Benedetti & Emelyanychev – Season 22/23 – Programme note

The Quilter Cheviot Benedetti Series

BENEDETTI & EMELYANYCHEV

Wednesday 28 September, 7.30pm Perth Concert Hall

Thursday 29 September, 7.30pm Usher Hall, Edinburgh

Friday 30 September, 7.30pm City Halls, Glasgow

Adams The Chairman Dances

MacMillan Violin Concerto No 2 (World Premiere)

Commissioned by the Scottish Chamber Orchestra, Swedish Chamber Orchestra, the Adam Mickiewicz Institute and the Dallas Symphony Orchestra. Interval of 20 minutes

Tchaikovsky Symphony No 6 ‘Pathétique’

Maxim Emelyanychev Conductor Nicola Benedetti Violin

The Perth Concert Series is supported by

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.

Maxim Emelyanychev

The Quilter Cheviot Benedetti Series

Nicola Benedetti

Thank

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Thank You

PRINCIPAL CONDUCTOR'S CIRCLE

Our Principal Conductor’s Circle is made up of individuals who share the SCO’s vision to bring the joy of music to as many people as possible. These individuals are a special part of our musical family, and their commitment and generosity benefit us all – musicians, audiences and creative learning participants alike. We would like to extend our grateful thanks to them for playing such a key part in the future of the SCO.

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CHAIR SPONSORS

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Our Musicians YOUR ORCHESTRA

First Violin

Joel Bardolet

Kana Kawashima Aisling O’Dea Siún Milne Amira Bedrush-McDonald Sarah Bevan Baker Elita Poulter

Catherine James Sian Holding

Second Violin

Marcus Barcham Stevens

Gordon Bragg Wen Wang

Rachel Smith Niamh Lyons Stewart Webster Gongbo Jiang Abigail Young Martin Lissola

Viola

Asdis Vladimarsdóttir

Jessica Beeston

Brian Schiele

Steve King Liam Brolly Kathryn Jourdan Cello

Philip Higham Su-a Lee

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Flute

André Cebrián Emma Roche Jimena Vicente Piccolo André Cebrián Emma Roche Oboe Robin Williams Katherine Bryer

Clarinet Maximiliano Martín William Stafford

Bass Clarinet William Stafford

Bassoon

Information correct at the time of going to print

Trumpet

Peter Franks

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Duncan Wilson Chris Mansfield

Alan Adams

Tuba Craig Anderson

Timpani Louise Goodwin

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Cerys Ambrose-Evans Alison Green

Contrabassoon

Alison Green Horn

Paul Klein

Harry Johnstone Lauren Reeve-Rawlings

Ian Smith

Rachel Brady

Marcus Barcham Stevens Principal Second Violin

WHAT YOU ARE ABOUT TO HEAR

From a piece of classic minimalism to a harrowing, deeply felt symphonic response to ‘fate’ – by way of a brand new violin concerto from Scotland’s foremost contemporary composer: you couldn’t accuse tonight’s season opener of any lack of ambition, or lack of musical diversity.

Adams (b. 1947)

The Chairman Dances (1985)

MacMillan (b.1959)

Violin Concerto No 2 World Premiere

Commissioned by the Scottish Chamber Orchestra, Swedish Chamber Orchestra, the Adam Mickiewicz Institute and the Dallas Symphony Orchestra. (2022) Tchaikovsky (1840-1893)

Symphony No 6 ‘Pathétique’ (1893)

Adagio – Allegro non troppo

Allegro con grazia

Allegro molto vivace Finale: Adagio lamentoso

Though to call The Chairman Dances an example of minimalism would probably raise objections from its composer. As far back as 1981, four years before he wrote his buoyant, bouncy ‘foxtrot for orchestra’, Adams memorably described himself as ‘a minimalist who’s bored with minimalism’. In his earliest pieces, it was just about reasonable to lump him in with fellow US composers Philip Glass and Steve Reich as a trio of radical minimalists, creating music full of repetition, slowly changing textures, and usually consonant, pleasant-sounding harmonies. But very quickly, Adams started to strain against the boundaries, introducing all kinds of new, swiftly developing material into his pieces, to such an extent that some of his more recent works have even been described as ‘maximally minimalist’.

The Chairman Dances, though, neatly encapsulates both these sides of Adams’ musical personality. He describes the piece as an ‘out-take’ from Nixon in China, his first opera, which relates US President Richard Nixon’s 1972 visit to China and the slight thawing of US-Chinese relations as a result. Nixon in China was enormously successful, as well as groundbreaking in its focus on very recent, real-world events, and has been staged across the world since its 1987 premiere at Houston Grand Opera (including its UK premiere at the 1988 Edinburgh International Festival).

In the title of tonight’s piece, though, ‘Dances’ is a verb, not a noun. The Chairman in question is Mao Tse-tung (in the opera, at least – we’d now more likely call him Mao Zedong), and the piece describes a specific fantasy scenario, which Adams later reworked in the opera’s third act. Chiang Ch’ing –whom Adams describes as ‘the fabled “Madame Mao”, firebrand, revolutionary executioner, architect of China’s calamitous Cultural Revolution, and (a fact not universally realised) a former Shanghai movie actress’ – gatecrashes a Presidential banquet, inviting her husband – present only in a gigantic, 40-foot portrait – to dance with her. He dutifully steps down from his picture, and they begin to dance a foxtrot together, remembering their

youthful days on the Long March, dancing to music from a wind-up gramophone.

The Chairman Dances begins with a typically Adams minimalist texture, all chugging rhythms on strings and woodwind, a propulsive bassline and increasingly insistent ‘pings’ from woodwind, piano and percussion. After a couple of gradual build-ups (one of which features an almost exact quotation from Stravinsky’s Symphony in Three Movements in the violins), the texture suddenly clears and the tempo slows for the piece’s sensuous, sultry middle section, complete with soaring, Hollywood-style string melody, mirrored in a ghostly, stratospheric theme on violin harmonics later on.

... to call The Chairman Dances an example of minimalism would probably raise objections from its composer.

John Adams

Adams started to strain against the boundaries, introducing all kinds of new, swiftly developing material into his pieces, to such an extent that some of his more recent works have even been described as ‘maximally minimalist’. The Chairman Dances, though, neatly encapsulates both these sides of Adams’ musical personality.

When the opening music returns, it’s almost like a train slowly picking up speed, but the sensuousness of the middle section soon returns in a joyful rerun of the Hollywood-style melody, now combined with the chugging minimalist textures in a kind of ecstatic union. Suddenly a solo piano takes over, and as the Maos’ gramophone runs down, all that’s left is the crackle of the needle in the groove.

Adams himself playfully suggests that we might associate the piece’s minimalist opening with Mao, and the more ‘seductive, swaying-hips melody’ of its central section with Chiang Ch’ing, adding: ‘You might imagine the piano part at the end being played by Richard Nixon.’

Sir James MacMillan writes about his own Violin Concerto No 2:

My Second Violin Concerto is written in one through-composed movement and is scored for a medium-sized orchestra. It opens with three chords, and the notes which the soloist plays in these (pizzicato) outline a simple theme which is the core ingredient for much of the music. This three-note theme incorporates a couple of wide intervals which provide much of the expressive shape to a lot of the subsequent melodic development throughout the Concerto.

When the soloist eventually plays with the bow, the character of the material sets the mood for much of the free-flowing, yearning quality of the music throughout.

The prevailing slow pulse is punctuated by some faster transitional ideas, and after a metric modulation the second main idea is established on brass and timpani, marked 'alla marcia'. The wide-intervallic leaps in the solo violin part continue to dominate in a passage marked ‘soaring’, even as the music becomes more rhythmic and dance-like.

An obsessive repetitiveness enters the soloist’s material just before the first main climax of the work, where the wind blare out the wide-intervalled theme. The central section of the work is reflective, restrained and melancholic, where the soloist’s part is marked 'dolce', 'desolato' and eventually 'misterioso', hovering over an unsettled, low shimmering in the cellos and basses.

The martial music returns and paves the way for an energetic section based on a series of duets which the violin soloist has with a procession of different instruments in the orchestra – double bass, cello, bassoon, horn, viola, clarinet, trumpet, oboe, flute and violin. After this, we hear the three notes/chords again developed in the wind over a pulsating timpani beat, which sets up the final climax marked 'braying', 'intense' and 'feroce'.

The final recapitulation of the original material provides a soft cushion and backdrop to the soloist’s closing melodic material, marked 'cantabile', before the work ends quietly and serenely.

My Second Violin Concerto is dedicated to Nicola Benedetti and in memoriam

Sir James MacMillan

This three-note theme incorporates a couple of wide intervals which provide much of the expressive shape to a lot of the subsequent melodic development throughout the Concerto.

Few pieces have provoked quite as much speculation and rumour about secret meanings as Tchaikovsky’s Sixth Symphony. Was it a grand musical suicide note, a submission to the inescapable forces of ‘fate’ that he’d struggled with for his whole life, even an admission of his homosexuality, and that it could no longer be tolerated in St Petersburg society?

Krzysztof Penderecki, the great Polish composer who died in 2020.

Few pieces have provoked quite as much speculation and rumour about secret meanings as Tchaikovsky’s Sixth Symphony. Was it a grand musical suicide note, a submission to the inescapable forces of ‘fate’ that he’d struggled with for his whole life, even an admission of his homosexuality, and that it could no longer be tolerated in St Petersburg society?

In many ways, Tchaikovsky has only himself to blame for all this gossip. It was he who famously called it ‘a symphony with a secret programme’ (or story) in a letter to pianist Alexander Ziloti in 1892, also writing to his friend Konstantin Romanov (grandson of Tsar Nicolas I) that ‘I have put my whole soul into this symphony’.

A few days after its premiere, on 28 October 1893, Tchaikovsky contracted cholera. He’d been drinking unboiled water while the disease was circulating in St Petersburg, and by the time he allowed doctors to see him, it was too late.

Some have suggested that his fateful sip was the deliberate act of a depressive, or even that he was forced into suicide by a kangaroo court of St Petersburg bigwigs after a gay affair was discovered. If not, why would he give the Symphony its ‘Pathétique’ moniker?

In fact, the Symphony’s title was his brother Modest’s idea, and the original Russian means something closer to ‘passionate’ or ‘emotional’ rather than simply ‘pathetic’. And in truth, there’s little evidence to back up any of these far-fetched theories.

Pyotr Ilyich Tchaikovsky

Tchaikovsky had suffered depressive episodes throughout his life, but felt that working on the Sixth Symphony had actually raised his spirits. He began an E-flat Symphony (later reworked into his Third Piano Concerto) but abandoned it when he realised it wasn’t what he hoped to express. When he arrived on the ideas for what became the ‘Pathétique’, however, he attacked his work with passion. He’d grappled with ‘fate’ in earlier works, too – most overtly in his Fourth and Fifth symphonies. The only difference here was that Tchaikovsky portrayed fate winning the day, in a revolutionary denial of a conventional triumphant finale that would pave the way for later symphonies by Mahler, Shostakovich and many others.

Rather than conveying a secret story, the true power of the ‘Pathétique’ lies in

its audacious determination to replace the public optimism and joy of earlier symphonies with very private pain and sorrow. Its fundamental battle is launched in the first movement’s collision of hope and despair, energy and agony. Its two central movements serve almost as interludes, the first a lopsided but nonetheless sensual waltz in 5/4 time, the second offering an ironically hollow doppelganger of a conventional triumphant finale (watch out for its notorious false ending – the Symphony’s not over yet). The devastating finale demonstrates Tchaikovsky at his most radical, as the music returns inescapably to its sorrowful opening theme, before simply slipping into silence at its close.

© David Kettle

Rather than conveying a secret story, the true power of the ‘Pathétique’ lies in its audacious determination to replace the public optimism and joy of earlier symphonies with very private pain and sorrow.

Conductor MAXIM EMELYANYCHEV

At the Scottish Chamber Orchestra Maxim Emelyanychev follows in the footsteps of just five previous Principal Conductors in the Orchestra’s 48-year history; Roderick Brydon (1974-1983), Jukka-Pekka Saraste (1987-1991), Ivor Bolton (1994-1996), Joseph Swensen (1996-2005) and Robin Ticciati (2009-2018).

Highlights of his 2021/22 season included debuts with some of the most prestigious international orchestras: Accademia Nazionale di Santa Cecilia, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Deutsches Symphonie-Orchester, Toronto Symphony and Swedish Radio Symphony Orchestra, and returns to the Antwerp Symphony, the Orchestre National du Capitole de Toulouse, the Royal Liverpool Philharmonic and a European tour with the Scottish Chamber Orchestra, followed by appearances to the Radio-France Montpellier Festival and the Edinburgh International Festival.

In 2022/23 Maxim will tour the USA with the Scottish Chamber Orchestra and will make his debut with the Berlin Philharmonic, the New Japan Philharmonic, the Osaka Kansai Philharmonic, the Bergen Philharmonic Orchestra, the Helsinki Radio Symphony Orchestra, the Czech Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra and will return to the Orchestre National du Capitole de Toulouse and to the Royal Opera House in Mozart's Die Zauberflöte.

He regularly collaborates with renowned artists such as Max Emanuel Cenčić, Patrizia Ciofi, Joyce DiDonato, Franco Fagioli, Richard Goode, Sophie Karthäuser, Stephen Hough, Katia and Marielle Labèque, Marie-Nicole Lemieux, Julia Lezhneva, Alexei Lubimov, Riccardo Minasi, Xavier Sabata and Dmitry Sinkovsky.

Maxim is also a highly respected chamber musician. His most recent recording, of Brahms Violin Sonatas with long-time collaborator and friend Aylen Pritchin, was released on Aparté in December 2021 and has attracted outstanding reviews internationally. With the Scottish Chamber Orchestra, Maxim has recorded the Schubert Symphony No 9 – the symphony with which he made his debut with the orchestra – which was released on Linn Records in November 2019.

For full biography please visit sco.org.uk

Violin

NICOLA BENEDETTI

Nicola Benedetti is one of the most sought-after violinists of her generation. Her ability to captivate audiences with her innate musicianship and spirited presence, coupled with her wide appeal as a high-profile advocate for classical music, has made her one of the most influential classical artists of today.

Born in the Scottish town of Irvine, of Italian heritage, Nicola began violin lessons at the age of four with Brenda Smith. In 1997, she entered the Yehudi Menuhin School where she studied with Natasha Boyarskaya. Upon leaving, she continued her studies with Maciej Rakowski and then Pavel Vernikov. In 2004, she won “BBC Young Musician,” launching her career as an international concert violinist.

Nicola enjoys working with the highest level of orchestras including collaborations with the London Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, Leipzig Gewandhausorchester, Frankfurt Radio Symphony, Czech Philharmonic, Budapest Festival Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra and National Symphony Orchestra of Washington DC.

Nicola began her 2022-2023 season with a performance of the Marsalis Violin Concerto with the Royal Scottish National Orchestra at the BBC Proms and Mendelssohn’s Violin Concerto with Kazuki Yamada and the City of Birmingham Symphony Orchestra. Further engagements include the world premiere of James MacMillan’s Violin Concerto with the Scottish Chamber Orchestra, a tour to Japan with the BBC Symphony Orchestra and performances with the Boston Symphony Orchestra, Hallé, DSO Berlin, St Louis Symphony, Netherlands Radio Philharmonic, Gothenburg Symphony and Orchestre de Paris amongst others.

In March 2022, Nicola became the Director Designate of the Edinburgh International Festival, becoming Festival Director on 1 October 2022. In taking the role she will be both the first Scottish and the first female Festival Director since the Festival began in 1947.

For full biography please visit sco.org.uk

Biography

SCOTTISH CHAMBER ORCHESTRA

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 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 is also proud to engage with online audiences across the globe via its innovative Digital Season.

An exciting new chapter for the SCO began in September 2019 with the arrival of dynamic young conductor Maxim Emelyanychev as the Orchestra’s Principal Conductor.

The SCO and Emelyanychev released their first album together (Linn Records) in November 2019 to widespread critical acclaim. The repertoire - Schubert’s Symphony No. 9 in C major ‘The Great’ –is the first symphony Emelyanychev performed with the Orchestra in March 2018.

The SCO also has long-standing associations with many eminent guest conductors including Conductor Emeritus Joseph Swensen, François Leleux, Pekka Kuusisto, Richard Egarr, Andrew Manze and John Storgårds.

The Orchestra 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, Sally Beamish, Martin Suckling, Einojuhani Rautavaara, Karin Rehnqvist, Mark-Anthony Turnage, Nico Muhly, Anna Clyne and Associate Composer Jay Capperauld..

For full biography please visit sco.org.uk

BENEDETTI & EMELYANYCHEV

The Quilter Cheviot Benedetti Series 28-30 Sep, 7.30pm Perth | Edinburgh | Glasgow

THE CREATION 6-7 Oct, 7.30pm Edinburgh | Glasgow

UN:TITLED 29-30 Oct, 7.30pm Edinburgh | Glasgow

FROM DARKNESS TO LIGHT 2-4 Nov, 7.30pm St Andrews | Edinburgh | Glasgow

SCHULDT CONDUCTS SCHUMANN 10-11 Nov, 7.30pm Edinburgh | Glasgow

MAXIM’S BAROQUE INSPIRATIONS

Kindly supported by Donald and Louise MacDonald 24-26 Nov, 7.30pm Edinburgh | Glasgow | Aberdeen

ISRAEL IN EGYPT 1-2 Dec, 7.30pm Edinburgh | Glasgow

FELIX YANIEWICZ AND THE SCOTTISH ENLIGHTENMENT

Co-financed by the Minister of Culture and National Heritage of the Republic of Poland 7-9 Dec, 7.30pm

Dumfries | Edinburgh | Glasgow

YEOL EUM SON PLAYS MOZART 15-16 Dec, 7.30pm Edinburgh | Glasgow

VIENNESE NEW YEAR

1,3,4 Jan, Various times Edinburgh | St Andrews | Ayr

MUSIQUE AMÉRIQUE

Kindly supported by SCO American Development Fund 12-13 Jan, 7.30pm Edinburgh | Glasgow

AN EVENING WITH FRANÇOIS LELEUX

Our Edinburgh concert is sponsored by Institut Français Écosse 19-21 Jan, 7.30pm Edinburgh | Glasgow | Aberdeen

MÖDER DY / MOTHER WAVE

Part of Celtic Connections 2023 26-27 Jan, 7.30pm Edinburgh | Glasgow

MOZART’S FLUTE CONCERTO

15-17 Feb, 7.30pm St Andrews | Edinburgh | Glasgow

MAXIM CONDUCTS BRAHMS 23-24 Feb, 7.30pm Edinburgh | Glasgow

THE DREAM Sponsored by Pulsant 2-4 Mar, 7.30pm Perth | Edinburgh | Glasgow

FOLK INSPIRATIONS

PEKKA

Mar, 7.30pm Edinburgh | Glasgow

ILLUMINATIONS

Mar, 7.30pm St Andrews | Edinburgh | Glasgow

HANDEL:

FOR THE ROYALS

Edinburgh concert is kindly supported by The Usher Family 23-24 Mar, 7.30pm Edinburgh | Glasgow

SYMPHONY

supported by Claire and Mark Urquhart 30 Mar-1 Apr, 7.30pm Edinburgh | Glasgow | Aberdeen

KAREN CARGILL

Apr, 7.30pm St Andrews | Edinburgh | Glasgow

Apr, 7.30pm Edinburgh | Glasgow | Aberdeen

May, 7.30pm Edinburgh | Glasgow

May, 7.30pm Edinburgh | Glasgow

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