics’ Award, a UK Critics’ Circle Award for Exceptional Young Talent and a Diapason d’Or Jeune Talent Award. British pianist Benjamin Grosvenor is internationally recognised for his electrifying performances, distinctive sound and insightful interpretations. His virtuosic command of the most arduous technical complexities underpins the remarkable depth and understanding of his music-making.
The youngest of five brothers, Benjamin began playing the piano aged six. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, from where he graduated in 2012 with the Queen’s Commendation for Excellence. In 2016 was awarded a Fellowship from the institution.
Benjamin first came to prominence as the winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of 11, and was invited to perform with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms aged 19. He was announced Artist-in-Residence at Radio France for the 2020-21 season, and holds the same title with the Bournemouth Symphony Orchestra. In 2016 he was the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic.
Benjamin Grosvenor appears by courtesy of Decca Classics.
In 2011 Benjamin signed to Decca Classics, becoming the youngest British musician ever, and the first British pianist in almost 60 years,
16 Grosvenor Plays Chopin
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Elim Chan CONDUCTOR Elim Chan is Chief Conductor of the Antwerp Symphony Orchestra and Principal Guest Conductor of the RSNO. One of the most sought-after young conductors, she was the first female winner of the Donatella Flick Conducting Competition. In the 2019-20 season Elim appeared at the BBC Proms with the BBC National Orchestra of Wales, and made her debut with the Konzerthausorchester Berlin, GürzenichOrchester Köln, Gothenburg Symphony and Netherlands Philharmonic orchestras, Swedish Radio and Toronto Symphony orchestras and the National Youth Orchestra of Great Britain. She returned to the Royal Concertgebouw Orchestra in Amsterdam, as well as to the Philharmonia Orchestra, Hong Kong Philharmonic Orchestra, London Symphony Orchestra and Australian Youth Orchestra. Celebrated by the press for her debuts with the Philadelphia Orchestra and Deutsches Symphonie-Orchester Berlin earlier in 2019, other highlights that season included engagements with the Deutsche Kammerphilharmonie, Royal Stockholm Philharmonic and Sydney Symphony Orchestra alongside returns to the Los Angeles Philharmonic and Rotterdam Philharmonic Orchestra.
Elim was Assistant Conductor of the London Symphony Orchestra in 2015/16 and was appointed to the Dudamel Fellowship programme with the Los Angeles Philharmonic in 2016/17. Previously she led the Orchestre de la Francophonie as part of the NAC Summer Music Institute in 2012, where she worked with Pinchas Zukerman, and participated in the Musical Olympus Festival in St Petersburg as well as in workshops with the Cabrillo Festival and Baltimore Symphony orchestras. She also took part in masterclasses with Bernard Haitink in Lucerne in 2015. Elim Chan holds degrees from Smith College and the University of Michigan. She served as Music Director of the University of Michigan Campus Symphony Orchestra and the Michigan Pops Orchestra. She also received the Bruno Walter Conducting Scholarship in 2013.
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Royal Scottish National Orchestra
Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor. The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe. The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan. Formed in 1978 by Jean Kidd, the acclaimed RSNO Junior Chorus, under its director Patrick
Barrett, also performs regularly alongside the Orchestra. Boasting a membership of over 400 members aged from 7 to 18, it has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television. The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Strauss’ Ein Heldenleben, was released in 2019. The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life. The team is committed to placing the Orchestra at the centre of Scottish communities via workshops and annual residencies.
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On Stage FIRST VIOLIN Lena Zeliszewska
DOUBLE BASS Nikita Naumov
TRUMPET Christopher Hart
Tamás Fejes
Michael Rae Paul Sutherland John Clark
Jason Lewis Brian McGinley Andrew Connell-Smith
FLUTE Anthony Robb
TROMBONE Dávur Juul Magnussen
Helen Brew Janet Richardson
Lance Green Alan Adams Alastair Sinclair
ASSOCIATE LEADER ASSISTANT LEADER
Patrick Curlett Barbara Paterson Alan Manson Jane Reid Susannah Lowdon Lorna Rough Elizabeth Bamping Ursula Heidecker Allen Gillian Risi Kirstin Drew SECOND VIOLIN Xander van Vliet PRINCIPAL
Marion Wilson Harriet Wilson Robin Wilson Sophie Lang Wanda Wojtasinska Anne Bünemann Nigel Mason Paul Medd Liam Lynch VIOLA Tom Dunn PRINCIPAL
Asher Zaccardelli Susan Buchan Claire Dunn Lisa Rourke David Martin Maria Trittinger Francesca Hunt CELLO Betsy Taylor Arthur Boutillier Robert Anderson Rachael Lee Sarah Digger Miranda Phythian-Adams
GUEST PRINCIPAL
GUEST PRINCIPAL
PRINCIPAL PICCOLO
OBOE Adrian Wilson PRINCIPAL
Peter Dykes Henry Clay
PRINCIPAL COR ANGLAIS
CLARINET Timothy Orpen PRINCIPAL
Rebecca Whitener Duncan Swindells
PRINCIPAL BASS CLARINET
BASSOON David Hubbard PRINCIPAL
PRINCIPAL
PRINCIPAL
PRINCIPAL BASS TROMBONE
TUBA John Whitener PRINCIPAL
TIMPANI Paul Philbert PRINCIPAL
PERCUSSION Simon Lowdon PRINCIPAL
John Poulter Tom Hunter Stuart Semple Philip Hague
Luis Eisen Paolo Dutto
HARP Pippa Tunnell Sharron Griffiths
HORN Christopher Gough
PIANO Lynda Cochrane
Alison Murray Andrew McLean David McClenaghan Martin Murphy
CELESTE Michael Bawtree
PRINCIPAL CONTRABASSOON
PRINCIPAL
Institut français d’Ecosse West Parliament Square Edinburgh EH1 1RF Contact us at 0131 285 6030 frenchclassesife@gmail.com @institutfrancaisecosse
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2-weeks semi-intensive online French course with 1h30 morning classes, On-Site Creative Lab for adults with the award-winning French author Franck Magloire, & On-Site Summer Camps for kids in partnership with Theatre Sans Accents
RSNO: Scotland’s National Orchestra 21
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
22 Grosvenor Plays Chopin
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 23
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 25
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
26 Grosvenor Plays Chopin
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.
28 Grosvenor Plays Chopin
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 29
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.