RSNO Friday Night Club: Brahms German Requiem

Friday Night Club Fri 10 Apr 2020 7.30pm BRAHMS German Requiem Gregory Batsleer Conductor Alison McNeill Soprano Oskar McCarthy Baritone RSNO Chorus Edward Cohen Piano Christopher Baxter Piano Recorded on Sun 2 Feb 2020 in the New Auditorium, Glasgow Royal Concert Hall This concert was dedicated in memory of Jenny Laidlaw, a member of the RSNO Chorus for 45 years and a former President and Chair of the RSNO Chorus Trust.

This performance was recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.

RSNO Friday Night Club: German Requiem

A German Requiem throughout his life – for consolation and insight, he said – he described himself as an agnostic and a humanist. He even admitted to his biographer Max Kalbeck in the last year of his life that he had never believed in life after death.

So why on earth would he write a Christian mass for the dead? To answer that, we need to look at both the background and the unusual form of A German Requiem.

Johannes Brahms (1833-1897) FIRST PERFORMED 18 February 1869, Gewandhaus, Leipzig, Germany, by the Gewandhaus Chorus and Orchestra conducted

by Carl Reinecke, with Emilie BellingrathWagner (soprano) and Frank Krückl (baritone) DURATION 70 minutes 1 Selig sind, die da Leid tragen (Blessed are they that mourn) 2 Denn alles Fleisch, es ist wie Gras (For all flesh is as grass) 3 Herr, lehre doch mich (Lord, teach me) 4 Wie lieblich sind deine Wohnungen (How lovely are Thy dwelling places) 5 Ihr habt nun Traurigkeit (You now have sorrow) 6 Denn wir haben hie keine bleibende Statt (For we have here no continuing city) 7 Selig sind die Toten (Blessed are the dead) Johannes Brahms wasn’t a religious man.

Despite his traditional Protestant upbringing, and despite faithfully reading the Bible

Brahms composed the work from 1865 to 1868, when he was in his mid-30s. In other words, this is not the work of an old man contemplating his own mortality. Indeed, the piece’s origins go back even further, to 1857, the year after the tragic early death of Brahms’ great friend and mentor Robert Schumann.

Following Schumann’s death, Brahms began work on a symphony. He never completed it, but he resurrected its slow movement as the second movement of A German Requiem.

It was another death – of his beloved mother in February 1865 – and Brahms’ subsequent period of deepest mourning that spurred the composer on to resume work on what would become A German Requiem. He completed another three of its movements before the end of that year.

But what of the work’s unusual title? Brahms didn’t intend to convey any narrow nationalism in his Requiem. Instead, to him, it was a ‘German’ Requiem simply because its text was in his native tongue rather than in Latin.

(In fact, he later said he would have happily called the work ‘A Human Requiem’.)

But it’s not quite as simple as just a choice of language. The texts that Brahms himself selected from the German Lutheran Bible stand in stark contrast to the traditional words of the Catholic Requiem. There’s no mention of the

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horrors of the Last Judgement, nor any pleas for mercy from God or prayers for the dead.

While the Latin Requiem text focuses on the dead, Brahms’ text selection is aimed very much at the living, offering encouragement and hope to those grieving, and presenting God as a source of comfort. Brahms saw the work as providing a universal, non-denominational response to the inevitability and sorrow of death. His piece charts a journey from anxiety to comfort, and each of its seven movements ends in a mood of confidence or loving promise.

Not everybody approved, of course. Critic George Bernard Shaw was less than impressed by the work, writing: ‘It could only have come from the establishment of a first-class undertaker.’ And Richard Wagner, Brahms’ great rival, was outraged by what he saw as the bourgeois Protestant ethics of the piece.

Brahms refused to be drawn into a fight, though: in response, he simply praised Wagner as a composer of genius.

The influence of A German Requiem has been profound. Its focus on consolation and comfort can be felt in later Requiems by Duruflé and Fauré, and the freedom with which Brahms approached his text is even echoed in such a forward-looking work as Britten’s War Requiem.

Rather than staying within the confines of tradition, in offering his personal message of hope and comfort at a time of sorrow – a feeling he knew well himself – Brahms created a work of warmth and universal relevance.

The first movement is a gentle lament for those in mourning, beginning with a caressing melody that goes on to form the basis for the rest of the movement. The chorus enters in prayerful, hymn-like phrases, and, aside from a couple of more animated episodes, the movement maintains its opening mood of restraint and consolation throughout.

Beginning as a slow-moving funeral march, the second movement considers the transience of human life, building to two climaxes as if the mourning procession were passing by in front of us. The pace suddenly quickens, however, as the chorus reports the word of God, and the sombre atmosphere of its opening is replaced by one of unbridled joy.

The baritone soloist delivers a troubled recitative on the impermanence of existence in the third movement, with interjections from the chorus, before a sudden swerve into the major as the chorus explains that all hope is with God. The brief fourth movement is a gently flowing chorale yearning for everlasting life in the house of God, and in the fifth movement, the soprano soloist ponders current sorrow and future joy in music of gentle acceptance.

The sixth movement is the closest Brahms comes to depicting the horrors of the Last Judgement, in an anxious opening for baritone soloist and chorus. A sudden change to the major marks God’s victory over death, however, and the movement ends with a celebratory fugue.

There’s a distinctly Bachian feel to the opening of the seventh movement, which quotes from the earlier composer’s St Matthew Passion in its orchestral writing. It’s a broad, expansive movement that offers comfort and reassurance to the dead, ending in peace and acceptance.

Brahms created this so-called ‘London version’ of his German Requiem for two pianos in 1869. © David Kettle

RSNO Friday Night Club: German Requiem

Text and Translation 1 Selig sind, die da Leid tragen Selig sind, die da Leid tragen, denn sie sollen getrößtet werden.

1 Blessed are they that mourn Blessed are they that mourn, for they shall be comforted.

Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

They who sow in tears, shall reap joy.

He who goes forth and weeps, bearing precious seed, shall come again with joy bringing his sheaves with him.

2 Denn alles Fleisch, es ist wie Gras Denn alles Fleisch, es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen.

Das Gras ist verdorret und die Blume abgefallen.

2 For all flesh is as grass For all flesh is as grass, and all the glory of man as the flower of the grass.

The grass withers and the flower falls away.

So seid geduldig, lieben Brüder, bis auf die Zukunft des Herrn.

Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

Therefore be patient, dear brothers, unto the coming of the Lord.

Behold, the husbandman waits for the precious fruits of the earth and is patient for it, until he receives the morning rain and evening rain.

Denn alles Fleisch, es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen.

Das Gras ist verdorret und die Blume abgefallen.

Aber des Herrn Wort bleibet in Ewigkeit.

For all flesh is as grass, and all the glory of man as the flower of the grass.

The grass withers and the flower falls away.

But the word of the Lord endures for eternity.

Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

The redeemed of the Lord will come again, and come to Zion with a song; eternal joy shall be upon their heads; They shall take joy and gladness, and sorrow and sighing shall depart.

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3 Herr, lehre doch mich Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß.

3 Lord, teach me Lord, teach me That I must have an end, And my life has a purpose, and I must go hence.

Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir.

Ach wie gar nichts sind alle Menschen, die doch so sicher leben.

Behold, my days are as a handbreadth before Thee, and my life is as nothing before Thee.

Alas, as nothing are all men, but so sure the living.

Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

Nun Herr, wess soll ich mich trösten?

Ich hoffe auf dich.

They are therefore like a shadow, and go about vainly in disquiet; they collect riches, and do not know who will receive them.

Now, Lord, how can I console myself?

My hope is in Thee.

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

The righteous souls are in the hand of God and there no torment shall touch them.

4 Wie lieblich sind deine Wohnungen Wie lieblich sind deine Wohnungen, Herr Zebaoth!

Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.

Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

4 How lovely are Thy dwelling places How lovely are Thy dwelling places, O Lord of Hosts!

My soul demands and yearns for the courts of the Lord; My body and soul rejoice in the living God. Blessed are they that dwell in Thy house; they will praise You forever.

5 Ihr habt nun Traurigkeit Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen.

5 You now have sorrow You now have sorrow; but I shall see you again and your heart shall rejoice and your joy no one shall take from you.

RSNO Friday Night Club: German Requiem

Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Behold me: I have had for a little time toil and torment,

Ich will euch trösten, wie Einen seine Mutter tröstet.

I will console you, as one is consoled by his mother.

6 Denn wir haben hie keine bleibende Statt Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

6 For we have here no continuing city For we have here no continuing city, but we seek one to come.

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune.

Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden.

Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg.

Tod, wo ist dein Stachel?

Hölle, wo ist dein Sieg?

Behold, I show you a mystery: We shall not all sleep, but we all shall be changed and suddenly, in a moment, at the sound of the last trumpet.

For the trumpet shall sound, and the dead shall be raised incorruptible,

Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

Lord, Thou art worthy to receive all Glory, honour and praise, for Thou hast created all things, and through Thy will they have been and are created.

7 Selig sind die Toten Selig sind die Toten, die in dem Herrn sterben, von nun an.

Ja der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

7 Blessed are the dead Blessed are the dead that die in the Lord from henceforth.

Yea, saith the spirit, that they rest from their labours, and their works shall follow them.

and now have found great comfort.

and we shall be changed.

Then shall be fulfilled The word that is written: Death is swallowed up in victory.

O Death, where is thy sting?

O grave, where is thy victory?

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Gregory Batsleer CONDUCTOR Gregory Batsleer has held the position of Chorus Director with the RSNO since 2015.

Since 2009 he has also held the position of Chorus Director with the Scottish Chamber Orchestra, and in 2016 was appointed Choral Director of the Huddersfield Choral Society. In 2017 he co-founded Festival Voices, a professional vocal ensemble specialising in cross-discipline collaboration and performance.

As a guest conductor, highlights include performances with the RSNO, Hallé, Academy of Ancient Music, Royal Northern Sinfonia, Aurora Orchestra and Orchestra of Opera North.

Gregory is deeply committed to his work as a collaborator and curator. Recent projects include work with artists such as Elbow, James, Tim Burgess, Damon Albarn and Clean Bandit.

In 2015 he was musical consultant on Nick Drake’s play All the Angels: Handel and the First Messiah at London’s Sam Wanamaker Playhouse. He has a close working relationship with composer Joe Duddell, and has premiered works by composers including James Burton, David Lang, Colin Metters, Uri Caine and Ben Parry. Gregory recently co-curated sell-out cross-art performances at London’s Southbank Centre, Latitude festival and Wilderness festival, all featuring Festival Voices.

Gregory’s work as a choral conductor was recognised with The Arts Foundation’s first-ever Fellowship in Choral Conducting in 2015.

RSNO Friday Night Club: German Requiem

RSNO Chorus

The RSNO Chorus performs in around six different programmes in up to 20 concerts across Scotland with the Royal Scottish National Orchestra each year. The RSNO Chorus has also had great success in recording with the Orchestra. Its recordings, among others, of Prokofiev’s Alexander Nevsky, conducted by Neeme Järvi, and Holst’s The Planets, conducted

by David Lloyd-Jones, have both attracted high critical acclaim.

In addition to its commitment to the Orchestra, the RSNO Chorus performs independently and has been invited to perform with orchestras in many parts of the world, establishing an international status and touring to Copenhagen, Hong Kong, Israel, Germany, Belfast, Australia, Trondheim and, most recently, Amsterdam

and Prague. In 2018 it performed Britten’s War Requiem with the RSNO at the BBC Proms.

The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today it is one of the most successful choruses in the UK. In recent years it has performed practically every work in the standard choral repertoire along with contemporary works by renowned composers, including John Adams, Magnus Lindberg, Howard Shore and James MacMillan.

The RSNO Chorus is directed by Gregory Batsleer, one of the UK’s most dynamic and indemand choral conductors and chorus masters.

In 2015 Gregory received The Arts Foundation Fellowship in Choral Conducting.

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SOPRANO 1 Alison Blair Catherine Taylor Elspeth Waugh Heather Keating Joan Lacy Joanna Beaton Kirstie Wilson Maree Murdoch Morag Kean Morven Chisholm Roberta Yule Sylvia Jenks SOPRANO 2 Aileen Fraser Alison Reid Anne Murphy Beth Kean Caitlin Young Carol McLean Christine Hendry Eilidh Clark Elizabeth Jack Fiona McLeod Fiona Murray Fiona Ramage Frances Kennedy Hannah Mills Helen Hyland Jennifer Donnelly Jennifer Halliday Judith Pexton Julia Young Kate Adams Kitty Cartwright Leila Inglis Lizzie Reather Lynsey Brook Lynsey Scott Mairi Therese Cleary Margaret Mills Rhea Delgado Shena Brown Theresa Hoare

ALTO 1 Aileen Dickie-Adams Ailie MacDougall Alison Bryce Brenda Williamson Carol Leddy Chloe Findlay Clary Taylor Elaine Robertson Elena White Elizabeth Stevenson Emily Borthwick Fiona Taylor Harriet Skipworth Jennifer Segal Jodie Wight Julia Haddow Julia King June Thomas Katharine Oyler Linda McLauchlan Louise Reid Marita McMillan Mary Taylor Maureen McCroskie Nina Russell Rachel Tribble Ruth Townsend Sandra Davie Shona Elliot Susan Walker Valerie Bryan ALTO 2 Ann Firth Catharine Perrin Elizabeth Scobie Hilde McKenna Jan Livesley Jane Stansfield Janette Morrison Moira Allingham Moira Campbell Sonja Crossan Susan Caldwell

TENOR Aidan McCusker Alex Rankine Andrew Clifford Andrew Gough Alistair Thom Bernhard Reinsberg Cosma Gottardi David Miller Donald Weetman Gabriel Doucet Jonathan Pinto Kerr Noble Nathan Dunsmore Simon Freebairn-Smith Sinclair Couper Stuart Wilson BASS Adam Beck Alistair Laird Andrew Matheson Brian Watt Calum Lowe Chris Morris Fraser Dalziel Gabriel Arbesu Ian Gray Ian MacKay Ian Mills Jack McChesney John MacLellan Ken Allen Martin Waddell Melvyn Davies Richard Hassall Stephen Lipton Stephen Penman Tim Reilly Sir Alexander Gibson Fellow Sarah Charista Vocal Coach Polly Beck

RSNO Friday Night Club: German Requiem

Alison McNeill SOPRANO Alison McNeill graduated with a Masters in Performance from the Royal Conservatoire of Scotland in 2013 with scholarships from the RCS Trust and ABRSM. She has performed as a soloist all over the UK, Holland, Spain, Germany, Austria, Japan, America and Mexico, and has been broadcast on BBC Radio Scotland, BBC Radio 3, BBC Radio nan Gaidheal and Spanish and Mexican TV. Alison enjoys a busy and varied career as a lyric soprano, performing as a soloist in venues including Glasgow Royal Concert Hall, Minami Aizu Concert Hall (Japan) and the National Auditorium of Galicia (Spain). She formed the McNeill Savaloni Duo with classical guitarist Sasha Savaloni; the pair have broadcast on BBC Radio Scotland’s Classics Unwrapped and were the 2015-17 Artists in Residence for Enterprise Music Scotland’s Chamber Music Project.

As a traditional musician, Alison is fiddler and singer in the award-winning folk rock band Reely Jiggered, which has performed at many international folk festivals, most recently headlining the Celtival Festival in Italy. As one half of the McNeill Sisters Duo, Alison has performed for BBC Radio nan Gaidheal and at Glasgow’s Celtic Connections.

Conductor of the National Youth Choir of Scotland’s National Boys Choir Junior Corps, Alison also works with the Royal Scottish National Orchestra Junior Chorus, Scottish Opera and finalists of BBC Choir of the Year Competition, the Inverclyde Junior Choir.

Alison has also launched the Folk for Folk Festival, showcasing Scottish talent and sharing world folk music workshops for young people and adults on the West Coast of Scotland.

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Oskar McCarthy BARITONE Les pêcheurs de perles (Genesis Chorale); Dottorre/Marchese La traviata, Escamillo Carmen and Orest Elektra (Secret Opera); Trinity Moses Aufstieg und Fall der Stadt Mahagonny (King’s Opera); and Arsamenes Serse and Edmund Mansfield Park (Hampstead Garden Opera).

A graduate of Cambridge University, where he was a choral scholar at Caius College, baritone Oskar McCarthy’s interests span opera, choral music and experimental music theatre. He currently studies with Scott Johnson at the Royal Conservatoire of Scotland.

His operatic roles include Leporello Don Giovanni (Waterperry Opera Festival); King George Eight Songs for a Mad King (RCS/ Red Note Ensemble); Kromow The Merry Widow (Opera Bohemia); Fasolt Das Rheingold (Edinburgh Players Opera Group); Uberto La serva padrona, Guglielmo Così fan tutte, Taddeo L’italiana in Algeri and Pausanias Une éducation manqué (Pop-up Opera); Falke Die Fledermaus and Binnacle/Garibdis Ulla’s Odyssey (OperaUpClose); The Captain Siren Song (Shadwell Opera); Leporello Don Giovanni, Angelotti Tosca, Bello La fanciulla del West and Bartley Riders to the Sea (Midsummer Opera); Don Alfonso Così fan tutte (Bedford Park Festival); Papageno Die Zauberflöte (Opera Anywhere); Aeneas Dido and Aeneas and Secrecy The Fairy Queen (Barefoot Opera); Un Vieillard Hebreu Samson et Dalila and Zurga

Oratorio highlights include Mendelssohn’s Elijah with the Sinfonie Orchester Schöneberg at the Berlin Philharmonie and the Wales Millennium Centre; Brahms’ Ein deutsches Requiem with the RSNO Chorus; Mozart’s Mass in C Minor with the Hallé Orchestra/Huddersfield Choral Society; Handel’s Messiah (National Portrait Gallery); Verdi’s Requiem (Philharmonia Britannica); Bach’s St Matthew Passion, Beethoven’s Ninth Symphony (Angel Orchestra); and multiple collaborations with the Basement Orchestra.

Song work includes Kindertotenlieder with London Euphonia Orchestra, and the UK premiere of Othmar Schoeck’s Lebendig Begraben (Buried Alive) for the London Month of the Dead. Oskar developed Buried Alive into a semi-staged theatre piece which he toured around the UK. Oskar is Company Manager of Festival Voices, a collaborative vocal ensemble he co-founded in 2017. He is part of the Philharmonia Chorus Professional Singer Scheme, and in 2017 he joined the JSB Ensemble, resident ensemble of the Musikfest Stuttgart.

As an actor-singer, Oskar has worked with Secret Cinema on their immersive productions of The Shawshank Redemption and Brazil, and alongside aerial theatre artists Ockham’s Razor as part of the London International Mime Festival. He also enjoys working with young audiences and has led workshops for the charity Music for Kenya in schools, hospitals and orphanages in rural Kenya.

RSNO Friday Night Club: German Requiem

Edward Cohen PIANO of Scotland with Sir John Eliot Gardiner, and the Scottish Chamber Orchestra Chorus with Emmanuel Krivine and Richard Egarr.

Additionally, he has worked as an accompanist for masterclasses given by Nicola Benedetti, Ian Bousfield, Karen Cargill, Malcolm Martineau, János Starker and David Watkin.

A keen chamber musician, Edward has worked closely with leading ensembles including the Brodsky Quartet, and the Ensemble InterContemporain. He frequently performs with the Artisan and Beinn Artair Trios, the Barony and Red Note Ensembles, Daniel’s Beard, Opera Alba, flautist Katherine Bryan and clarinettist Jean Johnson.

Equally at home as a concerto soloist, recitalist, chamber musician, choral accompanist or educator, Edward Cohen regularly collaborates with leading musicians in major performance venues and festivals in Scotland and beyond.

In concert, he has performed under the baton of Ryan Bancroft (2018 Malko Competition winner), Pierre Boulez, Peter Eötvös and Yan Pascal Tortelier, and recent concerto engagements have included Richard Strauss’ Burleske with the RSNO, Beethoven’s Choral Fantasy with the Edinburgh Pro Musica Orchestra and Edinburgh Royal Choral Union, Rachmaninov’s Concerto No2 with the City of Carlisle Orchestra, de Falla’s Harpsichord Concerto with the Lucerne Festival Academy Ensemble and Shostakovich’s Concerto No2 with the Glasgow Orchestral Society.

Edward is the pianist for the choruses of the RSNO. Other renowned choirs he has worked with recently include the Edinburgh Festival Chorus with Gustavo Dudamel, Daniel Harding and Martyn Brabbins, the National Youth Choir

Edward began studies at the Royal College of Music when he was ten, and is a first class graduate of the Royal Academy of Music where he was a prize-winning student. Additionally, he has studied at Indiana University’s Jacobs School of Music, and is an alumnus of the Lucerne Festival Academy. Edward holds two MMus degrees with Distinction from the Royal Conservatoire of Scotland. He now maintains a position at the RCS as lecturer in piano in both the senior and junior departments. He is also a principal study teacher for the University of Glasgow, and accompanist and coach at the Aberdeen International Festival of Youth Arts.

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Christopher Baxter PIANO at the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland), completing his BMus (with first class Honours) and MMus (Distinction), where he was tutored by Aaron Shorr, Graeme McNaught and Fali Pavri, as well as receiving regular coaching from the renowned pianist Nigel Clayton.

Scottish pianist Christopher Baxter is in constant demand as a soloist, accompanist and chamber musician, and recent performances include recitals throughout the UK, including at the Royal Festival, Steinway, Wigmore and Usher halls, performances at international festivals in France and Italy, a tour of the Faroe Islands and recitals in South Korea and Singapore.

Christopher has many long-standing chamber music partnerships, including with flautist Aisling Agnew, violinist Alan John, cellist Laura Sergeant, trumpeter Tom Poulson and soprano Jessica Leary, and is a founder member of Brass Diversions and the Korça Ensemble. A devotion to contemporary music has seen Christopher involved in the premiere performances of more than 30 works by notable composers and he has appeared on several BBC Radio and Television broadcasts.

Originally from Aberdeen, Christopher began his musical studies with Robert Howie at Aberdeen City Music School and continued

Christopher held the position of Accompaniment Fellow at the RSAMD between 2009 and 2010, and was awarded the annual Accompaniment Prize. He holds the post of piano teacher and accompanist at the specialist music school of Douglas Academy in Glasgow, and since 2012 has been the first Associate Accompanist of the National Youth Choir of Scotland and the resident Concert Pianist at Loretto School in Musselburgh. As a pianist on the Live Music Now scheme, Christopher gave more than 250 performances.

We hope that you are enjoying the RSNO’s Friday Night Club performances The RSNO is a registered charity, and, with many others, will be severely impacted by this crisis, which is touching the lives of each and every one of us. The support of our audiences and supporters continues to inspire and uplift us, now more than ever. We would like to take this opportunity to send our support and best wishes to you and your families during this challenging time.

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