Scotland’s National Orchestra 1
BEETHOVEN SYMPHONY No3 EROICA Dedicated to the RSNO Conductors’ Circle Sponsored by
2 Beethoven Symphony No3 Eroica
This concert is dedicated to the RSNO Conductors’ Circle, in recognition of this exceptional group of supporters: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young Thank you also to those generous donors who wish to remain anonymous. For more information on Individual Giving and joining the Conductors’ Circle, please see page 19.
BEETHOVEN SYMPHONY No3 EROICA The Eroica Symphony begins with a controlled explosion – and two centuries later, music is still reeling from the aftershock. This is music written in unprecedented times, energising and defiant – the ideal choice for the RSNO’s return to the stage with Music Director Thomas Søndergård. It is paired with music by two 18th-century geniuses with powerful tales to tell: Haydn’s spirited symphony, and a joyous concerto by Joseph Bologne, Chevalier de Saint-Georges. Precisely the music we need, right here, right now.
HAYDN Symphony No82 in C Major The Bear [26’] CHEVALIER DE SAINT-GEORGES Violin Concerto in A Major [15’] BEETHOVEN Symphony No3 Eroica [47’] Thomas Søndergård Conductor Maya Iwabuchi Violin Royal Scottish National Orchestra RECORDED AT THE RSNO CENTRE, GLASGOW Broadcast Fri 9 Oct 2020, 7.30pm
This performance has been recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
Jack Hunter Director Simon Lowden Script Supervisor Diana Dumi and Diego Almazán Camera Operators Diana Dumi Video Editor Hedd Morfett-Jones Sound Supervisor
Dedicated to the RSNO Conductors’ Circle
Sponsored by
Coming soon
Midori Performs
BEETHOVEN VIOLIN CONCERTO Broadcast date Fri 23 Oct 2020, 7.30pm Thomas Søndergård Conductor Midori Violin Royal Scottish National Orchestra
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Welcome The world has become a different place since we launched our original 2020:21 Season back in March. COVID-19 has affected all our daily lives. In these uncertain times, the one thing I strongly believe in is the power that music has to bring us together. I am therefore delighted to welcome you to the opening concert of the RSNO’s first-ever Digital Season. As we recognise Black History Month in the UK, it is fitting that this concert has been programmed around Joseph Bologne, Chevalier de Saint-Georges. Born on Christmas Day 1745 to a married wealthy planter and his wife’s African slave, he became a champion fencer, classical composer, virtuoso violinist, and conductor of the leading Paris orchestra. We open the concert with Haydn’s Symphony No82 The Bear, the first of his ‘Paris’ symphonies, commissioned by Bologne and premiered in 1787 with his Concert de La Loge Olympique. I’m thrilled that RSNO Leader Maya Iwabuchi takes the spotlight in Bologne’s Violin Concerto in A Major. This has been a real labour of love, with Maya and RSNO Librarian Richard Payne painstakingly creating the score and parts for this special performance. And finally we come to Beethoven’s magnificent Eroica Symphony. The link here is the French Revolution, during which Bologne fought in the first all-black regiment in Europe, and which was led by Napoleon Bonaparte, to whom Beethoven initially dedicated this, his Third Symphony. I hope you enjoy this concert. While we may be socially distanced, know that we are together and emotionally connected through these unmissable online performances.
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
1
MUSIC DIRECTOR Elim Chan
2
PRINCIPAL GUEST CONDUCTOR Neeme Järvi CONDUCTOR LAUREATE Alexander Lazarev CONDUCTOR EMERITUS
Gregory Batsleer
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 David McClenaghan 69 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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Symphony No82 in C Major Hoboken 1/82 The Bear Haydn, son of a wheelwright and a cook, came very much from the other end of the social spectrum to many of the musicians who made up the orchestra. Shipped, aged six, from his family home in rural Austria to stay with a cousin who promised to encourage his clear musical talents, Haydn moved on to choir school in Vienna aged eight, where the regime of choral training greatly expanded his practical musical abilities but gave him frustratingly little in the way of music theory.
Franz Joseph Haydn (1732-1809)
FIRST PERFORMED Paris, 1787 DURATION 26 minutes Vivace assai Allegretto Menuet e Trio Finale: Vivace By the time he got to Symphony No82, one of his ‘Paris’ symphonies of the mid-1780s, Franz Joseph Haydn was nothing if not practised in the art of orchestral writing. Counted among the pinnacles of his symphonic achievement, these six symphonies, of which L’Ours (The Bear) is the last, were commissioned and premiered by one of France’s most prestigious and aristocratic orchestras just a few years before the French Revolution.
When Haydn’s voice broke, he was summarily ejected from the choir school, spending his later teenage years in penury, odd-jobbing in the musical sphere, gleaning what theoretical knowledge he could from in-depth study of other composers’ works, before chance and extreme hard work led him to the court of the wealthy Prince Esterházy. As Music Director, he remained in the service of the Esterházy family at their court, some 30 miles from Vienna, for the rest of his life, his compositions becoming increasingly innovative and sophisticated. ‘I was cut off from the world,’ he told his biographer some years later. ‘Nobody in the vicinity could upset my self-confidence or annoy me, and so I had no choice but to become original.’ It was while in the later stages of this ‘cutoff’ state that he received his first foreign commission in 1785 for six symphonies from Le Concert de La Loge Olympique, an entirely Masonic orchestra founded in 1782 by Le Chevalier de Saint-Georges. The orchestra was made up of professionals and highly skilled amateurs performing in court costume with swords at their sides, largely due to the fact that Queen Marie Antoinette had a habit of popping by unannounced. Pirate copies of Haydn’s symphonies and chamber works had begun to circulate in the 1760s, and the
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premiere of the last of these ‘Paris’ symphonies, The Bear, in 1787, conducted by Saint-Georges, was the subject of much public excitement. The fee of 25 gold louis per symphony was substantial, and the commission provided Haydn with the largest orchestral forces for which he had ever written, roughly double the size of the Esterházy court chamber orchestra, comprising 40 violins, 10 double basses and multiple woodwind. Haydn rose to the occasion magnificently. No82 is written in the bright key of C Major, a brilliant and festive affair, opening with a thrilling fanfare and full of innovative developmental ideas over its four-movement structure. There is an infectious joy and wit in Haydn’s work here, not least in the distinctive final movement that gave the symphony its nickname. Opening with an increasingly insistent drone and the skipping dance of the violins, the music – for Haydn’s contemporaries – was reminiscent of nothing so much as the sound of the bagpipes that were played to accompany performing bears, popular in European towns from the medieval period onwards. The first suggestion of the name was in 1829, when the piano arrangement of the symphony was published under the title Danse de L’Ours. Given the nifty pace of the Finale’s increasingly rowdy, folkish rhythms, however, it would have to have been quite some bear! © Sarah Urwin Jones
What was happening in 1787? 11 Jan Astronomer and composer William Herschel discovered Titania and Oberon, the first two of Uranus’ 27 presently known moons 13 May The First Fleet, including six convict transports, left Portsmouth to establish a penal colony in Australia, planned for Botany Bay 22 May Thomas Clarkson and Granville Sharp founded the Society for Effecting the Abolition of the Slave Trade 31 May The original Lord’s Cricket Ground, in Marylebone’s present-day Dorset Square, held its first match 17 Sep The United States Constitution was signed by the Constitutional Convention in Philadelphia 29 Oct Wolfgang Amadeus Mozart’s opera Don Giovanni premiered at the Estates Theatre in Prague 15 Nov German composer Christoph Willibald Gluck died 7 Dec Delaware ratified the Constitution and became the first US state 23 Dec HMS Bounty sailed for Tahiti, captained by William Bligh
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Violin Concerto in A Major Op7 No1 orchestras in Europe. He was also, apparently, something of a sensation on the dance floor. That he achieved all of this despite the fact that – as the son of a married French plantation owner and an enslaved girl of Senegalese origin called Anne (known as Nanon) – the colour of his skin barred him from fully entering the aristocratic society into which he was born, is only testament to his staggering perseverance, charm and skill.
Joseph Bologne, Chevalier de Saint-Georges (1745-1799)
COMPOSED Paris, 1777 DURATION 15 minutes Allegro moderato Adagio Allegro moderato If ever a man lived in interesting times, it was Joseph Bologne, Chevalier de SaintGeorges, whose life took in the plantations of Guadeloupe, the court circles of Queen Marie Antoinette and both the army and the prisons of Revolutionary France. A true Renaissance Man, he was renowned throughout Europe as the best swordsman in France, while simultaneously being a feted virtuoso violinist, a composer and conductor of one of the top
The word in use at the time was ‘mulatto’, a derogatory term used to describe those of mixed race, principally the growing number of people in France whose lives had started in the plantation houses of the French colonies. If his high-flying career seems to suggest otherwise, the word nonetheless dogged Saint-Georges’ childhood, and was later used to devastating effect to scupper his appointment as Director of the Paris Opéra. Saint-Georges has latterly been nicknamed Le Mozart Noir – ‘the Black Mozart’ – a term clearly meant to flatter by association (and the two had, likely, met in Paris), but in fact serving to diminish Saint-Georges’ own unique dynamism and achievement. It was the actions of his wealthy father that initially gave Saint-Georges the opportunity his mother had not had as a child. George Bologne brought both Nanon and Saint-Georges to Paris in order to give his only son the best education. As if to compensate for the fact that, as an illegitimate child, he would be unable to inherit his father’s titles, Saint-Georges was sent to an elite boarding school to learn fencing and horsemanship. Details of his musical education are virtually non-existent, although he was clearly tutored extensively, and possibly by the composer François-Joseph Gossec, whom he later succeeded as Conductor of the highly regarded Orchestre des Amateurs. Saint-Georges would himself found another
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prestigious orchestra, Le Concert de La Loge Olympique, during which time he commissioned Haydn to write his ‘Paris’ symphonies, conducting their premieres. Saint-Georges’ own compositions were also wildly fashionable with Parisian audiences. As conductor, and former first violin, of the Amateurs, he wrote a number of orchestral works, although many were lost in the French Revolution. Alongside sparkling symphonies concertante, two symphonies, a number of operas and string quartets – he was among the first French composers to try the latter form – were his violin concertos. While these were harmonically conventional rather than innovative, some were very fine, frequently challenging in their requirements for the instrument. Written in 1777, just before he turned definitively to opera, the Op7 No1 runs in classical form, with opening and closing Allegro moderatos bracketing an Adagio. Saint-Georges scatters his somewhat refined opening movement with a few ear-bending tonal changes, the violin increasingly virtuosic and high flying – and some musicologists have made reference to the similarities between a distinctive climbing passage here and a near-identical passage in Mozart’s Sinfonia Concertante in E flat Major of 1779 – before the moving and haunting Adagio. He is back at full speed for the lively, driven finale, as if the concerto had briefly, somehow, let down its glittering guard in the Adagio for a moment of hidden sorrow. © Sarah Urwin Jones
Performing Edition by Maya Iwabuchi and Richard Payne, after the 1777 publication by Antoine Bailleux, Paris.
What was happening in 1777? 2-3 Jan In the American War of Independence, General George Washington’s Continental Army repulsed the British at Assunpink Creek and defeated them at Princeton 17 Mar Patrick Brontë, father of writers Charlotte, Emily and Anne, was born 8 May The School for Scandal, Richard Brinsley Sheridan’s comedy of manners, premiered at the Theatre Royal, Drury Lane 14 Jun The Stars and Stripes was adopted by the Continental Congress as the flag of the United States 19 Sep and 7 Oct British attempts to break out of Saratoga during the American War of Independence were thwarted by superior American forces 17 Nov The Continental Congress of the 13 original American states approved the Articles of Confederation at York, Pennsylvania 24 Dec Captain James Cook reached Kiritimati (or Christmas Island) on his third and final voyage in Endeavour 26 Dec Dolly Pentreath, the last-known fluent native speaker of the Cornish language, died
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Symphony No3 in E flat Major Op55 Eroica of men under foot and pander to his own ambition; he will place himself high above his fellow creature and become a tyrant!’ When the symphony appeared in print two years later, the title page stated simply, ‘Sinfonia eroica, composed in memory of a great man’. That ‘in memory’ is telling: in 1806 Napoleon was still very much alive.
Ludwig van Beethoven (1770-1827)
FIRST PERFORMED Vienna, 7 April 1805 DURATION 47 minutes Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto Whether Beethoven was ever an unqualified admirer of Napoleon Bonaparte isn’t clear. But at some stage he made the decision to dedicate his ‘Heroic’ Third Symphony to the French Revolution’s self-made generalissimo and world leader. Then, in 1804, when Beethoven learned that Napoleon had proclaimed himself Emperor, he tore out the dedication in fury, shouting, ‘So he’s just an ordinary being! Now he will trample the rights
All the same, Beethoven’s belief in heroism and in the possibility of human beings transforming their political destiny proved more robust. It is that belief that remains relevant to the Eroica Symphony. True, the music abounds in triumphal military imagery: the trumpet and drum triplet-taps in the first movement’s final crescendo; the eruptive major-key fanfares at the first big climax of the Marcia funebre (‘Funeral March’); the celebratory horn calls in the trio section of the Scherzo; or the exultant timpani tattoos in the final moments of the Finale. But for many the symphony has more to say about spiritual struggle and liberation – whether in a personal or political sense is for the listener to decide. The first movement is one of Beethoven’s most truly heroic creations, brilliantly conveying the effect of epic conflict. The development of the opening theme (presented by cellos after the two sharp opening chords) is so much more than an abstract process: the theme’s ‘adventures’ in the long movement that follows are more like those of a character in a novel or a play. The movement appears to end in triumph – or at least the promise of triumph; which only makes the contrast with the sombre Funeral March that follows all the more extreme. (One wonders how Napoleon might have reacted to a ‘Bonaparte’ symphony that contained a depiction of his own funeral.) This movement’s emotional range – from dignified mourning, to frenzied hope, to depictions of
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grief in which the music almost literally ‘breaks down’ – is remarkable; and yet the formal control is as impressive as the power of the feelings expressed. The Scherzo that follows is one of Beethoven’s most exhilarating symphonic dance movements. The writing for the three horns in the central trio section suggests battlefield celebrations to some, the exuberance of the hunt to others. Then the Finale begins with a terrific orchestral flourish, followed by a skeletal pizzicato figure for strings. Gradually the textures fill out, until the skeletal string figure turns out to be the bass for a joyous theme on high woodwind, then strings. This is the most formally free of the four movements, blending elements of classical variation, sonata form and fugue into a new kind of dynamic superstructure which, at the same time, completes the ‘story’ presented in the first movement. Beethoven knew he had achieved something special here. Years later, in 1817, when asked which was his favourite among his symphonies, he replied without hesitation, ‘The Eroica’. © Stephen Johnson
What was happening in 1805? 2 Apr Danish writer Hans Christian Andersen was born 9 May German poet, philosopher, playwright Friedrich Schiller, whose An die Freude (Ode to Joy) Beethoven set to music, died 4 Jun The first Trooping the Colour ceremony was held at Horse Guards Parade, London 9 Jul Muhammad Ali Pasha founded a dynasty in Egypt which ruled until Naguib and Nasser’s army-led coup in 1952 12 Aug Meriwether Lewis became the first white person to reach the Continental Divide of the Americas 16-19 Oct At the Battle of Ulm, Austrian General Mack von Leiberich surrendered his entire army to Napoleon 21 Oct The British fleet defeated a French/Spanish fleet at Trafalgar but its commander, Admiral Horatio Nelson, was fatally shot 14 Nov Fanny Mendelssohn, German composer, pianist and sister of Felix, was born 26 Nov The Pontcysyllte Aqueduct, the world’s highest canal aqueduct at 38m/126ft, taking the Llangollen Canal over the River Dee, opened 12 Dec Henry Wells, co-founder of American Express and the Wells Fargo bank, was born
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Maya Iwabuchi VIOLIN 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.
Maya Iwabuchi is Leader of the RSNO, a position she has held 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.
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 CadaquĂŠs (Catalonia) and the John Wilson Orchestra. 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 DohnĂĄnyi, Gustavo Dudamel, Valery Gergiev, Lorin Maazel, Riccardo Muti, Gennady Rozhdestvensky, EsaPekka Salonen and Kurt Sanderling.
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Thomas Søndergård CONDUCTOR Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Oslo Philharmonic Orchestra, Gothenburg Symphony Orchestra, Danish National Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Gewandhausorchester Leipzig, Deutsches Symphonie-Orchester Berlin, Mahler Chamber Orchestra and Bamberg Symphony.
Danish conductor Thomas Søndergård is Music Director of the Royal Scottish National Orchestra, making his debut in October 2018 after six seasons as Principal Guest Conductor. He served as Principal Conductor of the BBC National Orchestra of Wales (BBC NOW) from 2012 to 2018, and prior to this as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons. He conducted the RSNO on its New Year 2019 tour to China, Spring 2019 tour to the West Coast of the USA and September 2019 visit to Paris, as well as its January 2020 tour to Belgium, the Netherlands and Germany. He also conducted works by Mahler as part of the 2020 Edinburgh International Festival’s online My Light Shines On season. Thomas has conducted many leading orchestras, including the Chicago Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Concertgebouw
Thomas’ operatic engagements include the Bayerische Staatsoper (Turandot), Norwegian Opera (Die Zauberflöte) and Deutsche Oper Berlin (world premiere of Andrea Lorenzo Scartazzini’s Edward II ), and Tosca, Turandot and Dialogues des Carmélites with the Royal Swedish Opera. He was described as ‘a sensation’ at his debut with the Royal Danish Opera conducting Poul Ruders’ Kafka’s Trial, and subsequent productions there have included Il barbiere di Siviglia, Le nozze di Figaro, La bohème, The Cunning Little Vixen and Il viaggio a Reims. Thomas’ debut recording with the RSNO, of Richard Strauss’ Ein Heldenleben, was released by Linn Records in April 2019, followed in February 2020 by Prokofiev’s Symphonies 1 and 5. Releases with BBC NOW include Sibelius’ Symphonies 1, 2, 6 and 7 and most recently a disc which shines light on Sibelius’ tone poems and theatre music (Linn Records). Other noteworthy recordings include Vilde Frang’s celebrated first recording for EMI, of Sibelius’ Violin Concerto and Prokofiev’s Violin Concerto No1, and Ruders’ Piano Concerto No2 on Bridge Records, nominated for a Gramophone Award in 2011. The Lutosławski and Dutilleux cello concertos with Johannes Moser were released on Pentatone in 2018. In 2011 Thomas was awarded the prestigious Queen Ingrid Foundation Prize for Services to Music in Denmark.
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Royal Scottish National Orchestra
Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor. The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe. The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan. Formed in 1978 by Jean Kidd, the acclaimed RSNO Junior Chorus, under its director Patrick
Barrett, also performs regularly alongside the Orchestra. Boasting a membership of over 400 members aged from 7 to 18, it has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television. The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Deneve). 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 Maya Iwabuchi
CELLO Aleksei Kiseliov
HORN Christopher Gough
Lena Zeliszewska
Betsy Taylor Kennedy Leitch Arthur Boutillier Sarah Digger
Alison Murray Andrew McLean Martin Murphy
LEADER
ASSOCIATE LEADER
Tamás Fejes
ASSISTANT LEADER
Patrick Curlett Barbara Paterson Jane Reid Ursula Heidecker Allen Alan Manson Elizabeth Bamping Susannah Lowdon SECOND VIOLIN Xander van Vliet PRINCIPAL
Jacqueline Speirs Harriet Wilson Sophie Lang Anne Bünemann Wanda Wojtasinska Nigel Mason Paul Medd VIOLA Tom Dunn PRINCIPAL
Asher Zaccardelli Lisa Rourke Nicola McWhirter Claire Dunn Francesca Hunt
PRINCIPAL
DOUBLE BASS Ana Cordova PRINCIPAL
Margarida Castro Michael Rae Paul Sutherland FLUTE Katherine Bryan PRINCIPAL
Janet Richardson OBOE Adrian Wilson PRINCIPAL
Peter Dykes CLARINET Timothy Orpen PRINCIPAL
Duncan Swindells BASSOON David Hubbard PRINCIPAL
Paolo Dutto
PRINCIPAL
TRUMPET Christopher Hart PRINCIPAL
Jason Lewis TIMPANI Paul Philbert PRINCIPAL
HARPSICHORD Michael Bawtree
10 STUNNING CONCERTS FROM OUR HOME TO YOURS
Broadcast throughout Oct 2020 - Feb 2021, the RSNO Digital Season is available on subscription or a pay per concert basis.
For more information on our Digital Season and to book your tickets please visit rsno.org.uk/digital-season
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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 musicians from the stage in 2020 has been the most difficult of times. 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. This concert is dedicated to the RSNO Conductors’ Circle, in recognition of this exceptional group of supporters: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young We would also like to thank those generous donors who wish to remain anonymous. For more information on Individual Giving and becoming part of the Conductors’ Circle please contact Jenny McNeely at jenny.mcneely@rsno.org.uk
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Patron Programme CHAIR PATRON From musical activities in schools with the musicians of the future to working in community venues across Scotland, as a Chair Patron you are enabling RSNO musicians to explore the many facets of their art and the positive impact it has on people’s lives. Supporting an individual musician puts you at the heart of the RSNO family. You’re connected directly to the musicians on stage and get to enjoy privileged behind-the-scenes access. RSNO musicians truly appreciate our Chair Patrons and enjoy developing personal relationships with our supporters.
Assistant Conductor The Solti Foundation Chair
Cello Aleksei Kiseliov PRINCIPAL
Horn Christopher Gough PRINCIPAL
First Violin Maya Iwabuchi LEADER Sharon Roffman LEADER
The James Browning Chair
Kennedy Leitch
Alison Murray
Dunard Fund Chair
ASSISTANT PRINCIPAL The David and Anne Smith Chair
Tamás Fejes Assistant LEADER
Arthur Boutiller
David McClenaghan
Rachael Lee
Trumpet Christopher Hart PRINCIPAL
The Bill and Rosalind Gregson Chair
Patrick Curlett ASSISTANT PRINCIPAL The RSNO Circle Chair
Jane Reid
The James Wood Bequest Fund Chair
Ursula Heidecker Allen
The Antony Ownsworth Chair
Alan Manson
The Hugh and Linda Bruce-Watt Chair
Elizabeth Bamping
The WL and Vera Heywood Chair
Second Violin Xander van Vliet PRINCIPAL The Hilda Munro Chair
Sophie Lang
The Ian and Evelyn Crombie Chair
Viola Lisa Rourke SUB PRINCIPAL The Meta Ramsay Chair
David Martin
The Miss Grace MM Mitchell Bequest Chair
Francesca Hunt
The Rolf and Celia Thornqvist Chair
The Ardgowan Charitable Trust Chair The Christine and Arthur Hamilton Chair
Double Bass Ana Cordova PRINCIPAL
The Kate and Gavin Gemmell Chair
John Clark
The Gregor Forbes Chair
Flute Katherine Bryan PRINCIPAL
The David and Anne Smith Chair
Helen Brew ASSISTANT PRINCIPAL The Gordon Fraser Charitable Trust Chair
Oboe Adrian Wilson PRINCIPAL The Hedley Wright Chair
Peter Dykes
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 Mr Maurice Taylor CBE Witherby Publishing Group Charitable Trust NEW WORKS PATRON The RSNO is dedicated to bringing new works and outstanding new talent to audiences across Scotland. Our New Works Patrons contribute a significant legacy to orchestral music that extends beyond the RSNO, providing new music for orchestras and audiences around the world – for generations to come. New Works Patron Susie Thomson We are also grateful to those who give but wish to remain anonymous. If you would like more information or would like to discuss how you can become part of the RSNO Family of Supporters, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk
We would like to thank all those who have made donations to the RSNO Covid Appeal over the recent months. The generosity of our supporters at this time is deeply appreciated.
Musical Memories Leave a gift to the RSNO and ensure future generations can create their own Musical Memories of the Royal Scottish National Orchestra. We all have special Musical Memories. It could be learning to play an instrument when you were a child, or a special piece of music that just left you breathless the first time you heard the Orchestra play it. Maybe it was seeing a soloist you had always wanted to hear, or just a great concert shared with friends. Memories such as these make music such an important part of our lives. Leaving a gift to the RSNO in your will is the single most important way you can help us to make music and to create memories. Your legacy will support the work of the Orchestra for years to come, ensuring that we can continue to bring great music to a new generation of children, young people and adults right across Scotland. It is easy to leave a gift. After you have made provisions for family and friends, please think of the Orchestra.
Your gift is important to us and to everyone in Scotland who enjoys music. Contact your solicitor to draft a will or add a codicil to your current will. If your estate is subject to inheritance tax, a gift to a charity, such as the RSNO, is tax-free and will reduce the amount of tax payable to the Government. Please ask your solicitor for details. For more information please visit rsno.org.uk/memories If you would like to discuss this further, please contact Kirsten Reid, Individual Giving and Partnerships Officer, in the strictest confidence at kirsten.reid@rsno.org.uk To the many among you who have pledged to leave a gift already – thank you.
Scotland’s National Orchestra 23
Charitable Trusts and Foundations Charitable trusts and foundations have a long and illustrious history of supporting the RSNO, both on the concert platform and through our Learning and Engagement programmes in the community. Grants and awards of all sizes are greatly appreciated, and range from one-off donations for specific projects through to large-scale support over a number of years, including support of the acclaimed RSNO Junior Chorus and our flagship educational project, the National Schools Concert Programme. We are fortunate in having developed long-term relationships with a number of trusts who have sustained their invaluable support over many years, enabling a significant amount of our work and mission to go ahead each year that otherwise would simply not happen. Our 2020:21 Season of concerts and Learning and Engagement programmes is generously supported by the following trusts and foundations: Alexander Moncur Charitable Trust Alma and Leslie Wolfson Charitable Trust Austin and Hope Pilkington Trust Balgay Children’s Society Bank of Scotland Foundation Castansa Trust Cruden Foundation Daiwa Anglo-Japanese Foundation D’Oyly Carte Charitable Trust Dunclay Charitable Trust Educational Institute of Scotland Fidelio Charitable Trust Gannochy Trust Garrick Charitable Trust Gordon Fraser Charitable Trust Glasgow Educational and Marshall Trust Great Britain Sasakawa Foundation Hugh Fraser Foundation Idlewild Trust James Wood Bequest Fund Jean & Roger Miller Charitable Trust Jennie S Gordon Memorial Foundation John Ellerman Foundation John Scott Trust Fund J T H Charitable Trust KPE4 Charitable Trust Leng Charitable Trust Murdoch Forrest Charitable Trust New Park Educational Trust Noël Coward Foundation Northwood Charitable Trust PF Charitable Trust PRS Foundation R J Larg Family Trust Robertson Trust Ronald Miller Foundation RVW Trust Solti Foundation Stevenston Trust
Tay Charitable Trust Tillyloss Trust W A Cargill Fund Walter Scott Giving Group 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 Beethoven Symphony No3 Eroica
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 Mr James Miller CBE Meta Ramsay Mr George Ritchie Mr and Mrs W Semple Myra and David Soutar 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 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 Norma and Christine Lessels Mr A D Mackay Mr I C MacNicol Professor J and Mrs S Mavor Mrs A McQueen Miss M Michie Mr Miller Miss K Ridland 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 Neil and Karin Bowman Dr M Bronte-Stewart Dr F L Brown Mr John Brownlie Mr and Mrs Burnside 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 C Ffoulkes Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Richard and Linda Holden Mrs F D Inverarity Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Mr Alistair Mackie Mr D MacPherson Mr R G Madden Mr S Marwick Mr and Mrs G McAllister Mr E and Mrs S McGeachan Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Mrs A C Morrison Dr and Mrs D Mowle Dr P Osborne Mr and Mrs D Pirie Ms A and Miss I Reeve Elspeth M Robertson 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 Wigglesworth
Sonata
Ms S Ace Mr K Allen Ms D Baines Mr O Balfour Mr N C Banks Mr N Barton Dr A D Beattie Mrs H Benzie Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Mrs L Brocklebank Ms H Calvert Mr E M Cameron Miss S M Carlyon Mrs H S Chalmers Mr T Cole and Mrs J Leslie-Cole Lady Coulsfield 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 and Mrs M Dunbar Mr R M Duncan Brigadier and Mrs C C Dunphie Mrs E Egan 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 E Gibb Mrs M Gibson Mr D Gibson Lady A V Gibson Mrs J Gilchrist 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 Mrs S Hawthorn Mrs M Hayes Dr and Mrs P Heywood Bobby and Rhona Hogg Ms J Hope Mr R Horne Mr and Mrs F Howell Mrs A S Hunter Professor R N Ibbett Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson Mr R M Love Dr D A Lunt Mr and Mrs R MacCormick Mr and Mrs MacGillivray Lady Lucinda L Mackay Mr R Maizels and Ms C Tilley 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 Mrs C McGowan-Smyth Dr A H McKee Mr Patrick McKeever Mr G McKeown
Ms H L McLaren Mrs E McLean Ms Fiona McLeod Mr and Mrs B Mellon Mr and Mrs I Mills Mrs P Molyneaux Mr R Morley Mr B Morrison Mr K M Murray Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Ms S Park Mr R Parry Mr J Paterson Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb 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 Mr E B Simmons and Mrs R Nicolson 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 B Tait Dr and Mrs T Thomson
Mrs E B Tupman 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 Beethoven Symphony No3 Eroica
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 Hospice Association 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
RSNO BOARD OF DIRECTORS
EXECUTIVE ASSISTANT
HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS GRAPHICS AND NEW MEDIA DESIGNER
Kirsten Reid
Elected Directors Dame Susan Bruce DBE CHAIR
CONCERTS AND ENGAGEMENT
John Heasley
Sam Stone
HONORARY TREASURER
Bill Chandler
DIRECTOR OF CONCERTS AND ENGAGEMENT
Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood
Laura Baxter
Ajda Šubelj
Michael Cameron
FINANCE AND CORPORATE SERVICES
HEAD OF LEARNING AND ENGAGEMENT (MATERNITY COVER) DRIVER AND DEPUTY STAGE MANAGER
Samantha Campbell
HEAD OF LEARNING AND ENGAGEMENT (MATERNITY LEAVE)
Bekah Cork
ARTISTIC PLANNING AND TOURS MANAGER
Flora Farqhuarson
Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough
CREATIVE ASSISTANT
Emma Hunter
DEPUTY ORCHESTRA MANAGER
Rosie Kenneally
LEARNING AND ENGAGEMENT OFFICER
Ewen McKay
HEAD OF ORCHESTRA MANAGEMENT
Richard Payne LIBRARIAN
Nominated Directors Cllr Frank Docherty
Tammo Schuelke
ARTISTIC PLANNING MANAGER
GLASGOW CITY COUNCIL
Cllr Lezley Marion Cameron THE CITY OF EDINBURGH COUNCIL
Company Secretary Gordon Murray
INFORMATION SERVICES MANAGER HEAD OF TRUSTS AND PROJECTS
Angela Moreland
CHIEF OPERATING OFFICER
Ted Howie
FACILITIES COORDINATOR
Jack Hunter VIDEO PRODUCER
Irene McPhail
ACCOUNTS AND PAYROLL ASSISTANT
Hedd Morfett-Jones DIGITAL MANAGER
Susan Rennie FINANCE MANAGER
Abby Trainor ADMINISTRATOR
Jade Wilson
FINANCE ASSISTANT
Matthias van der Swaagh CONCERTS ADMINISTRATOR
Craig Swindells CHORUS MANAGER
DIRECTOR OF EXTERNAL RELATIONS
Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk
PROGRAMMES EDITOR
Scottish Company No. 27809 Scottish Charity No. SC010702
EXTERNAL RELATIONS
Dr Jane Donald Ian Brooke
DEVELOPMENT BOARD
TRUSTS AND PROJECTS COORDINATOR
Christine Walker
Baroness Ramsay of Cartvale Lady Gibson Ms Ruth Wishart
Naomi Stewart
STAGE AND PRODUCTION MANAGER
RSNO COUNCIL CHAIR
INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER
Constance Carter-Fraser
EXTERNAL RELATIONS ADMINISTRATOR
Raymond M Williamson
Jessica Cowley
/royalscottishnationalorchestra
Dr Robert Asher Stephen Carter OBE Alison Gregson Linda Holden
Carol Fleming
@RSNO
CHAIR
SENIOR MARKETING OFFICER HEAD OF MARKETING
@rsnoofficial
COMMUNICATIONS MANAGER
Youtube.com/thersno
Catriona Mackenzie
The RSNO is one of Scotland’s National Performing Companies, supported by the Scottish Government.
Orchestra list and programme details correct at time of going to print. Contents © Copyright RSNO and named authors.