RSNO Digital Season: Dvořák Symphony No8

Scotland’s National Orchestra 1

DVOŘÁK SYMPHONY NO8

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‘Exceptionally good’ The Scotsman

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‘Impressive unity’ The Times

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‘Simply wonderful’ Bachtrack

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Buy online at rsno.org.uk/digital-season

DVOŘÁK SYMPHONY NO8

Anna-Maria Helsing and the RSNO tell timeless stories from the old world and uncover unheard tales from the new. In the American Midwest, Florence Price’s radiant Second Violin Concerto lay forgotten for decades, but now the voice of its pioneering composer is being heard again. Richard Thompson evokes the times and tragedy of a neglected African American poet. And amid the hills and forests of Central Europe, Antonín Dvořák weaves quiet fairy tales and a symphony that dances for joy.

RICHARD THOMPSON Suite from The Mask in the Mirror WORLD PREMIERE [13’] DVOŘÁK Romance for Violin Op11 [12’] PRICE Violin Concerto No2 [14’] DVOŘÁK Symphony No8 in G Major Op88 [36’] Anna-Maria Helsing Conductor Sharon Roffman Violin Royal Scottish National Orchestra RECORDED AT THE RSNO CENTRE, GLASGOW Broadcast Fri 29 Jan 2021, 7.30pm This performance has been recorded for the RSNO Archive.

Supported by the Iain and Pamela Sinclair Legacy.

Jack Hunter Director John Whitener Script Supervisor Diana Dumi and Diego Almazán Camera Operators Diana Dumi Video Editor Matthew Bennett Producer and Editor Hedd Morfett-Jones Sound Supervisor

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Next Digital Season Concert

GRIEG PIANO CONCERTO Grieg Peer Gynt Suite No2 Grieg Piano Concerto Grieg Peer Gynt Suite No1 Edward Gardner Conductor Paul Lewis Piano Please note, due to new COVID-19 travel and quarantine restrictions, artists have changed from those previously advertised.

SPONSORED BY

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Welcome SCOTCH SNAPS

Dear friends I’m delighted to welcome you to this week’s concert, which opens with the latest world premiere in our Scotch Snaps series. Scotch Snaps champions established and emerging composers born or living in Scotland, supported by the John Ellerman Foundation.

The version you will hear of Aberdeen-born Richard Thompson’s Suite from The Mask in the Mirror was specially orchestrated to ensure it could be performed during the ongoing pandemic. Richard joins some of our other Scotch Snaps composers in our new online musical debate series, Chatinée, on Sunday 31 January. Visit rsno.org.uk/chatinee for more information and to register for this free event.

Huge thanks go to our wonderful Leader Sharon Roffman for stepping in for our previously advertised guest Stefan Jackiw, who was unable to join us due to travel restrictions. Sharon is the latest Principal to take the spotlight this Digital Season, following Maya Iwabuchi and Aleksei

Kiseliov. She performs Dvořák’s Romance for Violin and Florence Price’s Second Violin Concerto.

During this Digital Season it has been our privilege to give voice to little-heard Black composers, including Joseph Bologne in our opening concert. Florence Price made history in 1933 when she became the first African American woman to have a symphony performed by one of the major American orchestras, and I am sure you will love the lush harmonies in her Concerto.

Dvořák’s Eighth Symphony is filled with glorious melodies, and I’m delighted that Anna-Maria Helsing has been able to join us in her debut with the RSNO to conduct this wonderful piece.

I 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

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CHORUS DIRECTOR, RSNO CHORUS

Patrick Barrett

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FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska

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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

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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

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ASSOCIATE PRINCIPAL Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis

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FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson

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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

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TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair

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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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Suite from The Mask in the Mirror Richard Thompson (Born 1954)

WORLD PREMIERE DURATION 13 minutes Act I Scene 2: Paul’s response Act I Scene 4: Alice with her mother Richard Thompson’s chamber opera, The Mask in the Mirror, was premiered in 2012 by Trilogy Opera, in Newark, New Jersey. It tells of the courtship and failed marriage between the famed African American poet Paul Laurence Dunbar (1872–1906) and the novelist Alice Ruth Moore (1875–1935). Thompson’s libretto is drawn primarily from the many hundreds of letters exchanged between Dunbar and Moore.

The opera follows their relationship from Dunbar’s initial letter of introduction to Alice, to a career-changing review of Dunbar’s poetry in Harper’s Weekly, through Paul and Alice’s secret engagement, marriage and painfully difficult married life together in Washington, ending with their final estrangement and Paul’s death.

Dunbar was the first African American man of letters to achieve national and international fame. His short life was marked by both great triumph and great tragedy.

This concert brings the music from this haunting and compelling story to Scottish audiences for the first time. ‘I put The Mask in the Mirror Suite together a couple of years ago,’ writes Thompson, ‘hoping that some orchestra would play it. I never imagined that “some orchestra” would turn out to be the RSNO! The original version of the Suite uses the voices from the opera. But, because of the restrictions imposed by the current situation, I replaced the voices with instruments: a violin for the

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female voices (Alice Ruth Moore and Dunbar’s mother Mathilde) and a cello for the tenor voice of Dunbar. In writing the Suite, I chose scenes that I thought would work well as stand-alone pieces.

‘Although the original version of the Suite follows the chronology of the opera, this performance is of just two movements from the Suite, and I have left the order of these up to the conductor. My original opera score is written for a chamber orchestra, and this orchestration works well with a socially distanced symphony orchestra. There is a good range of sonic possibilities and the intimacy of a chamber opera is preserved.

‘When I first began orchestrating the opera, I realised just how much orchestral instruments could do in terms of expressing the content of the libretto. It was a thoroughly wonderful experience. Integrating jazz elements within a classical framework is my natural inclination, and I know both musical traditions well. For me, this combination is a natural way of expressing my musical life experience. It is never calculated or an intellectual exercise. It’s just the way I hear music when I compose.’ © Mark Fielding

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Richard Thompson COMPOSER Raised in Aberdeen, Richard Thompson studied music at Edinburgh University and at Berklee College of Music in Boston. He is currently Associate Professor of Music at San Diego State University, where he teaches music theory, jazz performance and history.

He performs frequently in both jazz and classical concerts as a soloist, as well as in many chamber groups, including his own jazz quintet. In works such as his song cycle The Shadow of Dawn, settings of the poetry of Paul Laurence Dunbar, and his concerto grosso for jazz quartet and string orchestra, Richard deliberately sets out to remove any presupposed barrier between traditional classical music and contemporary jazz. His distinctive compositional style combines the formal structures of European classical music with African American jazz. Š Mark Fielding

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The RSNO Scotch Snaps series is supported by the

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Romance for Violin Op11 However, that was yet to come, and Dvořák’s day-to-day reality was instead that of a largely unknown composer earning a living as a church organist and teacher, his modest earnings topped up by a state scholarship from Vienna’s ministry of culture and education. Furthermore, 1877 was a year of personal tragedy, because in the space of just a few months he and his wife lost all three of their children: first their newborn daughter died at two days old; then in August their year-old daughter died of phosphorus poisoning; then the following month smallpox claimed their son.

Antonín Dvořák (1841–1904)

FIRST PERFORMED Prague, November 1877 DURATION 12 minutes When these days Antonín Dvořák sits firmly in the pantheon of great composers, it’s all too easy to forget that his success came comparatively late, and preceded by some pretty dark times; and you couldn’t find a better representation of those tough early years than his Romance in F Minor.

The details surrounding this 12 minute, standalone piece for violin and orchestra are sketchy, but it appears to have been written towards the end of 1877. Dvořák was 36 at the time, and little did he know it, but he was on the cusp of great things. Most notably, he’d already been spotted by Brahms, and thus been taken on by Brahms’ own Berlin publisher, Simrock, and it was through Simrock that his Slavonic Dances would bring him to European public attention the following year.

Now here was this Romance, apparently commissioned by Prague’s Bohemian Provisional Theatre Orchestra – the ensemble Dvořák had played in himself as a violist until his marriage year of 1873 – for a November benefit concert. So, at a time when morale and inspiration must have been at an all-time low, Dvořák turned back to the slow movement of an 1873 work unpublished and unperformed in his lifetime, the String Quartet in F Minor, whose gently lilting melody redolent of Czech folk music must have felt worlds away from the traumas of the present.

The resultant Romance begins with an orchestral introduction which offers us just a first fragment of the lilting theme, whispered by high strings then echoed by the clarinet.

However, it’s not until the violin enters that we finally get the full unfurling of this long-lined, singing melody; and it’s equally the violin that gets to introduce the second, thematically linked theme. In fact, soft-voiced continuity is the overriding impression across the piece, even in the more urgent central section. After further impassioned statements from the violin as the piece nears its conclusion, the music ends in languorous serenity. © Charlotte Gardner

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Violin Concerto No2 in D Minor restraints of sexism and racism, Price was successful, but could have been far more so, her music performed in musical societies across America and, indeed, Europe.

Born in Little Rock, Arkansas in a relatively integrated community untouched as yet by the devastating fallout of the ‘Jim Crow’ segregation laws, Florence Price was the daughter of an eminent dentist and a piano teacher, growing up in a well-respected middleclass family, all too aware of the doors that would be closed to her as someone of African American heritage. When she gained a place to study at the prestigious New England Conservatory of Music in Boston, she enrolled as Mexican, on the advice of her mother.

Florence Price (1887–1953)

FIRST PERFORMED Chicago, 1964 DURATION 14 minutes In 1933 Florence Price became the first African American woman to have a symphony performed by one of the major American orchestras – the Chicago Symphony Orchestra.

It was a landmark in American classical music history, and a defining moment in the career of a woman who succeeded beyond the odds that her heritage and sex would seem to have given her amid the riots and lynchings of the American South at the height of segregation.

But if Price – and many other women – always felt she had to answer for these ‘handicaps’, her distinctive and original music, frequently lyrical and harmonic, springing from the tonalities of the West African musical heritage and her own Southern roots, as well as the European classical tradition, said all that needed to be said. And so within the heavy

Returning to Little Rock, married, some time later, she found the city the focus of increasing, abhorrent racial attacks. When a man named John Carter was lynched by a mob of thousands, Price and her young family joined the vast exodus of African Americans to the north.

Chicago, with its vibrant African American cultural scene, brought the intellectual Price opportunities to flourish. She won a scholarship to study music at the American Conservatory of Music in Chicago, odd-jobbing as an organist at silent-film screenings after the breakdown of her marriage. If she had largely published piano pedagogy pieces with G Schirmer in New York while her children were young, she later worked on popular music under a pen name to shore up her serious classical works, including arrangements of spirituals which were championed by the soprano Marian Anderson, the first African American woman to sing at the Met in New York.

It was her 1932 win of the prestigious Rodman Wannamaker Competition for her Symphony in

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E Minor that put Price and her music in demand among orchestras and musical societies – even the white ones – leading directly to the performance of the work by the Chicago Symphony Orchestra. And yet many doors remained closed, as evidenced by her famous correspondence, largely one-way, with the maestro Serge Koussevitzky of the Boston Symphony Orchestra, asking him to perform her work.

Price was in demand, but when she died suddenly of a stroke 20 years later, the classical canon was too arrogantly white, male and largely long-dead to allow a black woman in. Much of Price’s work might have been lost to history, had it not been for the miraculous, chance discovery a decade ago of dozens of lost manuscripts, including the Violin Concerto No2, during the renovation of a dilapidated house in Illinois – Price’s old summer house.

The Violin Concerto No2 was a late-career work, written in 1952, a year before her death, on the cusp of a European tour, and a year after an overture was commissioned from her and premiered on the other side of the Atlantic by Sir John Barbirolli and the Hallé. The Violin Concerto begins in uncompromising, dramatic fashion, its quasi-cinematic sound dissipating at the entrance of the violin, which runs increasingly busy rings round the orchestra in ecstatic phrasing. Bold and distinctive, it had to wait 10 years before its posthumous premiere, at the opening ceremony of The Florence B Price School in Chicago in 1964, an elementary school named in the composer’s honour. © Sarah Urwin Jones

What was happening in 1964?

1 Jan The first edition of Top of the Pops was broadcast on BBC TV 25 Feb Cassius Clay (later Muhammad Ali) beat Sonny Liston to become heavyweight champion of the world 9 Mar Multi-award-winning actress Juliette Binoche was born in Paris 19 Jun Boris Johnson, UK Prime Minister, was born in New York 2 Jul The Civil Rights Act came into law, abolishing racial segregation in the US 4 Sep The Forth Road Bridge, at the time the longest suspension bridge outside the US, opened 14 Oct Nikita Khrushchev was deposed as leader of the Soviet Union; Brezhnev and Kosygin assumed power 16 Oct Harold Wilson led the Labour Party to a narrow election win to become the UK’s Prime Minister 3 Nov US President Lyndon B Johnson won a full term, having come to office following Kennedy’s assassination the previous year 9 Dec Dame Edith Sitwell, writer of the Façade poems (set to music

by William Walton), died

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Sharon Roffman VIOLIN As a chamber musician, Sharon has collaborated with members of the Guarneri, Juilliard, Brentano, Shanghai, Avalon and Miami quartets, was a member of the critically acclaimed contemporary music ensemble counter)induction, and spent several summers performing at the Marlboro Music Festival.

Passionate about combining performance and education, Sharon is the founder and artistic director of ClassNotes, a chamber music ensemble and non-profit organisation dedicated to introducing students to classical music through interdisciplinary school residencies and performances.

Sharon Roffman was appointed Leader of the Royal Scottish National Orchestra in 2018.

She was a prizewinner in the 2003 Naumburg Foundation International Competition and made her solo debut with the New Jersey Symphony Orchestra in 1996. Today she is equally sought after as a soloist, chamber musician, orchestral leader and music educator.

Sharon made her Carnegie Hall debut as a soloist in Vivaldi’s Concerto for Four Violins, with Itzhak Perlman playing and conducting, in 2004. She has appeared as a guest leader of the London Symphony Orchestra, Scottish Chamber Orchestra, Swedish Radio Symphony Orchestra, BBC Philharmonic, Orchestre Philharmonique de Radio France, City of Birmingham Symphony Orchestra, Orchestre d’Auvergne, Orchestre Symphonique de Bretagne and Orpheus Chamber Orchestra.

In 2015 she premiered a new concerto by Bruce Adolphe (I Will Not Remain Silent) with the IRIS Orchestra conducted by Michael Stern, and created The Prinz Project, an online interdisciplinary curriculum and outreach initiative to accompany the concerto.

In 2018 she performed Bernstein’s Serenade with the Kansas City Symphony and created an accompanying website for audiences to explore the work in more detail. She has also created an online elementary school curriculum about the relationship between music and art for the Australian Chamber Orchestra, and regularly teaches in elementary schools across Australia both live and via video conferencing.

Sharon is a graduate of the Juilliard School and the Cleveland Institute of Music; her former teachers include Itzhak Perlman, Donald Weilerstein, Peter Winograd, Robert Lipsett, Patinka Kopec and Nicole DiCecco.

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Symphony No8 in G Major Op88 Bohemian Academy of Science, Literature and Arts – speaks of mighty accomplishment and a secure, lofty reputation. In many ways, the composer had little left to prove. And indeed, in stark contrast to the turbulent emotions and high drama of his Symphony No7, in his Eighth, Dvořák instead focused on music of contentment, celebrating the joys of life, his deep sense of wonder at nature and his abiding love of Bohemian and Slavonic folk music.

Antonín Dvořák (1841–1904)

FIRST PERFORMED Prague, 2 February 1890 DURATION 36 minutes Allegro con brio Adagio Allegretto grazioso – Molto vivace Allegro ma non troppo

By August 1889, the month that he began work on his Eighth Symphony, Antonín Dvořák was already a well-established figure, celebrated across Europe as a successor to Beethoven and an equal of his friend Johannes Brahms – and a world away from the overlooked provincial musician whom Brahms had championed earlier in his career.

Even the impetus for the Symphony’s composition – Dvořák’s election to the

He wrote the Symphony while staying at his retreat in Vysoká u Příbramě, a statesponsored resort in rural Bohemia. His biographer, Otakar Šourek, explained that the location provided Dvořák ‘a welcome refuge, bringing him not only peace and fresh vigour of mind, but also happy inspiration for new creative work. In communion with Nature, in the harmony of its voices and the pulsating rhythms of its life, in the beauty of its changing moods and aspects, his thoughts came more freely.’

The Symphony he created in these idyllic surroundings went down a storm at its premiere, in Prague’s Rudolfinum on 2 February 1890. Its success quickly travelled, too. Dvořák wrote to a friend of its London premiere on 24 April that same year: ‘The concert came off wonderfully. After the first movement there was universal applause, after the second it was even louder, after the third it was so thunderous that I had to turn round several times and thank the audience, but, after the finale, the applause was tempestuous. They all clapped so hard, it was almost unbearable.’

This was also the work that Dvořák submitted as obligatory proof of his skills before receiving an honorary doctorate from the University of Cambridge in 1892 – with the result that, for many years, it was known as his ‘English’

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Symphony, despite sounding Bohemian through and through.

But though that may give the impression of a composer resting on his laurels, Dvořák also strove to break new ground in his Eighth Symphony: he even warned his publisher that it would be ‘different from the other symphonies, with individual thoughts worked out in a new way’. That ‘new way’ was in allowing himself greater freedom to conjure evocative atmospheres and moods, to paint overtly pictorial scenes and to create music of immediate warmth and appeal, rather than adhering to strict academic rules. The result is a fascinating amalgam of symphony and tone poem, one that moulds Dvořák’s evident joy into a compelling symphonic whole.

Those contrasts between convention and freedom are evident from the very beginning of the boisterous, outdoorsy opening movement, whose sombre, hymn-like introduction soon gives way to joyful birdsong in the flute – a theme that goes on to provide the movement’s main melodic ideas. There’s a distinct hint of the Orient, or even of klezmer, in the slithering clarinet duets of the song-like second movement, and the third movement is a wistful, folksy waltz. A fanfare calls us to attention at the start of the finale – though, as Czech conductor Rafael Kubelík was famous for reminding orchestras: ‘In Bohemia the trumpets never call to battle – they always call to the dance!’ The ensuing music transforms an unassuming melody first heard in the cellos into a raucous village knees-up, and then on to something even more heroic and triumphant. © David Kettle

What was happening in 1890?

15 Jan Tchaikovsky’s ballet The Sleeping Beauty premiered at the Mariinsky Theatre in St Petersburg 25 Jan American journalist Nellie Bly completed her round-the-world journey, in emulation of Jules Verne’s Phileas Fogg, in just 72 days 4 Mar The Forth Bridge, designed by engineers John Fowler and Benjamin Baker, opened to rail traffic 16 Jun Stan Laurel, one half of comedy duo Laurel and Hardy, was born in Ulverston 20 Jun Oscar Wilde’s The Picture of Dorian Gray was published in Philadelphia 27 Jul The Dutch painter Vincent van Gogh shot himself, and died two days later 15 Sep The world’s bestselling writer of fiction, Agatha Christie, was born in Torquay 8 Nov Belgian composer and organist César Franck died 22 Nov Charles de Gaulle, President of France 1959-69, was born 29 Dec At Wounded Knee in South Dakota, the US 7th Cavalry killed more than 250 Lakota Sioux in a botched attempt to disarm their camp

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Anna-Maria Helsing CONDUCTOR She has also conducted established operas by Mozart, Cimarosa, Puccini, Mascagni, Madetoja and Bernstein at the Tampere Opera and Savonlinna Opera Festival.

Anna-Maria began her career as a violinist (with diplomas from the Conservatory of Jakobstad and the Academy of Music in Bydgoszcz), leading chamber orchestras before serving as Artistic Director of the Pietarsaari Sinfonietta and conductor of the Wegelius Chamber Orchestra.

Anna-Maria Helsing was Chief Conductor of the Oulu Symphony – the first-ever female conductor at the head of a Finnish symphony orchestra – from 2010 to 2013 and is presently the Principal Guest Conductor of the BBC Concert Orchestra.

She has conducted all the major Finnish and Swedish orchestras. She has also conducted the Philharmonia Orchestra, Iceland Symphony Orchestra, Royal Danish Opera Orchestra, Norwegian Radio Orchestra, Trondheim Symphony Orchestra, Odense Symphony Orchestra, Jena Philharmonic Orchestra and Estonian National Symphony Orchestra.

Anna-Maria made her debut at Finnish National Opera in Adriana Mater by Kaija Saariaho in 2008. She has led a number of world premieres, most recently Momo at the Royal Danish Opera and Magnus-Maria by Karólína Eiríksdóttir on tour in Scandinavia.

After finishing her studies in the class of Leif Segerstam at the Sibelius Academy, Anna-Maria took part in the International Conductors’ Academy of the Allianz Cultural Foundation under the guidance of, among others, Esa-Pekka Salonen and Gustavo Dudamel. In 2011 she was the first conductor to be awarded the Louis Spohr Medal in Seesen, Germany.

This concert marks Anna-Maria Helsing’s debut with the Royal Scottish National Orchestra.

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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 Emily Davis

DOUBLE BASS Ana Cordova

TRUMPET Christopher Hart

Lena Zeliszewska

Michael Rae Paul Sutherland Sally Davis

Marcus Pope

FLUTE Katherine Bryan

PRINCIPAL

ASSOCIATE LEADER ASSOCIATE LEADER

Patrick Curlett Barbara Paterson Jane Reid Ursula Heidecker Allen Caroline Parry Lorna Rough Alan Manson Susannah Lowdon SECOND VIOLIN Jacqueline Speirs ASSOCIATE PRINCIPAL

Marion Wilson Harriet Wilson Wanda Wojtasinska Nigel Mason Anne Bünemann Sophie Lang Paul Medd

PRINCIPAL

PRINCIPAL

Helen Brew Janet Richardson PRINCIPAL PICCOLO

OBOE Adrian Wilson PRINCIPAL

Peter Dykes Henry Clay

PRINCIPAL COR ANGLAIS

CLARINET Timothy Orpen PRINCIPAL

Rebecca Whitener

VIOLA Tom Dunn

BASSOON David Hubbard

Asher Zaccardelli Lisa Rourke Claire Dunn Katherine Wren David Martin

Paolo Dutto

CELLO Aleksei Kiseliov

Alison Murray Andrew McLean David McClenaghan Martin Murphy

PRINCIPAL

PRINCIPAL

Kennedy Leitch William Paterson Rachael Lee Sarah Digger

PRINCIPAL

PRINCIPAL CONTRABASSOON

HORN Christopher Gough PRINCIPAL

PRINCIPAL

TROMBONE Dávur Juul Magnussen Lance Green Alastair Sinclair

PRINCIPAL BASS TROMBONE

TUBA John Whitener PRINCIPAL

TIMPANI Paul Philbert PRINCIPAL

PERCUSSION John Poulter

ASSOCIATE PRINCIPAL

Stuart Semple Colin Hyson Philip Hague HARP Pippa Tunnell CELESTE Lynda Cochrane

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Supporting the RSNO I am honoured and extremely proud to be Music Director of the RSNO. It is through the continued generosity of you, our friends, donors and supporters, that we can continue to achieve and realise the most ambitious goals of the Orchestra.

The absence of live performance and the separation of musicians from the stage make these difficult times for all. It has reinforced for us all how vital music is in helping us overcome hardship, fear and loneliness. The creativity and dedication shown by RSNO musicians in recent months has been incredible. This is despite the pattern of our working lives being dramatically

interrupted and being separated, not just from one another, but also from our audiences and communities. I hope you will choose to support us now as we adapt and embark upon this next chapter in RSNO history.

Thank you for your support

Thomas Søndergård MUSIC DIRECTOR, RSNO

RSNO Conductors’ Circle The RSNO Conductors’ Circle is an inspirational group of individual supporters at the heart of the RSNO’s Individual Giving programme.

Our members’ annual philanthropic gifts enable us to realise the Orchestra’s most ambitious goals. Conductors’ Circle members support inspirational concert performances for our audiences alongside transformational education programmes in communities across Scotland, via our ground-breaking initiative Music for Life.

The relationship between the RSNO and Conductors’ Circle members involves exceptional levels of access to all aspects of Orchestra life. We design bespoke private events tailored to individual interests and passions, providing insight into the artistic process and bringing our supporters further into the RSNO family. Members of the Conductors’ Circle benefit from an intimate and long-lasting connection with the RSNO Artistic Team and particularly with RSNO Music Director Thomas Søndergård, Principal Guest Conductor Elim Chan and the many

renowned guest Conductors we are privileged to welcome to the RSNO each year.

The RSNO is very grateful for the continued support of its Conductors’ Circle: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young We would also like to thank those generous donors who wish to remain anonymous.

For more information on Individual Giving and becoming part of the Conductors’ Circle please contact Jenny McNeely at jenny.mcneely@rsno.org.uk

22 Dvořák Symphony No8

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 23

LEARNING AND ENGAGEMENT PATRON Our Learning and Engagement activity is structured around our Music for Life programme. From apps for babies to concerts and workshops for school children, and lunchtime concerts for older adults, the range of projects is vast. As a Patron, you will have access to our projects to bring you closer to the communities we serve across Scotland.

Learning and Engagement Patrons Neil and Nicola Gordon 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 25

Charitable Trusts and Foundations Charitable trusts and foundations have a long and illustrious history of supporting the RSNO, both on the concert platform and through our Learning and Engagement programmes in the community. Grants and awards of all sizes are greatly appreciated, and range from one-off donations for specific projects through to large-scale support over a number of years, including support of the acclaimed RSNO Junior Chorus and our flagship educational project, the National Schools Concert Programme. We are fortunate in having developed long-term relationships with a number of trusts who have sustained their invaluable support over many years, enabling a significant amount of our work and mission to go ahead each year that otherwise would simply not happen. Our 2020:21 Season of concerts and Learning and Engagement programmes is generously supported by the following trusts and foundations: Aberdeen Endowments Trust 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 Ettrick Charitable Trust Fidelio Charitable Trust Forteviot 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 Mather Charitable Trust John Scott Trust Fund J T H Charitable Trust Leche Trust Leng Charitable Trust Meikle Foundation Michael Tippett Musical Foundation Mickel Fund 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 Scott-Davidson Charitable Trust Solti Foundation Stevenston Trust Tay Charitable Trust The Privy Purse Charitable Trust Tillyloss Trust W A Cargill Fund Walter Scott Giving Group Wavendon Foundation William Syson Foundation Witherby Publishing Group Charitable Trust We are also grateful to a number of trusts that wish to stay anonymous.

If you would like more information about our work and how you can make a difference, please contact Ajda Šubelj, Head of Trusts and Projects, at ajda.subelj@rsno.org.uk

26 Dvoล รกk Symphony No8

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 Graham and Elizabeth Morton 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 Colin McHardy Dr A H McKee Mr Patrick McKeever Mr G McKeown Ms H L McLaren Mrs E McLean

Ms Fiona McLeod Mr and Mrs B Mellon Mr and Mrs I Mills Mrs P Molyneaux Mr R Morley Mr B Morrison Mr K M Murray Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Ms S Park Mr R Parry Mr J Paterson Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr 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.

28 Dvořák Symphony No8

A big Thank You to our supporters FUNDERS

CORPORATE SUPPORTERS

PRINCIPAL MEDIA PARTNER

PRINCIPAL TRANSPORT PARTNER

BROADCAST PARTNER

PARTNERS Glasgow Chamber of Commerce • Institute of Directors • Scots Magazine The Scottish Council for Development & Industry • Smart Graphics

PROJECT PARTNERS Abertay University • Children’s Classic Concerts • Children’s Hospices Across Scotland • Dundee University • Gig Buddies Glasgow Association for Mental Health (GAMH) • Glasgow Life • Horsecross Arts • National Youth Orchestras of Scotland Prescribe Culture (University of Edinburgh) • Royal Conservatoire of Scotland • Scottish Book Trust Tayside Healthcare Arts Trust • Usher Hall • Young Scot

CHAIR SPONSORS

If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Kirsten Reid, Individual Giving and Partnerships Officer, at kirsten.reid@rsno.org.uk

RSNO: Scotland’s National Orchestra 29

Royal Scottish National Orchestra PATRON

CHIEF EXECUTIVE

Graham Ramage

Her Majesty The Queen

Alistair Mackie Nicola Shephard

Kirsten Reid

EXECUTIVE ASSISTANT

GRAPHICS AND NEW MEDIA DESIGNER INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER

Naomi Stewart

TRUSTS AND PROJECTS COORDINATOR

RSNO BOARD OF DIRECTORS

CONCERTS AND ENGAGEMENT

Elected Directors Dame Susan Bruce DBE

Bill Chandler

Ajda Šubelj

CHAIR

John Heasley

Michael Cameron

DRIVER AND DEPUTY STAGE MANAGER

HONORARY TREASURER

Samantha Campbell

FINANCE AND CORPORATE SERVICES

Bekah Cork

CHIEF OPERATING OFFICER

DIRECTOR OF CONCERTS AND ENGAGEMENT

HEAD OF LEARNING AND ENGAGEMENT

Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood

ARTISTIC PLANNING AND TOURS MANAGER

Flora Farqhuarson

INFORMATION SERVICES MANAGER HEAD OF TRUSTS AND PROJECTS

Angela Moreland Ted Howie

FACILITIES COORDINATOR

CREATIVE ASSISTANT

Jack Hunter

DEPUTY ORCHESTRA MANAGER

Irene McPhail

LEARNING AND ENGAGEMENT OFFICER

Hedd Morfett-Jones

HEAD OF ORCHESTRA MANAGEMENT

Susan Rennie

LIBRARIAN

Abby Trainor

ARTISTIC PLANNING MANAGER

Jade Wilson

Emma Hunter

Rosie Kenneally Ewen McKay

Player Directors Dávur Juul Magnussen Sophie Lang Kennedy Leitch Paul Philbert Janet Richardson Lorna Rough

Sam Stone

Richard Payne

Tammo Schuelke

Matthias van der Swaagh

VIDEO PRODUCER

ACCOUNTS AND PAYROLL ASSISTANT DIGITAL MANAGER

FINANCE MANAGER ADMINISTRATOR

FINANCE ASSISTANT

CONCERTS ADMINISTRATOR

Craig Swindells

STAGE AND PRODUCTION MANAGER

Nominated Directors Cllr Frank Docherty

Christine Walker CHORUS MANAGER

GLASGOW CITY COUNCIL

Cllr Lezley Marion Cameron THE CITY OF EDINBURGH COUNCIL

Company Secretary Gordon Murray

EXTERNAL RELATIONS

PROGRAMMES EDITOR

Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk

EXTERNAL RELATIONS ADMINISTRATOR

Scottish Company No. 27809 Scottish Charity No. SC010702

Dr Jane Donald

DIRECTOR OF EXTERNAL RELATIONS

Ian Brooke

RSNO COUNCIL

Constance Carter-Fraser

Baroness Ramsay of Cartvale

Jessica Cowley

Lady Gibson Ms Ruth Wishart

Carol Fleming

/royalscottishnationalorchestra

Catriona Mackenzie

@RSNO

CHAIR

SENIOR MARKETING OFFICER HEAD OF MARKETING

COMMUNICATIONS MANAGER

@rsnoofficial

HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS

Youtube.com/thersno

Jenny McNeely

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.