27 – 28 FEBRUARY 2020
BEETHOVEN TRIPLE CONCERTO –––––
2019/2020 CONCERT PROGRAMME SCO.ORG.UK
Kindly supported by
Colin and Sue Buchan
SEASON 2019/20
A WARM WELCOME ––––– As a brand new member of the Scottish Chamber Orchestra, it gives me great pleasure to wish you a very warm welcome to tonight’s concert! Whether you’re a regular audience member or you’re here to watch the SCO perform for the first time, I can guarantee you’re in for a treat. The thing I love the most about the SCO is how it acts as a collective of chamber musicians, who each have a voice and understand and react to the voices around them. For me, it brings the playfulness back into 'playing' music. The energy and engagement I get from every musician brings each performance alive and tells a vivid story to the audience. Tonight’s programme is a festival of storytelling. When I work with children; and ask them to think about classical music, words which always come up are emotion, character, colour, contrast, dialogue, drama and intensity – all the elements of a gripping story – and this programme has all of those qualities in abundance. Haydn’s Symphony No 52 is an example of 'Sturm und Drang' ('storm and stress'), a movement in literature and music which aimed to break away from the constraints of Enlightenment-era rationalism. Musically, that means we get a work far more daring in dramatic scope than you might usually associate with Haydn. (The fact that it was described as “the grandfather of Beethoven’s Fifth Symphony” gives you an idea of its flair and energy.) At the other end of the programme is Mozart’s wonderful 'Prague' Symphony, infused with theatricality, intrigue, light and shade, and composed while his opera Le Nozze di Figaro was being celebrated throughout Europe as the pinnacle of storytelling. And at the heart of tonight’s programme is Beethoven’s glorious Triple Concerto, which places not one concerto soloist, or even two, but a full piano trio to the fore. We join forces with one of the world’s most exciting keyboard artists, the inimitable Kristian Bezuidenhout, alongside our very own Ben Marquise Gilmore and Philip Higham, who bring alive the sparkle and virtuosity of a magical fairytale hybrid of solo, chamber and orchestral playing. All of us at the SCO would like to thank Colin and Sue Buchan for supporting this concert. So, tonight I invite you to listen with a sense of playfulness – with childlike open ears and imaginations – and I look forward to seeing you at many more concerts to come. Rachel Spencer Second Violin
THANK YOU
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.
CORE FUNDING -----
BENEFACTOR -----
LOCAL AUTHORITIES ----
SISTER ORGANISATION -----
SCO AMERICA sco-america.org
MAJOR PARTNER -----
CREATIVE LEARNING PARTNER -----
BUSINESS PARTNERS -----
THANK YOU
PRINCIPAL CONDUCTOR’S CIRCLE ––––– Our Principal Conductor’s Circle is made up of individuals who love great music and who share the SCO’s vision to bring the joy of music to as many people as possible. We would like to extend our grateful thanks for playing such a key part in the future of the SCO.
VISITING ARTISTS FUND -----
AMERICAN DEVELOPMENT FUND -----
Colin and Sue Buchan Claire and Anthony Tait Anne and Matthew Richards
Erik Lars Hansen and Vanessa Chang Kenneth and Martha Barker
RECORDINGS FUND -----
CREATIVE LEARNING FUND -----
Colin and Sue Buchan Donald and Louise MacDonald
Claire and Mark Urquhart Paul and Clare Rooney
INTERNATIONAL TOURING FUND -----
PRODUCTIONS FUND -----
Gavin and Kate Gemmell David and Maria Cumming
The Usher Family
ANNUAL FUND -----
James and Patricia Cook
CHAIR SPONSORS ----CONDUCTOR EMERITUS
Joseph Swensen Donald and Louise MacDonald
CHORUS DIRECTOR Gregory Batsleer Anne McFarlane
VIOLA
Steve King Sir Ewan and Lady Brown
PRINCIPAL CELLO Philip Higham The Thomas Family
SUB-PRINCIPAL CELLO Su-a Lee Bryan Wade
CELLO
Eric de Wit Jasmine Macquaker Charitable Fund
SUB-PRINCIPAL DOUBLE BASS Adrian Bornet Jo and Alison Elliot
SUB-PRINCIPAL FLUTE Claire and Mark Urquhart
PRINCIPAL OBOE Robin Williams Hedley G Wright
PRINCIPAL CLARINET Maximiliano Martín Stuart and Alison Paul
PRINCIPAL TIMPANI Louise Goodwin Geoff and Mary Ball
SEASON 2019/20
BEETHOVEN TRIPLE CONCERTO Kindly supported by Colin and Sue Buchan
––––– HAYDN Symphony No 52 in C minor BEETHOVEN Triple Concerto interval of 20 minutes
MOZART Symphony No 38 ‘Prague’ ––––– KRISTIAN BEZUIDENHOUT – Conductor / Piano / Harpsichord BENJAMIN MARQUISE GILMORE – Violin PHILIP HIGHAM – Cello ––––– Thursday 27 February 2020, 7.30pm Edinburgh Queen's Hall Friday 28 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 Benjamin Marquise Gilmore Ruth Crouch Tom Hankey Kana Kawashima Siún Milne Fiona Alexander Amira BedrushMcDonald Carole Howat
FLUTE Brontë Hudnott Lee Holland
SECOND VIOLIN Marcus Barcham Stevens Gordon Bragg Laura Comini Rachel Spencer Niamh Lyons Rachel Smith
BASSOON Charlotte Cox Alison Green
VIOLA Catherine Bullock Felix Tanner Brian Schiele Steve King
OBOE Robin Williams Imogen Davies CLARINET Maximiliano Martín William Stafford
PLAYER FEATURE:
Harry Johnstone Sub-Principal Horn | Joined January 1981 ––––– Background
HORN Huw Evans Harry Johnstone
After an early start playing in a brass band, I’ve spent my life playing orchestral and chamber music with regular educational/ teaching experience.
TRUMPET Bob Farley Shaun Harrold
SCO Highlight?
TIMPANI Louise Goodwin
CELLO Philip Higham Su-a Lee Donald Gillan Eric de Wit Niamh Molloy
SCO Mackerras opera productions at Edinburgh International Festival and recordings and concerts with SCO Wind Soloists. What makes the SCO unique? The size of the orchestra, at 37 players, allows for a friendly cooperative atmosphere where players from all sections mix well without cliques. In addition, we cover a wider range of music from Baroque to contemporary than most music groups.
BASS Nikita Naumov Adrian Bornet 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 –––––
HAYDN (1732–1809) Symphony No 52 in C minor (1771 Allegro assai con brio
––––– Haydn the jovial, ever-smiling wit; Mozart the bad-boy prodigy, from whom music flowed effortlessly; Beethoven the rugged, dogged, heroic pioneer. Okay, those curt characterisations might seem rather reductive, certainly to a discerning member of the Scottish Chamber Orchestra’s audience. But, as you’ll surely agree, there’s an element of truth to them, or at least in the way those three composers and their music are often characterised.
Andante Menuetto e trio Finale – Presto
BEETHOVEN (1770-1827) Triple Concerto (1803) Allegro Largo Rondo alla polacca
MOZART (1756-1791) Symphony No 38 'Prague' (1786) Adagio – Allegro Andante Finale
Which makes tonight’s concert all the more fascinating. Because this evening’s music goes against the flow, either – depending on your point of view – bucking the trend and revealing works that serve to disprove those admittedly lazy descriptions, or simply recognising the richness and breadth in what those three men produced. Haydn wrote plenty of music that was powerful and dramatic, of course. Just think of his so-called 'Sturm und Drang' symphonies of the 1760s and 1770s for a start, with their turbulent passions, their agitated emotion, their abrupt contrasts. The last of them, No 52 in C minor, is something else entirely, however. Just try predicting where the first movement’s opening melody is planning to go. Or even how long its phrases are intending to carry on for. It’s one of the stormiest, most unpredictable openings that Haydn ever produced, and it’s followed by a graceful second subject that sounds like it’s from another piece of music entirely. It’s as if the supposedly good-natured, avuncular figure is intentionally out to disconcert us. No wonder the great Haydn scholar HC Robbins Landon described the Symphony as ‘the grandfather of Beethoven’s Fifth’.
Joseph Haydn
Ludwig van Beethoven
Not only does it share that work’s key of C minor – and all the musical symbolism of struggle, tragedy and high drama that that tonality has accrued over the centuries – but also its tension, its power and its audacious ambition.
it seems to lack the pioneering punch, the dogged, obstinate heroism of works such as the 'Eroica' Symphony, or the 'Waldstein' or 'Appassionata' sonatas, all of which Beethoven was creating at roughly the same time.
After the bold restlessness of his opening movement, Haydn brings in deceptive tranquillity in a slow movement that shifts, meanders and grows increasingly unsettled,
But Beethoven nonetheless answered significant compositional challenges with the Triple Concerto. For a start, it’s the very first work of its kind: Beethoven was the
then a minuet with such erratic accents that it would be quite a challenge to dance to, and finally the relentless bustle of a finale with a main theme so full of off-beats it’s virtually unhummable. Nevertheless, experiencing Haydn’s Symphony No 52 is a remarkably powerful experience, and a reminder of just how innovative and provocative his music can be.
first composer to make concerto soloists out of a piano trio, and, though more recent composers have written works for the same forces, none has found a regular place in the repertoire.
"Did he who wrote the Ninth write thee?" asked Harvey Grace, rather rudely, in his 1927 biography of Beethoven, referring to a collection of supposedly ‘weak’ pieces including the Triple Concerto. And sadly, that rather withering enquiry is not untypical of the disparaging remarks that the Concerto has gathered down the decades.
In addition, Beethoven was writing for some wildly mismatched soloists. His intended pianist was none other than Archduke Rudolf of Austria, who became Beethoven’s pupil in 1803 at the age of fifteen and continued to study with him for the following two decades. And though Archduke Rudolf had good keyboard skills, he was no match for the Triple Concerto’s seasoned professional string soloists: violinist Carl August Siedler, and cellist Anton Kraft, who had been in Haydn’s orchestra at
For serious-minded musicologists, at least,
Eszterháza.
So, although the Triple Concerto shows Beethoven placing lyrical elegance and thematic elaboration ahead of the uncompromising explorations and intense transformations he was exploring elsewhere in his music, it’s a delightful example of his lighter side, from the overwhelming wealth of melodic material in its opening movement to the uncomplicated lyricism of its brief slow movement, and then the boisterous energy of its foot-tapping finale in the form of a polonaise – a dance form perhaps familiar to us today thanks to Chopin, but shockingly innovative in Beethoven’s time.
Wolfgang Amadeus Mozart
Mozart, by reputation, and indeed by quite a bit of evidence, was able to produce music with remarkable ease, fluency and speed. His 'Prague' Symphony, however, is one of the few pieces for which sketches survive of the composer working through themes, tweaking them so that they’d combine together or be transformed across a movement. He clearly invested a lot of energy and creativity in the work. And
Prague loved Mozart, and the feelings were reciprocated. In honour of the occasion, Mozart unveiled one of his richest, most complex works in a concert on 19 January. The 'Prague' Symphony contains some of the grandest, most sophisticated music written up to that time, and it went down a storm with Prague listeners. So successful was Mozart’s visit, in fact, that off its back he received another Prague commission: for
when you look at the circumstances of its premiere, you can understand why.
an opera on the exploits of Don Juan, which became a certain Don Giovanni.
His opera The Marriage of Figaro opened at Vienna’s Burgtheater on 1 May 1786 to critical acclaim, but a rather lukewarm reaction from the general public, marking the start of the Imperial capital falling a bit out of love with Mozart. At its staging in Prague in December that year, however, Figaro was an immediate and triumphant success, and the city’s musical bigwigs begged the composer to visit in person, to experience the acclaim and direct some of his own music. He duly obliged in January 1787, and by all accounts, Mozart’s trip was a non-stop round of banquets, parties and balls.
It’s ironic, then, that Mozart’s 'Prague' Symphony can’t possibly have been written specifically for his overwhelmingly successful trip. In fact, he’d completed the work before he’d even been invited to the city. Mozart’s letters show that he was planning a trip to England at the time he was composing his Symphony No 38, a visit that never happened when his father Leopold refused to look after the composer’s two children. Had Leopold been happy to babysit, what we now know as the 'Prague' Symphony might well have been dubbed the 'London' Symphony instead. ©David Kettle
FORTEPIANO
KRISTIAN BEZUIDENHOUT
––––– Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. Bezuidenhout is a regular guest with the world’s leading ensembles including the Freiburger Barockorchester, Les Arts Florissants, Orchestre des Champs Elysées, Chicago Symphony Orchestra and the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) The English Concert, Orchestra of the Eighteenth Century, Collegium Vocale and Dunedin Consort. He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Isabelle Faust, Alina Ibragimova, Rachel Podger, Carolyn Sampson, Anne Sofie von Otter and Mark Padmore. In the 2019/20 season, Kristian Bezuidenhout play-directs programmes with the Handel & Haydn Society and Kammerorchester Basel as well as Freiburger Barockorchester and The English Concert. He features as a Portrait Artist for the 19/20 season at BOZAR and is Artist in Residence at Köln Philharmonie. He has recitals and chamber music performances with Anne Sofie von Otter, Mark Padmore, Benjamin Appl, Carolyn Sampson in concert halls and festivals in Seattle, New York, Amsterdam, Paris, Frankfurt, Madrid and Salzburg.
VIOLIN
BENJAMIN MARQUISE GILMORE ––––– Benjamin Marquise Gilmore grew up in England and studied with Natalia Boyarskaya at the Yehudi Menuhin School and Pavel Vernikov at the Vienna Conservatory, as well as with Julian Rachlin, Miriam Fried, and members of the Artis Quartet and the Altenberg Trio. His father was the musicologist Bob Gilmore, from whom he received instruction in music theory at a young age, and his grandfather is the conductor Lev Markiz, with whom he has performed on many occasions. He has appeared at festivals such as Kuhmo, IMS Prussia Cove, Ravinia's Steans Music Institute and Styriarte, and his chamber music partners have included Frans Helmerson, Janine Jansen, Natalia Gutman, Gary Hoffman, Elisabeth Leonskaja, Benjamin Schmid, Mischa Maisky and Gerhard Schulz. He has also worked with composers such as Giya Kancheli, Bernhard Lang, Guus Jansen, Gavin Bryars and Frank Denyer. As a soloist he has performed with the Amsterdam Sinfonietta, the NDR Hannover, the Rotterdam Philharmonic and the Munich Chamber Orchestra, as well as the SCO. He has been the recipient of several awards, including 1st prize at the Oskar Back violin competition in Amsterdam, 4th prize at the Joseph Joachim violin competition in Hannover, and 3rd prize at the Mozart competition in Salzburg. Since 2011 Benjamin Marquise Gilmore has been a member of the Chamber Orchestra of Europe, and was appointed Leader of the Scottish Chamber Orchestra in 2016. He took up the shared role of Concert Master of the Philharmonia at the start of this Season.
CELLO
PHILIP HIGHAM
––––– Philip Higham enjoys a richly varied musical life: a passionate chamber musician, equally at home in concerto, duo and unaccompanied repertoire, he especially relishes Classical and German Romantic music, in which he is happily immersed as Principal Cellist of the Scottish Chamber Orchestra. He has appeared frequently in recital at Wigmore Hall and at other prominent venues and festivals both at home and abroad, and is regularly broadcast on BBC Radio 3. His two solo recordings for Delphian Records, of Britten and Bach Suites, have received considerable praise, the Britten chosen as Instrumental Disc of the Month in Gramophone Magazine during 2013. Born in Edinburgh, Higham studied at St Mary’s Music School with Ruth Beauchamp and subsequently at the Royal Northern College of Music with Emma Ferrand and Ralph Kirshbaum. He also enjoyed mentoring from Steven Isserlis, and was represented by YCAT (Young Classical Artists Trust) between 2009 and 2014. In 2008 he became the first British cellist to win first prize at the International Bach Competition in Leipzig, and followed it with major prizes in the 2009 Lutosławski Competition and the Grand Prix Emmanuel Feuermann 2010. Philip plays a cello by Carlo Giuseppe Testore, made in 1697. He is grateful for continued support from Harriet's Trust. Philip Higham's Chair is kindly supported by The Thomas Family.
THANK YOU
SCO PATRONS ––––– Join our family of Patrons by contacting Laura Hickey on 0131 478 8344 or laura.hickey@sco.org.uk DIAMOND
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–––––
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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 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
ALTSTAEDT PERFORMS SHOSTAKOVICH Brilliant St Andrews concert amazing Shostakovich. Thank you.
Christopher Trotter @CTScotfood Thank you @Insidermag @SCOmusic amazing and good to see @SCDInews colleagues
@Wendy_Pring
Our upcoming recording Bizet: Carmen Suite No 1, Symphony No 1 and Gounod: Petite Symphonie conducted by François Leleux was chosen as The Times Album of the Week. Released on the 13 March 2020.
CHAMBER SUNDAY WITH KRISTIAN BEZUIDENHOUT Been to see this fortepiano being played by Kristian Bezuidenhout accompanied by members of @SCOmusic Mozart and Beethoven. Very good too.
Grammar Black
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