Felix Yaniewicz and the Scottish Enlightenment – Season 22/23 – Amended Programme note

FELIX YANIEWICZ AND THE SCOTTISH ENLIGHTENMENT

FELIX YANIEWICZ AND THE SCOTTISH ENLIGHTENMENT

* Please note that this is a change to the previously advertised programme. The SCO is extremely grateful to Mezzo Soprano Tara Erraught for replacing Colin Scobie at very short notice due to unavoidable personal circumstances.

Wednesday 7 December, 7.30pm Easterbrook Hall, Dumfries

Thursday 8 December, 7.30pm The Queen's Hall, Edinburgh

Friday 9 December, 7.30pm City Halls, Glasgow

Mozart Overture, Die Entführung aus dem Serail Giordani Caro Mio Ben* Yaniewicz Go Youth Belov'd* Erskine Overture in C, Op 1 No 2 Mozart Exsultate, jubilate*

Interval of 20 minutes Handel (arr. Mozart) Overture, Alexander’s Feast Giordani (arr. Mackerras) Queen Mary's Lamentation* Traditional (arr. JC Bach) The Broom of Cowdenknows* Haydn Symphony No 100 in G ‘Military’

Peter Whelan Conductor / Harpsichord Tara Erraught Mezzo Soprano*

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Tara Erraught

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WHAT YOU ARE ABOUT TO HEAR

Mozart (1756-1791)

Overture, Die Entführung aus dem Serail (1781–82)

Giordani (c.1730-33-1806) Caro Mio Ben (c.1785)

Yaniewicz (1762-1848) Go Youth Belov'd (c.1803)

Erskine (1732-1781)

Overture in C, Op 1 No 2 (1761)

Mozart (1756-1791)

Exsultate, jubilate (1773)

Allegro Recitative Andante Molto allegro

Handel (1685-1759) arr. Mozart

Overture, Alexander’s Feast (1736)

Giordani (c.1730-33-1806) arr. Mackerras Queen Mary's Lamentation (c.1785)

Traditional arr. JC Bach The Broom of Cowdenknows (Date unknown) Haydn (1732-1809)

Symphony No 100 in G ‘Military’(1794)

Adagio - Allegro Allegretto Minuet - Trio Presto

Welcome to Scotland – or, more specifically, to Edinburgh – about two centuries ago, and to the kind of concert you might well have experienced as a resident of the Scottish capital in one of the several musical events and series that the city hosted at the time.

A few things may strike you as rather different from what we might expect from a 21st-century concert. Tonight’s programme has shorter pieces but more of them, and it opens its arms to traditional music alongside classical pieces of the time. It’s all authentic: this evening’s music is just the kind of repertoire known to have been performed in the early concerts of the very first Edinburgh Musical Festival, held in 1815. And one of the driving forces behind that inaugural festival was the remarkable figure who gives his name to tonight’s concert: Felix Yaniewicz.

Yaniewicz was a violinist, a composer, also later an instrument dealer and an influential impresario, born (as Feliks Janiewicz) in Vilnius, then part of the PolishLithuanian Commonwealth. He first worked at the Polish Royal Chapel in Warsaw, before travelling to Vienna (where he probably met Haydn and Mozart) and then on to Paris, where he was forced to flee the violence of the French Revolution. He ended up virtually a refugee in London, where he made a name for himself as a performer, composer, instrument dealer and eventually co-founder of the Philharmonic Society, later moving via a stop-off in Liverpool to Edinburgh. In the Scottish capital, he found an active music scene already up and running. There had been regular concerts in St Cecilia’s Hall since 1763, and later, competing musical events in Corri’s Rooms (at the top of Broughton Street in the New

Town) and also at the newly built Assembly Rooms on George Street. It was a scene into which Yaniewicz smoothly incorporated himself as a violinist and composer, and also one that he took in new directions, introducing Edinburgh audiences to the newest music of Haydn, Mozart and especially Beethoven.

And it was in Edinburgh that Yaniewicz made what was probably his most distinctive mark, as one of the founding

And one of the driving forces behind that inaugural festival was the remarkable figure who gives his name to tonight’s concert: Felix Yaniewicz.

Felix Yaniewicz

members of the very first Edinburgh Musical Festival, forerunner of today’s gargantuan summer event that takes place across the city. That inaugural festival was held between 30 October and 4 November 1815, involving elaborate morning concerts in the imposing Parliament Hall (bringing together Haydn’s Creation and Handel’s Messiah with Haydn symphonies and violin concertos by Yaniewicz himself) and also wide-ranging orchestral evening concerts directed by Yaniewicz in Corri’s Rooms. Further festivals took place in 1819 and 1824.

It was, of course, a propitious time for such a flowering of musical culture in Scotland. A period of relative peace in Europe had encouraged increased trade and entrepreneurialism (to which Yaniewicz himself was no stranger), leading to an emerging middle class with a little more money than previously, and an eagerness to sample the best that European culture had to offer. In the decades before Yaniewicz’s arrival in Edinburgh, that great outpouring of intellectual, cultural and scientific insight that we now call the Scottish Enlightenment had brought the clubs, taverns, reading rooms and salons of Edinburgh and other cities alive with conversation and debate. Not for nothing had Voltaire written in 1762: ‘Today it is from Scotland that we get rules of taste in all the arts, from epic poetry to gardening.’

So transport yourself back to the cultural hothouse of Scotland at the beginning of the 19th century for tonight’s concert, which brings together music that audiences of the time would have known and loved, as well as a few strains of their nation’s own traditional music – and serves to demonstrate the rich musical connections between Scotland, Britain and the rest of Europe at the time.

An abiding admiration for the music of Wolfgang Amadeus Mozart unites Scotland in the early 19th century and the same nation two centuries later – and Mozart’s music, of course, has also played a prominent role in the Scottish Chamber Orchestra’s own almost five-decade history. It was in 1781 that Mozart moved permanently from his birth city of Salzburg, frustrated by the lack of recognition he was receiving there, to the bright lights of Vienna. Just the following year he wrote and premiered his exotic orientalist opera (or, more correctly, Singspiel) Die Entführung aus dem Serail (or ‘The Abduction from the Seraglio’), whose Overture opens tonight’s concert. (Three years later, in 1785, Felix Yaniewicz himself would also be in the musical maelstrom of the Austrian capital, and more than aware of Mozart’s fame and achievements.)

And despite resistance from the cast and staff at the premiere’s venue of Vienna’s Burgtheater, who mistrusted this big-forhis-boots new boy in town, Die Entführung went down a storm, proving one of the biggest successes of Mozart’s life. Part of its popularity, no doubt, came down to a Viennese fascination with the Orient, in this case far-flung Turkey, the setting for the opera’s storyline of the beautiful Konstanze abducted by pirates and sold into a Turkish harem, from where her lover Belmonte tries to rescue her.

Viennese listeners in 1782 would have been in no doubt as to the opera’s location right from the Overture’s opening moments, thanks to Mozart’s rousing ‘Turkish’ percussion (which we’ll return to in tonight’s closing piece). His triangle, cymbals and bass drums – associated with the Janissary bands that accompanied officials from the Ottoman Empire – are

sure to have summoned listeners’ attention as the Overture’s stomping opening theme undergoes all manner of intricate musical transformations. After a more sober central section, the opening music returns to bring the Overture to an exciting, raucous conclusion.

There’s been some confusion as to the composer of tonight’s next piece. The elegant concert aria ‘Caro mio ben’, to a text by an unknown author, has sometimes been ascribed to Giuseppe Giordani, but it’s now generally accepted to be the work of the man who was probably his elder brother, Tommaso Giordani. It’s a touching love song, addressed to a ‘dear beloved’, and characterised by a poignant sense of restraint and elegance.

More specifically relevant to tonight’s concert, however, is the background of

the song’s composer, which, like that of Felix Yaniewicz, highlights the travels undertaken by European musicians, and the richness they brought to the musical culture of the British Isles. Though born in Naples around 1730, Tommaso Giordani moved with his musical famly – via long European travels that took in Graz, Salzburg, Frankfurt, Amsterdam and Paris –to London in 1752. From there, he travelled on further to Dublin, where he composed, performed and taught (among his pupils was one John Field, inventor of the piano nocture, and a formative influence on Frédéric Chopin).

‘Caro mio ben’ is followed by Yaniewicz’s own ‘Go Youth Belov’d’, another poignant song of love and loss, probably composed around 1810 while Yaniewicz was living in Liverpool, and with a text by the respected Norwichborn novelist and poet Amelia Opie.

From London, Dublin and Liverpool, we bring 19th-century Scottish listeners far closer to home – to Kellie in Fife, to be specific – in tonight’s next piece. Thomas Erskine, the sixth Earl of Kellie, was a remarkable, larger-than-life figure, as renowned for his exceptional music making as he was notorious for his rakish lifestyle and apparently unstoppable consumption of alcohol. After early studies in Edinburgh, he hotfooted it across the Channel around 1752 to Mannheim, then one of the European musical hotspots, and home to one of the continent’s most celebrated orchestras, where he studied with the illustrious Johann Stamitz. Erskine also picked up many of the Mannheim orchestra’s famed performance tricks – its swelling crescendos; its accented, forceful playing; its fierce sense of contrast and drama – and swiftly incorporated them into

Wolfgang Amadeus Mozart

his own music, not least the Overture in C that you hear tonight.

It’s one of six overtures that Erskine published in 1761 in Edinburgh, where he was later active in the Edinburgh Musical Society’s concerts at St Cecilia’s Hall. The Overture in C is effectively an early form of what we’d today call a symphony, though on a more miniature scale than those that would soon be created by Mozart and Haydn (as we’ll hear later in tonight’s concert). So-called ‘Mannheim crescendos’ can be heard swelling throughout the Overture’s bold, confident opening movement, which Erskine follows with a graceful, dance-like slow movement with a twisting melody. His finale is a dashing minuet, full of stomping rhythms and birdsong-like trills passed between the violins.

Erskine was a prolific composer, apparently able to create music at the drop of a hat, but surprisingly few of his works survive today: he’s known to have simply given the scores of many away to friends and acquaintances during drunken nights out, with little thought as to where they’d end up.

We return to Mozart for the closing piece in the first half of tonight’s concert. But we find him as a 16-year-old, still resident in his birth city of Salzburg, and taking a sojourn in Milan in December 1772 with his father, for the premiere of his opera Lucio Silla. So impressed was the young composer with the talents of the Italian castrato Venenzio Rauzzini in one of the opera’s central roles (‘He sang like an angel,’ Mozart wrote) that shortly after, he wrote the solo motet Exsultate, jubilate for Rauzzini to demonstrate his talents even further. The castrato premiered it in Milan’s

Church of San Antonio on 17 January 1773, just a few days before Mozart’s 17th birthday.

And despite the sense of ecclesiastical restraint in some of Exsultate, jubilate’s music – its bustling, optimistic introduction, for example, or the elegant flow of its expressive slower section – Mozart clearly couldn’t contain his compositional flamboyance in his sparkling closing ‘Alleluja’, where the glamour and spectacle of the opera house are clearly in evidence.

Rauzzini, incidentally, is another in our growing cast of musical émigrés guiding and enriching British music. He moved to England in 1777, establishing himself as a successful performer, impresario and teacher in Bath (among his pupils were Nancy Storace and Michael Kelly, both of whom would go on to work with Mozart

Thomas Erskine, the sixth Earl of Kellie

in Vienna). Rauzzini even received a visit from Joseph Haydn in 1794, during the composer’s second trip to England, the same jaunt that saw the unveiling of tonight’s closing piece.

Mozart returns again – though as arranger rather than strictly as composer – to begin the concert’s second half. George Frideric Handel had unveiled his musical ode Alexander’s Feast at London’s Covent Garden in February 1736, and it had been an immediate and long-lasting success: it’s even with a score of the piece that the composer was depicted in a statue erected in Vauxhall Gardens two years later. Setting a text by John Dryden, the work is a celebration of the power of music, though perhaps not in such a positive way. It tells of Alexander the Great and his lover Thaïs in the captured city of Persepolis following Alexander’s conquest of Persia, where his court musician Timotheus

so influences the conqueror’s emotions with his singing that Alexander is inspired to burn the city down to avenge the deaths of his Greek soldiers.

Five decades later, Alexander’s Feast was one of four Handel works that Mozart was asked to cast his eye over between 1788 and 1791, by the diplomat and great supporter of the arts Baron Gottfried van Swieten. At an earlier posting in London, van Swieten had grown to love Handel’s music, and on his return to Vienna in 1777, he formed a private society for musical performance. He asked Mozart to be its conductor, and it was for this ensemble that the composer made arrangements of Handel’s Acis and Galatea, Messiah, Ode for St Cecilia’s Day and Alexander’s Feast so that they satisfied the tastes of the time. In the case of the stirring Overture from Alexander’s Feast that begins tonight’s concert, Mozart added

flutes,

Mozart added flutes, bassoons and horns to enrich Handel’s original orchestration, something that’s especially apparent in the dashing faster section that follows the Overture’s stately introduction.

George Frideric Handel

bassoons and horns to enrich Handel’s original orchestration, something that’s especially apparent in the dashing faster section that follows the Overture’s stately introduction.

We turn to Scottish traditional music for tonight’s next two pieces. As with ‘Caro mio ben’ heard earlier, there’s been a fair bit of confusion around ‘Queen Mary’s Lamentation’, long thought to use words by Mary, Queen of Scots set to a traditional Scottish tune. And though its published score of 1783 claims the song was arranged by Tommaso Giordani, it’s now considered more likely to have been an original composition of his. In any case, its touchingly tender melody proves the ideal vehicle for the longing for freedom conveyed in the text, and it’s gone on to find a home among Scottish traditional tunes, whatever its true origins.

‘Queen Mary’s Lamentation’ was another favourite song of superstar castrato Giusto Ferdinando Tenducci, whom we heard about earlier, as was ‘The Broom of Cowdenknowes’, a bittersweet Borders ballad in which a shepherdess remembers happier times tending sheep with her lover. It was given an elegant arrangement for Tenducci by Johann Christian Bach, son of JS Bach. Like Handel, JC lived for much of his life in London, where he became music master to Queen Charlotte, wife of George III, as well as composing several successful operas for the King’s Theatre, and directing his own symphonies and concertos in the Hanover Square Rooms.

Tonight’s concert comes to a colourful close with another piece that has strong British connections. By the time he wrote his ‘Military’ Symphony, No 100, in 1793-4, Joseph Haydn was in his early 60s, and had

spent almost 30 years in the employment of the fabulously wealthy Esterházy family, much of that time in the lavish but rather isolated Eszterháza Palace. During those decades, he’d used the court’s resident musicians to the fullest, virtually inventing the modern symphony and string quartet as musical forms, and developing his clean, clear, elegant and mischievously witty musical style across operas, chamber music and plenty more.

But equally, he felt he needed to stretch his wings. In 1790, at the age of 58, he found his chance. The incoming Prince Anton looked to trim back his artistic outgoings, still guaranteeing an on-going salary for Haydn, but no longer requiring the musician’s permanent presence at court. The composer’s music was already wildly popular among London audiences, and German-born, London-based impresario Johann Peter Salomon snapped him up for two visits to England, the first in 1791-2, and the second in 1794-5. Both went down a storm, so much so that Haydn reportedly even considered settling permanently in the English capital (and was explicitly invited to do so by George III, no less).

He hobnobbed with royalty and the aristocracy, was fêted at high-society occasions, and even received an honorary doctorate in Oxford (which provided his ‘Oxford’ Symphony, No 92, with its nickname). Haydn’s ‘Surprise’ Symphony, No 94, had been the big hit of his first visit to London, and he was keen to follow it up with something similar on his second trip.

His ‘Military’ Symphony was his solution –and it went down a storm at its premiere in March 1794 in the Hanover Square Rooms (also home to JC Bach’s orchestral

Franz Joseph Haydn

concerts). Rather than indicating any particular wartime references, however, the Symphony’s ‘Military’ connections are purely musical: Haydn adds to his orchestra a battery of ‘Turkish’ percussion instruments –triangle, cymbals and bass drum, those same instruments that Mozart employed in the Overture that kicked off tonight’s concert.

At first hearing, it might sound like Haydn is launching his ‘Military’ Symphony with a lyrical slow movement, though his opening music is quickly revealed as an increasingly imposing slow introduction to the movement’s main faster section, kicked off by unaccompanied flutes and oboes. Haydn lets loose his ‘Turkish’ percussion in his second movement – traditionally the location of a symphony’s calmest, sweetest music, but here transformed into almost a depiction of battle, as a simple, folklike theme is interrupted by increasingly

raucous eruptions of percussion. A review of the Symphony’s premiere by the London Morning Chronicle sums up what was perhaps Haydn’s intent: ‘It is the advancing to battle; and the march of men, the sounding of the charge, the thundering of the onset, the clash of arms, the groans of the wounded, and what may well be called the hellish roar of war increase to a climax of horrid sublimity! which, if others can conceive, he alone can execute; at least he alone hitherto has affected these wonders.’

Haydn’s third movement is a courtly minuet, though it conceals a surprisingly outspoken military outburst in its gentle central trio section. A scampering violin theme launches his dashing finale, and Haydn brings back his ‘Turkish’ percussion again for the Symphony’s exuberant, roof-raising conclusion.

© David Kettle

Rather than indicating any particular wartime references, however, the Symphony’s ‘Military’ connections are purely musical

LIBRETTI

Giordani (c.1730-33-1806)

Caro Mio Ben (c.1785)

Caro mio ben, Credimi almen, Senza di te Languisce il cor.

Il tuo fedel Sospira ognor. Cessa, crudel, Tanto rigor!

Yaniewicz (1762-1848)

Go Youth Belov'd (c.1803)

Go Youth belov’d in distant glades

New friends, new hopes, new joys to find: Yet sometimes deign midst fairer maids, To think on her thou leav’st behind.

Thy love, thy fate, thy fate, thy love dear Youth to share, must never be my happy lot.

But thou may’st grant this humble pray’r, Forget me not, forget me not, Forget me not, forget me not.

Yet should the thought of my distress

Too painful to thy feelings be: Heed not the wish I now express, Nor ever deign to think of me.

But Oh! If grief thy steps attend. If want, if want and sickness be thy lot. And thou require a soothing friend. Forget me not, forget me not, Forget me not, forget me not.

Thou, all my bliss, Believe but this: When thou art far My heart is lorn. Thy lover true Ever doth sigh; Do but forgo Such cruel scorn!

Mozart (1756-1791)

Exsultate, jubilate (1773)

Exsultate, jubilate, o vos animae beatae! Dulcia cantica canendo, cantui vestro respondendo, psallant aethera cum me.

Fulget amica dies, iam fugere et nubila et procellae; exortus est justis inexspectata quies.

Undique obscura regnabat nox; surgite tandem laeti, qui timuistis adhuc, et jucundi aurorae fortunatae frondes dextera plena et lilia date.

Tu, virginum corona, tu nobis pacem dona. Tu consolare affectus, unde suspirat cor.

Alleluja.

Rejoice, resound with joy, o you blessed souls, singing sweet songs, In response to your singing let the heavens sing forth with me.

The friendly day shines forth, both clouds and storms have fled now; for the righteous there has arisen an unexpected calm. Dark night reigned everywhere [before]; arise, happy at last, you who feared till now, and joyful for this lucky dawn, give garlands and lilies with full right hand.

You, o crown of virgins, grant us peace, Console our feelings, from which our hearts sigh.

Alleluia.

Giordani (c.1730-33-1806) arr. Mackerras

Queen Mary's Lamentation (c.1785)

I sigh and lament me in vain, These walls can but echo my moan; Alas, it increases my pain

When I think of the days that are gone. Thro' the gate of my prison I see The birds as they wanton in air; My heart how it pants to be free, My looks they are wild with despair.

Above, tho' opprest by my fate, I burn with contempt for my foes; Tho' fortune has altered my state She ne'er can subdue me to those; False woman, in ages to come Thy malice detested shall be, And when we are cold in the tomb Some heart still will sorrow for me.

Ye roofs, where cold damps and dismay With silence and solitude dwell; How comfortless passes the day, How sad tolls the evening bell. The owls from the battlements cry, Hollow winds seem to murmur around "O Mary, prepare thee to die", My blood it runs cold at the sound.

Traditional arr. JC Bach

The Broom of Cowdenknows (Date unknown)

How blyth was I each Morn to see My Swain come o’er the Hill. He leap’d the Brook and flew to me; I met him with good will.

O the Broom, the bonny, bonny Broom, The Broom of the Cowdenknows; I wish I were with my dear Swain, With his Pipe and my Ewes. O the Broom, the bonny, bonny Broom.

I neither wanted Ewe nor Lamb, When his Flocks around me lay; He gather’d in my Sheep at Night, And cheer’d me all the Day.

O the Broom etc.

Hard fate that I must banish’d be, Gang heavily and mourn; Because I lov’d the kindest Swain That ever yet was born.

O the Broom etc.

ROBERT CRAWFORD

Conductor / Harpsichord

PETER WHELAN

Irish-born Peter Whelan is among the most exciting and versatile exponents of historical performance of his generation, with a remarkable career as a conductor, keyboardist and solo bassoonist. He is Artistic Director of the Irish Baroque Orchestra and founding Artistic Director of Ensemble Marsyas. Recent engagements have included appearances with The English Concert, Scottish Chamber Orchestra, Orchestre de Chambre du Luxembourg, RTÉ National Symphony Orchestra of Ireland, Ulster Orchestra, and the Academy of Ancient Music.

As conductor, Peter has a particular passion for exploring and championing neglected music from the Baroque era. Recent projects funded by The Arts Council (Ireland) and Creative Scotland involved recreating and staging live performances of choral and symphonic music from eighteenth-century Dublin and Edinburgh. This led to his award-winning disc ‘Edinburgh 1742’ for Linn Records and his 2017 reconstruction of the ‘Irish State Musick’ in its original venue of Dublin Castle.

Peter began 2022 with a co-production between Irish National Opera and the Royal Opera House. Performances of Vivaldi’s Bajazet took place throughout Ireland in January, and at London’s Royal Opera House in February; for these, he and the Irish Baroque Orchestra won an Olivier Award for Outstanding Achievement in Opera. This season also sees Peter conduct Beethoven Orchester Bonn, BBC Scottish Symphony Orchestra and Lahti Symphony Orchestra as well as the SCO.

As founding Artistic Director of Ensemble Marsyas, Peter has performed at Edinburgh International, Lammermuir, Göttingen Handel, Kilkenny Arts, Tetbury, Bath and Great Music in Irish Houses festivals. During their 2020 Wigmore Hall residency, The Telegraph described Ensemble Marsyas as ‘very possibly this country’s finest period group – led by Peter Whelan, they perform with wonderful élan, transmitting their total enjoyment’. Ensemble Marsyas has an impressive and award-winning discography with its disc of Barsanti (Linn Records) being named Editor’s Choice in Gramophone Magazine in 2017 and ‘Recording of the Year’ in MusicWeb International 2017, as well as reaching second place in the Official UK Specialist Classical Chart.

Mezzo Soprano

TARA ERRAUGHT

Tara Erraught is one of the leading international singers, whose varied repertoire ranges from Baroque to Mozart, the Belcanto repertoire, Romanticism to contemporary music.

The 2022/23 season begins for Tara Erraught with Donna Elvira (Don Giovanni) at the Vienna State Opera under the direction of Philippe Jordan. At Berlin State Opera she will sing Rosina (Il Barbiere di Siviglia). Two important role debuts are pending at the Hamburg State Opera: First Fiordiligi (Cosi fan tutte) followed by Alice Ford (Falstaff). She will return to the Bavarian State Opera as Komponist (Ariadne auf Naxos). Under the baton of Eun Sun Kim, the artist will appear in Beethoven's 9th symphony in Duisburg.

Important commitments in the past seasons include Nicklausse in Offenbach's Tales of Hoffmann and Hansel at the Metropolitan Opera New York, Stéphano in Romeo et Juliette at Liceu Barcelona, Angelina in Cenerentola at the Munich Opera Festival and Annius in Mozart's Clemenza di Tito alongside Joyce DiDonato and Rolando Villazon under Yannick Nézet-Séguin in the Festspielhaus Baden-Baden. At the Bavarian State Opera she appeared as Susanna (Nozze di Figaro), Hansel, Despina, Orlofsky, Sesto, Romeo, as Kathleen Scott in the successful world premiere of Srnka's opera South Pole. She made her celebrated US debut as Angelina at the Washington National Opera, guested as Rosina and Angelina at the Hamburg State Opera, sang the world premiere of Iain Bell's A Harlot's Progress at the Theater an der Wien and made her role debut as Octavian in Rosenkavalier at the Glyndebourne Festival and at the BBC Proms. At the Vienna State Opera she was not only Rosina but also successful as Angelina in the new production of La Cenerentola and was celebrated as the “New Belcanto Queen” by the Frankfurter Allgemeine Zeitung. At the 2016 Salzburg Festival she made her debut as Siebel in Gounod's Faust. Her Octavian in Richard Strauss’ Rosenkavalier has been released on DVD by Opus Arte.

Born in Dundalk, Ireland, Tara Erraught graduated from the Royal Irish Academy of Music in Dublin. From 2008 she was a member of the opera studio of the Bavarian State Opera, from 2010 to 2018 she was a member of the ensemble. Tara Erraught works regularly with Brigitte Fassbaender on her song and opera repertoire. 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

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For more information on how you can become a regular donor, please get in touch with Mary Clayton on 0131 478 8369 or email mary.clayton@sco.org.uk.

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