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BEETHOVEN SYMPHONY No6 PASTORAL
BEETHOVEN SYMPHONY NO6 PASTORAL Beethoven knew that nature can heal the spirit, and from cheerful opening to serene finish there’s no music more life-affirming than his Pastoral Symphony. Penderecki’s elegiac Adagio for Strings opens the concert, and RSNO Principal Horn Christopher Gough’s arrangements of three Belarusian folk songs for Principal Cello Aleksei Kiseliov gain their world premiere.
PENDERECKI Adagio for Strings [14’] CHRISTOPHER GOUGH Three Belarusian Folk Songs [15’] World Premiere BEETHOVEN Symphony No6 in F Major Op68 Pastoral [39’] Cornelius Meister Conductor Aleksei Kiseliov Cello Royal Scottish National Orchestra RECORDED AT THE RSNO CENTRE, GLASGOW Broadcast Fri 4 Dec 2020, 7.30pm This performance has been recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy. Jack Hunter Director John Whitener Script Supervisor Diana Dumi Camera Operator Diana Dumi Video Editor Phil Hobbs Producer Hedd Morfett-Jones Sound Supervisor
This concert is supported by the Consulate General of the Republic of Poland and Adam Mickiewicz Institute as part of the international cultural programme marking the centenary of Poland’s regained independence. Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual NIEPODLEGŁA programme 2017–2022.
Next Digital Season Concert
BEETHOVEN SYMPHONY No7 Recorded at the RSNO Centre, Glasgow Broadcast date: Fri 18 December 2020, 7.30pm
Mozart Overture to Die EntfĂźhrung aus dem Serail K384 Mozart Violin Concerto No5 Turkish K219 Beethoven Symphony No7 Cornelius Meister Conductor Francesca Dego Violin
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Welcome POLSKA SCOTLAND
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POLSKA SCOTLAND
Dear friends I have very much been looking forward to this week’s concert. Not only does it mark the launch of our Polska Scotland series, but we also launch our Scotch Snaps series, supported by the John Ellerman Foundation, with the world premiere of a topical new work composed by our very own Principal Horn, Christopher Gough, and performed by Aleksei Kiseliov, our Principal Cellist. As Scotland’s National Orchestra, we’re thrilled to be able to support established and emerging composers born or living in Scotland through this new series. Scotland and Poland share a rich history of friendship going back over 500 years. At the onset of the Second World War, tens of thousands of Polish soldiers arrived in Scotland. Their contribution to the Scots war effort was momentous. I remember my Mum telling me about her memories of the Clydebank Blitz and of the Polish destroyer ORP Piorun being the only line of defence for the shipbuilding town in 1941. I hope that you will enjoy watching the
short documentary film which accompanies this week’s concert. You will find it alongside your concert in your Vimeo account. The Polska Scotland series is a wonderful opportunity to celebrate the warm connection between these two countries with performances of music by some of Poland’s finest composers. We are particularly grateful to the Adam Mickiewicz Institute and the Consulate General of the Republic of Poland in Edinburgh for their support of the series, and we look forward to sharing more great music with you in 2021. Sadly, our Music Director Thomas Søndergård was unable to join us for this week’s concert due to the current pandemic restrictions. Our thanks go to Cornelius Meister for stepping in at the last minute. The beautiful sounds of nature in Beethoven’s Pastoral Symphony are just what we need to refresh us in these unprecedented times. I do hope you enjoy the performance.
Alistair Mackie CHIEF EXECUTIVE
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ARTISTIC TEAM Thomas Søndergård
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MUSIC DIRECTOR Elim Chan
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PRINCIPAL GUEST CONDUCTOR Neeme Järvi CONDUCTOR LAUREATE Alexander Lazarev CONDUCTOR EMERITUS
Gregory Batsleer
3 4 5
CHORUS DIRECTOR, RSNO CHORUS
Patrick Barrett
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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
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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
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ASSISTANT PRINCIPAL
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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
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CLARINET Timothy Orpen PRINCIPAL CLARINET Duncan Swindells
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PRINCIPAL BASS CLARINET
BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto
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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
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TIMPANI Paul Philbert PRINCIPAL
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PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL
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Adagio for Strings A composer of two halves, the early Penderecki announced his arrival in the 1950s and ’60s with a series of daringly original pieces that sent shockwaves out from behind the Iron Curtain. While the continental modernists played evermore intricate games with their material, Penderecki swept in with an arsenal of techniques designed for sheer sonic force: pizzicato strings that drop like bombs, wailing glissandi that howl out from a nightmare, clustered chords that punch blunt and hard. The impact was visceral, devastating, yet somehow always moving, at times even overtly emotional. Early Penderecki had set himself apart from his milieu in many ways, but the most distinct may have been his wholehearted embrace of music’s traditional roles: to express, to console, to commemorate, to discover the unknown, to render the sacred in sound.
Krzysztof Penderecki (1933-2020)
FIRST PERFORMED Prague, 10 September 2013 DURATION 14 minutes
Penderecki would eventually return to traditional forms like the symphony after exhausting what he felt were the limited possibilities offered by the avant-garde. Yet his later music lost none of that bite, that bracing edge of his earlier work. With a clear debt to Shostakovich (1906-1975), his mature music forged a very personal relationship to the old abandoned world of tonality. Nor was this a naïve return to grace; while sentimental as his music sometimes was, it never abandoned its post, hovering somewhere close to the edge of salvation in the shadow of doom. The New York Times described him in 1986 as ‘our most foremost purveyor of anxiety, foreboding, and depression’. Two years later, he would begin work on the symphony that housed the original material for this piece. The Adagio for Strings falls into a lineage of symphonic movements that have been taken from their original context as stand-alone
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works. Think only of Mahler’s Adagietto from his Fifth Symphony for a precedent not lost on the historically sensitive Penderecki when he transcribed the middle movement of his own Third Symphony almost 20 years after its completion. Gone are the varied timbres of percussion, winds and brass that colour the original score. Instead only the strings are left, laying bare the endless melody in fold upon fold of its chromatic warp and weft, threaded through by soaring solos that give the fabric of the work its weight and depth. Like much of Penderecki’s music, the Adagio for Strings seems to stand outside of time. In its original setting, the material leads straight into a lively Allegro built around baroque forms. Yet torn from its original frame, this music now sounds like an ongoing elegy for something unknown and not sought. For there are moments here that burst with such concentrated emotion that to give them occasion would limit their effect. Originally conceived as part of Penderecki’s Symphony No3, a commission to mark the centenary of the Munich Philharmonic Orchestra in 1995 that took the composer seven agonising years to complete, the Adagio for Strings received its own premiere in 2013, performed by the Czech Philharmonic Orchestra. © Mark Parker
Krzysztof Penderecki You may think you know little about the music of Polish composer Krzysztof Penderecki but if you’ve seen William Friedkin’s The Exorcist, Stanley Kubrick’s The Shining, David Lynch’s Twin Peaks or Martin Scorsese’s Shutter Island you will have been introduced to it through its inclusion in these films’ deeply unsettling and confrontational soundtracks. Penderecki, who died earlier this year on 29 March, was born in Debica, Poland on 23 November 1933 and studied composition at the Superior School of Music in Kraków. Having come to attention at the third Warsaw Festival of Contemporary Music in 1959, his Threnody for the Victims of Hiroshima for 52 strings of the following year marked a major turning point in his career. He went on to use the techniques employed in the Threnody, including quarter-tone clusters, glissandi and ‘whistling’ harmonics, in works such as his operas The Devils of Loudun (1968) and Paradise Lost (1978), but his scores could also illustrate simpler approaches, such as in his Stabat Mater (1962) and St Luke Passion (1963-6). His Polish Requiem (final version, 2005) grew out of a commission from the trade union Solidarity for a piece to commemorate those killed in anti-government riots in the Gdańsk shipyards. Penderecki’s innovative and masterful command of orchestration earned him a reputation as one of the leaders of the post-war European avant-garde.
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Three Belarusian Folk Songs Christopher Gough (Born 1991)
DURATION 15 minutes WORLD PREMIERE Leciele zurauli Sztoj pa moru Kupalinka Three Belarusian Folk Songs, for solo cello and orchestra, were composed and arranged in reaction to the political events currently taking place in Belarus, and written for Aleksei Kiseliov, Principal Cellist of the RSNO and a native Belarusian. The melodies of the three songs provide a vehicle to express protest and unity against the oppression and affront to democracy taking place in this culturally rich and diverse country. The themes for the first two songs were inspired by performances given by the Polish vocal group Laboratorium Pieśni, who specialise in Slavic folk song. Leciele zurauli: ‘Oh the flying cranes’ This song starts with a sense of optimism and hope, and there is talk of fertility and growth: ‘Oh the flying cranes, they sat in a field on fertile land, and in the early planted fields there is growing rye and wheat. The men have gathered, yes, to talk about the women: was the first the best, or was the second better?’ Chimes sound from the percussion, and the cello chants incantations through its opening cadenza, announcing new beginnings. The beauty of the folk song, the music of the people, prevails throughout in the solo cello part, on top of an ever-present ostinato, or repeated rhythmic pattern, in the orchestra.
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However, as these two elements begin to contradict each other, the music collapses into chaos until it cannot continue: ‘I had small children with the first, and the second, she raised them, and the third, she scattered them.’ The chimes are heard again. Sztoj pa moru: ‘There by the sea’ This song tells of a maiden who collects the feathers after a flock of swans has been terrorised by an eagle: ‘Where did it come from, the glaucous eagle? Scattered flock across the sea, white down floating in the sky, white feathers in a green meadow. And who is gathering up the feathers? A beautiful maiden is collecting feathers.’ The constant repetition and movement in the theme, both rhythmically and harmonically, represents the activism which often arises after political disruption. The hope is that good will come out of a bad situation, aided by dedication and strong resolve. Kupalinka The theme of the final song has become increasingly significant for the people of Belarus in their fight to maintain freedom and democracy: ‘Dark night. Where are you daughter? My daughter is in the garden. Pluck the roses, pierce her white hands. Pluck the flowers, weave wreaths, shed her tears. Kupalinka-Kupalinka. Dark night. Where are you daughter?’ The song’s creators, the poet Michas Tscharot (1896-1937) and the composer Vladimir Terawski (1871-1938), were themselves victims of extreme political oppression. The melody reflects not only the pain and suffering in Belarus at present but also the defiance against it and, therefore, hope. © Christopher Gough
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Aleksei Kiseliov CELLO Still young, Aleksei began performing as a soloist with the Belarus Philharmonic Society and the Opera and Ballet. Further engagements followed in Germany, Holland, France and England. His appearances at the Franco-Byelorussian Musical Spring were a huge success. In 1998 his performances in the Cortot Hall and Trianon Theatre in Paris were equally well received. In 2000 Aleksei began studying with Tilman Wick in Hanover and three years later moved to London to study with Jerome Pernoo at the Royal College of Music. From 2007 he studied with Raphael Wallfisch while pursuing the Artist Diploma course at the RCM. Later he had a year of lessons with Natalie Clein at Trinity Laban.
Aleksei Kiseliov has been Principal Cello of the Royal Scottish National Orchestra since 2011. Born in Belarus, he began his musical studies when he was five at the Republican Music College. He was eight when he gave his first public recital, and a year later toured to Holland as a soloist with the Chamber Orchestra of the Republican Music College. He developed his work as a soloist, performing with the State Chamber Orchestra and Symphony Orchestra of Belarus. It was at this time that he won the international competition Music of Hope and later in 1997, at the age of 12, he was a prizewinner at the Tchaikovsky International Youth Competition in St Petersburg. He became Belarus Pupil of the Year and a scholar of the President’s Fund of Belarus, and received a special prize from the Vladimir Spivakov Fund.
In 2008 and 2009 Aleksei directed his own international music festival, Melodrama, in London and Minsk. His solo and concert work has developed in Europe, the UK and USA, as well as in Belarus. He now combines his solo career with his Principal role with the RSNO, and also teaches at the Royal Conservatoire of Scotland.
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Christopher Gough
COMPOSER AND ARRANGER Christopher Gough has been Principal Horn of the Royal Scottish National Orchestra since 2016. He studied French horn and composition at the Royal Conservatoire of Scotland from 2010 to 2014 and after graduating quickly gained prominence in the Scottish freelance scene, regularly performing with the RSNO, BBC Scottish Symphony Orchestra, Scottish Opera and Scottish Ballet. He guests as Principal with many of the other leading UK orchestras. As a composer and arranger, Christopher is in high demand. Prizes include the Music for Youth Composers’ Prize and the RNCM Young Composer for Brass Band, and runner-up for the Associated Board International Young Composers’ Competition. Having taken a year’s sabbatical from playing the horn in order to develop further his skills as a composer, in July 2020 Christopher graduated from Berklee College of Music Valencia with a Master’s in scoring for film, television and videogames. On graduation, he was selected for the Outstanding Scholar Award, as recognition of his studies and success during the course.
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The RSNO Scotch Snaps series is supported by the
Christopher’s works have featured in many notable concert series, including at the St Magnus Festival, the RSNO Chamber Series, Cottier Chamber Project and annual British Horn Society conference. He continues to write alongside a successful career as a professional French hornist.
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Symphony No6 in F Major Op68 Pastoral ‘More the expression of feeling than tonepainting’ was how Beethoven famously summed up his Pastoral Symphony (1807-8). Really? The Symphony is full of fabulously vivid tone-painting: thunder and accelerating rain in the fourth movement, birdsong in the second, the shepherd’s piping that sets the finale in motion. But Beethoven was insistent: ‘Tone-painting when pushed too far loses its value.’ The emotions stirred by nature were what mattered above all. The French composer Hector Berlioz, a genius of orchestral tonepainting, hailed the Pastoral Symphony in terms that would have delighted Beethoven: ‘This is no question of gaily dressed shepherds … it is a matter of nature in her simple truth’.
Ludwig van Beethoven (1770-1827)
FIRST PERFORMED Vienna, 22 December 1808 DURATION 39 minutes Allegro ma non troppo (‘Awakening of cheerful feelings on arriving in the country’) Andante molto mosso (‘Scene by a brook’) Allegro (‘Peasants’ merrymaking’) Allegro (‘Thunderstorm’) Allegretto (‘Shepherds’ Hymn – happy, thankful feelings after the storm’)
The first movement of the Pastoral is very different indeed from any of its precursors: it is gentler, more expansive, and the first theme has a relaxed, song-like quality quite unlike the taut, muscular themes that set the Eroica and the Fifth symphonies in motion. According to Beethoven’s subtitle, what we have here is a gradual ‘awakening of cheerful feelings’. At the heart of the movement the rhythm of the opening theme becomes an almost hypnotic repeated pattern, with chugging figures in the lower strings in a series of long crescendos – it’s easy to imagine the regular motion of the carriage wheels, and the mounting joy as the city is left behind. ‘Scene by a brook’ begins with undulating harmonies for lower strings, above which the first violins sing heart-easing melodic phrases. In Beethoven’s sketchbooks the opening string figures are marked ‘Murmur of the stream’ and, underneath, ‘the bigger the brook, the deeper its note’. Near the end, woodwind birdsong is
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heard twice (Beethoven specifies nightingale, quail and cuckoo) before the movement flows serenely to its close. The third movement is a lightly dancing scherzo, with a stomping trio section in two-time suggestive of earthy Austrian country dances. Scherzo and trio sections are heard twice, but the third time the scherzo accelerates – only to be suddenly and dramatically cut off. Hushed bass tremolos and pattering violin figures evoke distant rumbles of thunder and the first raindrops. Before long the storm is fully upon us, with terrific thunderclaps on brass, timpani and growling cellos and basses. It’s hard to believe that the man who created these vivid sound-pictures had been deaf for the best part of a decade, and had only distant memories to work from. The storm dies, and a hymn-like figure is heard on woodwind and upper strings (one writer famously compared this to a rainbow), then an upward scale on solo flute heralds the beginning of the finale. A solo clarinet imitates a shepherd’s pipe, echoed in the distance by a solo horn. Eventually the finale builds to an ecstatic climax, again very hymn-like. But the glory fades; a muted horn softly recalls the finale’s opening, then with two quick fullorchestral chords the Symphony is over. © Stephen Johnson
What was happening in 1808? 1 Jan Sierra Leone was made a British Crown colony 6 Feb The US ship Topaz rediscovered Pitcairn Island, home since 1789 to the last remaining HMS Bounty mutineer, John Adams 21 Feb Russian troops crossed into Finland, starting the 1808-9 Finnish War 1 Mar The Slave Trade Act of 1807 was implemented, with the UK abolishing the slave trade in all its colonies 13 Mar Frederick VI became king of Denmark, declaring war on Sweden the following day 3 May Hundreds of Madrid’s citizens were shot by occupying French troops, an event depicted by Spanish painter Francisco Goya 15 May Michael William Balfe, Irish composer of the opera The Bohemian Girl, was born 30 Jun English chemist Humphry Davy informed the Royal Society of his discovery of the elements calcium and boracium (or boron) 20 Sep The original Covent Garden Theatre in London burned down
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Cornelius Meister CONDUCTOR new production of Hans Abrahamsen’s The Snow Queen at the Bavarian State Opera and returned to the Metropolitan Opera New York for Le Nozze di Figaro. He continued the Mahler symphony cycle with the Stuttgart State Orchestra and conducted Tristan und Isolde, Lohengrin, Elektra and Don Carlo at the State Opera. Cornelius made his debut at the Hamburg State Opera at the age of 21, followed by engagements at the Bavarian State Opera Munich, Deutsche Oper Berlin, Semperoper Dresden, Theater an der Wien, New National Theatre Tokyo, San Francisco Opera, Royal Danish Opera and the Royal Opera House. In 2015 he debuted at the Teatro alla Scala Milan.
Cornelius Meister began his tenure as Music Director of the Stuttgart State Opera and Orchestra in 2018. Since 2017 he has also been Principal Guest Conductor of the Yomiuri Nippon Symphony Orchestra in Tokyo. In recent years he has received the Opus Klassik Conductor of the Year award, the International Classical Music Award in the Symphonic Recordings category for the complete Martinů symphonies, and the Diapason d’Or and German Record Critics’ award for the DVD of Massenet’s Werther at Opernhaus Zürich. In the 2019/20 season he conducted concerts with the Orchestre National de France, Yomiuri Nippon Symphony Orchestra, Deutsches Symphonie-Orchester Berlin and Vienna Philharmonic. He also conducted the
Cornelius studied piano and conducting in Hanover with Konrad Meister, Martin Brauß and Eiji Ōue, and at the Mozarteum Salzburg with Dennis Russell Davies, Jorge Rotter and Karl Kamper. From 2005 to 2012 he was Music Director of the Theater und Philharmonisches Orchester Heidelberg, and from 2010 to 2018 Principal Conductor and Artistic Director of the ORF Vienna Radio Symphony Orchestra. He has appeared as a pianist in Europe and the US, and has led piano concertos by Grieg, Liszt, Gershwin, Beethoven and Mendelssohn from the keyboard.
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Royal Scottish National Orchestra
Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor. The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe. The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan. Formed in 1978 by Jean Kidd, the acclaimed RSNO Junior Chorus, under its director Patrick
Barrett, also performs regularly alongside the Orchestra. Boasting a membership of over 400 members aged from 7 to 18, it has built up a considerable reputation singing under some of the world’s most distinguished conductors and appearing on radio and television. The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Strauss’ Ein Heldenleben, was released in 2019. The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life. The team is committed to placing the Orchestra at the centre of Scottish communities via workshops and annual residencies.
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On Stage
FIRST VIOLIN Sharon Roffman
CELLO Betsy Taylor
BASSOON Luis Eisen
Lena Zeliszewska
Kennedy Leitch Arthur Boutillier William Paterson Rachael Lee
Paolo Dutto
DOUBLE BASS Ana Cordova
Alison Murray Martin Murphy
Margarida Castro Michael Rae John Clark
TRUMPET Jason Lewis
LEADER
ASSOCIATE LEADER
Tamás Fejes
ASSISTANT LEADER
Barbara Paterson Caroline Parry Katrina Lee Elizabeth Bamping Lorna Rough Susannah Lowdon Jane Reid SECOND VIOLIN Xander van Vliet PRINCIPAL
Harriet Wilson Paul Medd Robin Wilson Emily Nenniger Nigel Mason Sophie Lang Wanda Wojtasinska VIOLA Tom Dunn PRINCIPAL
Asher Zaccardelli Lisa Rourke David Martin Katherine Wren Maria Trittinger
ASSOCIATE PRINCIPAL
PRINCIPAL
FLUTE Katherine Bryan PRINCIPAL
Helen Brew Janet Richardson PRINCIPAL PICCOLO
OBOE Adrian Wilson PRINCIPAL
Henry Clay CLARINET Timothy Orpen PRINCIPAL
Duncan Swindells
ASSOCIATE PRINCIPAL
HORN Andrew McLean ASSOCIATE PRINCIPAL
ASSOCIATE PRINCIPAL
Marcus Pope TROMBONE Davúr Juul Magnussen PRINCIPAL
Lance Green TIMPANI John Poulter
ASSOCIATE PRINCIPAL
PERCUSSION John Poulter
ASSOCIATE PRINCIPAL
Philip Hague
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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
Alan Manson
The Ardgowan Charitable Trust Chair The Christine and Arthur Hamilton Chair
Double Bass Ana Cordova PRINCIPAL
The Kate and Gavin Gemmell Chair
The Hugh and Linda Bruce-Watt Chair
John Clark
Elizabeth Bamping
The WL and Vera Heywood Chair
Flute Katherine Bryan PRINCIPAL
Second Violin Xander van Vliet PRINCIPAL
Helen Brew ASSISTANT PRINCIPAL
The Hilda Munro Chair
Sophie Lang
The Ian and Evelyn Crombie Chair
Viola Lisa Rourke SUB PRINCIPAL The Meta Ramsay Chair
The Gregor Forbes Chair
The David and Anne Smith Chair The Gordon Fraser Charitable Trust Chair
Oboe Adrian Wilson PRINCIPAL The Hedley Wright Chair
Peter Dykes
David Martin
ASSOCIATE PRINCIPAL Witherby Publishing Group Charitable Trust Chair
Francesca Hunt
Cor Anglais Henry Clay PRINCIPAL
The Miss Grace MM Mitchell Bequest Chair The Rolf and Celia Thornqvist Chair
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 David and June Gordon Memorial Trust 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 Leche Trust Leng Charitable Trust Meikle Foundation 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 No6 Pastoral
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 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 Morag Millar 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 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 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 No6 Pastoral
A big Thank You to our supporters FUNDERS
CORPORATE SUPPORTERS
PRINCIPAL MEDIA PARTNER
PRINCIPAL TRANSPORT PARTNER
BROADCAST PARTNER
PARTNERS Glasgow Chamber of Commerce • Institute of Directors • Scots Magazine The Scottish Council for Development & Industry • Smart Graphics
PROJECT PARTNERS Abertay University • Children’s Classic Concerts • Children’s Hospices Across Scotland • Dundee University • Gig Buddies Glasgow Association for Mental Health (GAMH) • Glasgow Life • Horsecross Arts • National Youth Orchestras of Scotland Prescribe Culture (University of Edinburgh) • Royal Conservatoire of Scotland • Scottish Book Trust Tayside Healthcare Arts Trust • Usher Hall • Young Scot
CHAIR SPONSORS
If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Kirsten Reid, Individual Giving and Partnerships Officer, at kirsten.reid@rsno.org.uk
RSNO: Scotland’s National Orchestra 27
Royal Scottish National Orchestra PATRON
CHIEF EXECUTIVE
Jenny McNeely
Her Majesty The Queen
Alistair Mackie Nicola Shephard
Graham Ramage
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.
★★★★★
‘Exceptionally good’ The Scotsman
★★★★
‘Impressive unity’ The Times
★★★★
‘Simply wonderful’ Bachtrack
10 STUNNING CONCERTS FROM OUR HOME TO YOURS
Give the gift of music this Christmas with a ticket to the RSNO’s Digital Season Buy online at rsno.org.uk/digital-season