19 – 21 FEBRUARY 2020
ALTSTAEDT PLAYS SHOSTAKOVICH CELLO CONCERTO –––––
2019/2020 CONCERT PROGRAMME SCO.ORG.UK
Proudly sponsored and match funded by
SEASON 2019/20
A WARM WELCOME ––––– I am looking forward very much to returning to the wonderful Scottish Chamber Orchestra with a programme that reflects, through its tonal relations, Beethoven's various mental states.
each night in uncertainty, knowing that the footsteps of the KGB may lead to his door and that he may meet the fate of Ligeti’s brother and father, who died in a concentration camp.
The Roman (anti) hero Coriolan, aggrieved by
In 1959, three years after the Hungarian
the Roman people, turns against his own folk.
Revolution, Shostakovich opens his first Cello
His temper, restlessness and greed for power
Concerto with a march. Does E-flat major
pulsate throughout the piece starting in C minor,
contain the same heroism here as in Beethoven
the tonality which for Beethoven and earlier
and in Strauss? Not only the contrasting world
composers defined fate and tragedy. Torn
of the first upbeat in E minor but also the second
between ethos and subjective inadequacy, the
theme gives us an answer. Which march is
impossible tension between vengeance and
distorted by a 3/4 bar and structured in a five bar
reconciliation is perceptible from the first chords.
theme? Is it a coincidence that by drumming a
The pleadings of his mother Volumina (E-flat
waltz, Oskar Matzerath, protagonist of Günter
major) fail to save her son from his path into
Grass’s 1959 novel The Tin Drum, destroys a Nazi
suicide.
parade? The second movement seems to bring us on the long and endless march of thousands
‘Inner emigration’ as a result of hopelessness
to Siberia, the circularity of life in A minor, while
and struggle to come to terms with the past, is a
we experience personal tales in F-sharp minor,
leitmotiv in the life of Franz Schubert, whose 4th
then children’s lullabies until the movement fades
Symphony can be seen in the light and shadow of
away in a landscape of ice. “I was looking for
the common tonality of Beethoven’s Coriolan and
my sweetheart’s grave” is the opening line of
his String Quartet Op 18 No 4. But the wanderer
‘Suliko’, a Georgian folk song often played on
Schubert brings us into many further unknown
radio during Stalin’s rule, as it happened to be his
spheres. In the B section of the second movement,
favourite. The appearance and distortion of this
Albrecht Dürer’s Melancolia 1 passes as a vision
song in the Concerto’s last movement leaves no
and the unique use of a choriamb (a long-short-
doubt which side Shostakovich took for his entire
short-long pattern used in Classical verse) in the
lifetime. His resistance to the regime’s crimes
Menuetto reveals the symphonic giant Schubert,
and the humanity in his music leaves us not only a
whose oeuvre can’t be restricted to a vocal one.
testimony of a century, but an enduring heritage of some of the greatest music ever written.
Political suppression for Schubert, Hölderlin and Heine after the Congress of Vienna (1814-15)
Hope you enjoy this evening's concert.
reaches another level a century later for Ligeti and Shostakovich. While entire families and
Nicolas Altstaedt
friends are being erased, Shostakovich spends
Cello/Conductor
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FUNDING PARTNERS ––––– Thank you to everyone who financially supports the work of the SCO, from the Scottish Government to local authorities, our Benefactor, Business Partners and Patrons to many charitable trusts and foundations. The generosity of our funders allows us to create truly world-class music, events and projects both here and abroad.
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SEASON 2019/20
ALTSTAEDT PLAYS SHOSTAKOVICH CELLO CONCERTO Proudly sponsored and match funded by
––––– BEETHOVEN Overture, Coriolan SHOSTAKOVICH Cello Concerto No 1 interval of 20 minutes
LIGETI Ramifications SCHUBERT Symphony No 4 in C minor ‘Tragic’ ––––– NICOLAS ALTSTAEDT – Conductor / Cello ––––– Wednesday 19 February 2020, 7.30pm St Andrews Holy Trinity Church Thursday 20 February 2020, 7.30pm Edinburgh Queen's Hall Friday 21 February 2020, 7.30pm Glasgow City Halls –––––
4 Royal Terrace, Edinburgh EH7 5AB +44 (0)131 557 6800 • info@sco.org.uk sco.org.uk The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039. Company registration No. SC075079.
#SCO
OUR MUSICIANS
YOUR ORCHESTRA FIRST VIOLIN Stephanie Gonley Ruth Crouch Dániel Mészöly Kana Kawashima Fiona Alexander Amira BedrushMcDonald Sarah Bevan-Baker Catherine James
FLUTE André Cebrián Emma Roche
SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Stewart Webster Wen Wang Niamh Lyons Jessica Hall
CLARINET Nicholas Cox William Stafford
VIOLA Catherine Bullock Felix Tanner Brian Schiele Steve King CELLO Philip Higham Su-a Lee Donald Gillan Eric de Wit BASS Nikita Naumov Adrian Bornet
PICCOLO Emma Roche OBOE Robin Williams Julian Scott
BASSOON Óscar Pérez Méndez Alison Green CONTRABASSOON Alison Green HORN Huw Evans Harry Johnstone Sue Baxendale Rachel Brady TRUMPET Peter Franks Shaun Harrold TIMPANI Louise Goodwin
PLAYER FEATURE:
Marcus Barcham Stevens Principal 2nd Violin | Joined 2016 ––––– Marcus also holds the position of CoLeader with the Britten Sinfonia. He was in the Fitzwilliam String Quartet for 7 years, highlights of which included recording late Schubert and late Shostakovich quartets. He's also played for John Eliot Gardiner's Orchestre Revolutionnaire et Romantique and enjoy working on both gut and modern. SCO Highlight? Any concert with Maxim. The recent Baroque Dances programme was wonderful. What makes the SCO unique? The breadth of its repertoire, from period baroque to contemporary premieres, for instance by Sir James MacMillan, all played to a very high level.
CELESTE Peter Evans The Orchestra list was correct at the time of going to print.
ARE YOU A HEARING AID USER?
Please use the Induction Loop systems provided by the venues if available. Hearing aids can cause feedback (a whistling effect) which may be heard by the musicians and other members of the audience.
MOBILE PHONES AND ELECTRONIC DEVICES
Please ensure your mobile phone and any electronic devices are switched off during the concert. The use of cameras and recording equipment is forbidden.
TONIGHT'S REPERTOIRE
WHAT YOU ARE ABOUT TO HEAR –––––
BEETHOVEN (1770–1827) Overture, Coriolan (1807) SHOSTAKOVICH (1906-1975) Cello Concerto No 1 (1959) Allegretto Moderato Cadenza – Attacca Allegro con moto
LIGETI (1923–2006) Ramifications (1968 ) SCHUBERT (1797-1828) Symphony No 4 in C minor ‘Tragic’ (1816) Adagio molto – Allegro vivace Andante Menuetto: Allegro vivace – Trio Allegro
––––– Tragedy stalks through tonight’s programme like a spectre. Well, that might be overstating things slightly in the case of the most self-descriptively tragic work. Schubert’s own naming of his Fourth Symphony was probably just high spirits on the part of the teenage composer. But we’ll come back to that. The most genuinely tragic work tonight is probably the first. Beethoven wrote his Coriolan Overture, not as many assume for Shakespeare’s great Roman drama Coriolanus, but for a lesserknown adaptation of the same story by Austrian dramatist Heinrich Joseph von Collin. This later play was clearly a work Beethoven admired, though we don’t know whether that’s because he saw it at its successful but brief run in Vienna in 1802, or simply because he’d read the script. Doubtless there was an element of self-identification with the heroism and integrity – and, we should probably admit, obstinacy – of the legendary Roman general who, having defeated the Volsci tribe in battle, becomes so disillusioned with the Roman populace and Senate that he eventually switches sides, joining his erstwhile enemies and leading them in battle towards the Eternal City. Things can only end badly, for Coriolanus at least: his mother and wife persuade him to call off the attack but, having burnt his bridges with both camps, he takes his own life. The 1802 performances of von Collin’s Coriolan were given with music adapted from Mozart’s opera Idomeneo. But, following successful concert performances of Beethoven’s new Overture at two subscription concerts sponsored by the composer’s patron Prince Franz Joseph
Ludwig van Beethoven
Dmitri Dmitriyevich Shostakovich
von Lobkowitz, a one-off, full-length performance of the play was organised for 24 April 1807 at Vienna’s Imperial Theatre, solely as a vehicle for Beethoven’s Overture. (It can’t have been a coincidence that Prince Lobkowitz was one of the theatre’s directors.)
that the composer had endured earlier in his career. Stalin died six years before Shostakovich wrote the Concerto, and with his passing came something of an easing of cultural restrictions. It was during this period, too, that the great Russian cellist Mstislav Rostropovich toured extensively with the composer at the piano, playing,
It’s not surprising that Beethoven’s Coriolan Overture provoked such action, however. It’s a masterpiece of musical drama, encapsulating the play’s essential ingredients in a mere eight or so minutes. Following an orchestral call to attention, its stormy main theme serves to represent Coriolan’s resolve and belligerence, while the tender theme that follows surely represents his mother and wife’s pleadings. In the central development section, the Coriolan theme gradually loses its bite as the Roman commander works through his
among other things, Shostakovich’s own Cello Sonata. Rostropovich was dying for a concerto from his friend and colleague, but he knew he couldn’t broach the subject directly. Shostakovich’s wife Margarita had warned the cellist: "If you want him to write something for you, the only recipe I can give you is this: never ask him or talk to him about it."
inner struggles, until he seems to simply fade away at the piece’s tragic close.
summer of 1959, with no prior warning. He memorised the solo part – one of the most technically challenging in the cello repertoire – in a remarkable four days, then played it through to a delighted Shostakovich at his dacha in Komarovo.
If there’s tragedy in Shostakovich’s breezy 1959 Cello Concerto No 1, it’s in the work’s memories of the strictures and persecution
Nonetheless, this technique seemed to work, for Rostropovich received a score of the brand new Concerto in the post in the
"IF YOU WANT HIM TO WRITE SOMETHING FOR YOU, THE ONLY RECIPE I CAN GIVE YOU IS THIS: NEVER ASK HIM OR TALK TO HIM ABOUT IT." Shostakovich’s wife Margarita had warned Rostropovich Other than sheer enthusiasm, however, there was a more serious reason for Rostropovich’s speedy learning of the piece: he had to prepare for a meeting of the Soviet Composers’ Union which would decide whether the new Concerto could be accepted and performed, or whether it was anti-Soviet and possibly even pro-
the work’s opening, with a version of Shostakovich’s DSCH musical monogram – his own initials transformed into musical notes – that forms the basis for the whole first movement, with a solo horn – the cellist’s alter ego within the orchestra – bringing things back in line if they stray too far off the subject. The second movement
Western. Shostakovich paced at the back of the small room while the panel listened and judged, but the work was approved for national and international audiences. Its official premiere – with Rostropovich as soloist and the Leningrad Philharmonic under Yevgeny Mravinsky, in the Great Hall of the Leningrad Conservatory – followed on 4 October that year.
begins gently, but it builds to a shattering climax before the cello recalls its opening theme with ghostly accompaniment from the celeste. Following the extended solo cadenza of the third movement, Shostakovich’s musical monogram reemerges in the sardonic finale, battling against the Georgian folksong ‘Suliko’ – notoriously Stalin’s favourite tune – in a tense recollection of Shostakovich’s earlier battles.
The Concerto quickly established itself as a modern classic, and also as one of Shostakovich’s most personal utterances, written for a slimmed-down orchestra (the smallest of any of his major orchestral works) that allows the cello soloist to shine throughout. And it’s the soloist who leads right from
Ramifications, written in 1968 by the Hungarian composer György Ligeti, seems to turn away, not only from any particularly tragic theme, but also from any emotional or storytelling aspect in music at all, to focus instead on the nitty-gritty of sound itself. Ligeti splits his string ensemble into two groups,
György Ligeti
Franz Peter Schubert
tuned a quarter-tone apart – that’s somewhere in the gaps between a piano’s keys. The result is intentionally dissonant and out-of-tune-sounding, and Ligeti weaves together minute musical ideas that it’s virtually impossible to identify individually, but which intertwine in a constantly shifting cloud of sonorities. If
his father’s school in Vienna, where he was feeling increasingly over-qualified, and nurturing ambitions to write for larger, more professional ensembles than the small amateur orchestra that had grown out of his family’s string quartet. And though it undoubtedly displays ambition, the Symphony also looks back
it weren’t for the sonic journey that Ligeti charts in his strangely mesmerising piece, you’d be tempted to think it was all about immersing yourself in an alien musical landscape, or simply wallowing in a sea of weirdly exquisite sound.
Schubert wrote the Symphony while
with fondness to the music of Haydn and Mozart, rather more than to the revolutionary works of Beethoven. Indeed, the slow introduction to its first movement seems modelled on the ‘Representation of Chaos’ from Haydn’s Creation, even if the lighter, faster main section that follows is pure Schubert. The bittersweet second movement unexpectedly erupts twice into furious music, but it’s quickly absorbed back into the lyrical mood. Following the third movement scherzo, the finale plays games with running accompaniment figures, and closes with a return of the Symphony’s opening octaves, now signalling a triumphantly happy ending. Perhaps whatever tragedy there was has dissipated after all.
working as an all-purpose teacher at
© David Kettle
Tonight’s concert closes with the most avowedly ‘tragic’ of this evening’s pieces and, while Schubert’s Fourth Symphony is certainly the most serious-minded of the six symphonies he wrote while in his teens and early 20s, its ‘Tragic’ title feels rather like youthful self-dramatising, perhaps to pique the interest of publishers or impresarios.
CONDUCTOR / CELLO
NICOLAS ALTSTAEDT
––––– Renowned worldwide for his musical integrity and effortless virtuosity, German-French cellist Nicolas Altstaedt is one of the most sought after and versatile artists today. As a soloist, conductor and artistic director he enthralls audiences with repertoire ranging from the baroque to the contemporary. This season he is Artist in Focus at the Alte Oper in Frankfurt and Artist in Residence at the SWR Symphonieorchester. Other upcoming highlights include a tour of major European venues with the SWR Sinfonieorchester and Teodor Currentzis as well as with B’Rock and René Jacobs, debuts with Washington’s National Symphony Orchestra and Ed Gardner, the NHK and Yomiuri Nippon Symphony Orchestras at Suntory Hall, Orchestre National de France with Emmanuel Krivine, Il Giardino Armonico at Grafenegg Festival, KBS Symphony Orchestra, Aspen and Bergen Festivals, Netherlands and Radio Philharmonic Orchestras with Ben Gernon and Edo de Waart at the Concertgebouw, Residentie Orkest with Nicholas Collon and reinvitations to Rotterdam Philharmonic, Finnish Radio Symphony Orchestra and the DSO Berlin with Robin Ticciati Recent highlights include concerto debuts with the Detroit Symphony Orchestra, Helsinki Philharmonic and recital debuts at BOZAR Brussels, Carnegie Hall, Théâtre des Champs Elysées, Paris and Koerner Hall, Toronto and a tour of Australia. During the 17/18 season, Nicolas gave the highly acclaimed Finnish Premiere of Esa-Pekka Salonen’s Cello Concerto under the baton of the composer at the Helsinki Festival and was “ Artist in Spotlight” at the Concertgebouw, Amsterdam. Altstaedt's recording of CPE Bach Concertos on Hyperion with Arcangelo and Jonathan Cohen received the BBC Music Magazine Concerto Award 2017. Also in2017 he released a recital CD with Fazil Say on Warner. Previous recordings of cello concerti by Haydn, Schumann, Ligeti, Shostakovich and Weinberg have been acclaimed worldwide. Nicolas Altstaedt was a BBC New Generation Artist 2010-2012 and a recipient of the Borletti-Buitoni Trust Fellowship in 2009. He plays a Giulio Cesare Gigli cello, Rome, dated around 1760.
EXPLORE BEETHOVEN | MUSICAL CREATIVITY AND DEAFNESS SATURDAY 22 FEBRUARY 2020, 10AM – 1.15PM ST CECILIA’S HALL AND MUSEUM, EDINBURGH Join us for a morning of talks and performances by a Scottish Chamber Orchestra string quartet as we explore Beethoven’s life as a deaf musician and composer. There is a loop system in the hall and all talks will be BSL-interpreted.
–––––– Full details, including ticket prices and how to book, can be found on our website: sco.org.uk Or you can email: joanna.burns@sco.org.uk or call Joanna on 0131 478 8342
LEGACIES
A LEGACY FOR GENERATIONS TO COME ––––– The SCO would like to thank everybody who has supported our work and we acknowledge with special gratitude those who were kind enough to leave us a final, and deeply thoughtful, gift. All legacies make a positive difference, no matter the size, and help us to fulfil our mission
Tom Bruce-Jones, Glasgow Helen Caldwell, Edinburgh Joyce Denovan, Glasgow Robert Durham, Dundee Herman Gawlik, Glasgow Ian Hogarth, Edinburgh Donald Hopkins, Glasgow
to make incredible music accessible to as many people as possible in the most creative and engaging way.
Mattie Hutchinson, Glasgow
Over the last few years, we have been immensely grateful to these friends of the SCO whose thoughtful foresight in leaving a gift in their Will has made such a valuable contribution in so many wonderful ways:
Steven McLean, Glasgow
Helen Kelbie, Aberdeen David Lee, Glasgow Evelyn McNab, Glasgow Ian Mitchell, Glasgow Judith Pickles, Edinburgh Alice Woodward, Aberdeenshire
THANK YOU
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Thanks also to our Bronze Patrons and Patrons, and to all those who wish to remain anonymous.
ABOUT US
––––– The internationally celebrated Scottish Chamber Orchestra is one of Scotland’s National Performing Companies. Formed in 1974 and core funded by the Scottish Government, the SCO aims to provide as many opportunities as possible for people to hear great music by touring the length and breadth of Scotland, appearing regularly at major national and international festivals including the Edinburgh International Festival, BBC Proms, and by touring internationally, as proud ambassadors for Scottish cultural excellence. Making a significant contribution to Scottish life beyond the concert platform, the Orchestra works in schools, universities, colleges, hospitals, care homes, places of work and community centres through its extensive Creative Learning programme. The SCO has long-standing associations with many eminent guest conductors including Conductor Emeritus Joseph Swensen, Principal Guest Conductor Emmanuel Krivine, François Leleux, Pekka Kuusisto, Richard Egarr, Andrew Manze and John Storgårds. The Orchestra also enjoys close relationships with many leading composers and has commissioned almost 200 new works, including pieces by the late Sir Peter Maxwell Davies, Sir James MacMillan, Martin Suckling, Einojuhani Rautavaara, Mark-Anthony Turnage, Nico Muhly and Associate Composer Anna Clyne. An exciting new chapter for the SCO began this Season with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor. This was a position previously held by Robin Ticciati from 2009-2018. Ticciati and the SCO made a series of outstanding recordings (Linn Records) of works by Haydn, Schumann, Berlioz, Strauss and Wagner. Their last recording – the complete Brahms Symphonies – has been internationally acclaimed. The SCO and Emelyanychev recently released their first album together (Linn Records) to critical acclaim. The repertoire – Schubert’s Symphony No 9 in C major ‘The Great’ – was the first symphony Emelyanychev performed with the Orchestra in March 2018. sco.org.uk
Patron HRH The Prince Charles, Duke of Rothesay
BOARD
Life President Donald MacDonald CBE
Chairman Colin Buchan
Principal Conductor Maxim Emelyanychev
Joanna Baker
––––– –––––
Principal Guest Conductor Emmanuel Krivine
Cllr Christina Cannon Glasgow City Council
Conductor Emeritus Joseph Swensen
Rachael Erskine
David Cumming Cllr Rosemary Liewald Fife Council
Chorus Director Gregory Batsleer
Cllr Donald Wilson City of Edinburgh Council Zoë van Zwanenberg
Associate Composer Anna Clyne
ORCHESTRA ADVISORS TO THE BOARD Adrian Bornet, Laura Comini, Peter Franks, Donald Gillan and Su-a Lee
MANAGEMENT –––––
Chief Executive Gavin Reid Projects and Administrative Assistant Elsa Morin Concerts Director Judith Colman Concerts & Projects Manager Louisa Stanway Orchestra Manager Laura Kernohan Stage Manager Pete Deane Orchestra Librarian Amy Brown Chorus Manager Jenny Searle Marketing & Communications Director Gareth Beedie Data Services Manager Adam James Marketing and Press Officer Catherine Gillespie Marketing Officer Sophie Sim
Design & Publications Magnus Fraser Creative Learning Director Kirsteen Davidson Kelly Education Officer Atzi Muramatsu Community Engagement Officer Joanna Burns SCO and University of St Andrews Graduate Trainee Fiona Croal Head of Development Lucinda Coulthard Partnerships Manager David Nelson Development Officer Laura Hickey Trusts Officer Rebecca Smith Finance & Administration Director Ian White Finance Officers Mary Gibson Heather Baird
YOUR SAY
PICK OF THE WEEK SUMMER TOUR 2020
STAN AND MABEL FAMILY FESTIVAL P1-3G - getting ready for @SCOmusic Stan and Mabel, not only practising the songs but sorting foods and creating a Venn diagram, then making a savoury Mabel and a sweet Stan snack. Will be ready for the show on Friday! @HorsecrossPerth @realchrisjarvis
Goodlyburn Primary, @GoodlyburnPS Primary 1 to 4 really enjoyed the story of Stan and Mabel accompanied by the @SCOMusic. Thank you to all the musicians, @realchrisjarvis and @HorsecrossPerth.
Muthill Primary @muthillPS
We’re delighted to be visiting 25 different Scottish towns and cities this summer with some fabulous musicians. All dates on sale now at SCO.ORG.UK
SHARE YOUR CONCERT EXPERIENCE –––––– Sign up for our email newsletter For all our latest news, films, photos, blogs and special offers, visit SCO.ORG.UK/LATEST Email us Sophie Sim, Marketing Officer sophie.sim@sco.org.uk
@SCOmusic fantastic performance today @perthconcerthal, we loved it and a joy to bump into you @realchrisjarvis before the concert, I have one star struck 8-year-old #stanandmabel @jasonchapmanart @PaulRissman
@lucy_drever, Lucy Drever
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KAREN CARGILL SINGS ALMA AND GUSTAV MAHLER Fabulous @SCOmusic concert tonight under @KenshoWatanabe with divine mezzo Karen Cargill @theusherhall #AlmaMahler #Mahler4
Sally @sallyswann_
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