news SCO news|xx
AIMING TO INSPIRE AND CONNECT WITH PEOPLE OF ALL AGES
www.sco.org.uk | Issue 62 | October 2015
The
FACE
Brahms
Search, celebrate and be moved by this extraordinary character
Also inside: New Leader | The Maiden in the Tower | NLS Events
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CONTENTS
Issue 62 | October 2015
8 14
10 Regulars
COVER
3 Foreword 4 SCO news 8 60 second interview 9 Recent Recordings 15 Your Orchestra, Your Say
10 From fresh-faced youth to bearded prophet
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Other 14 The Maiden in the Tower
4 Royal Terrace Edinburgh EH7 5AB telephone: 0131 557 6800 email: info@sco.org.uk www.sco.org.uk
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The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039 Company registration No. SC75079
It’s hard nowadays to picture Brahms other than as a bearded patriarch, stern guardian of the German instrumental tradition. For many, he is the composer who upheld the values of abstract music in the face of ruinous harmonic experimentation, bombast and passing fashion. Dr Martin Ennis explains why Brahms and the SCO are an ideal match.
Core funded by
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Foreword Your Orchestra
Roy McEwan
Welcome to our new Season and our new look SCO News A five year quest to seek out a new leader for the Orchestra has finally been fulfilled. It has taken some time but we are excited to introduce Stephanie Gonley and I am sure you will enjoy hearing her lead the Orchestra. Away from the stage we are so grateful to our growing family of Patrons who find joy in supporting the SCO. This Season we are also proud to be developing our relationship with Baillie Gifford though their sponsorship of The Brahms Series with our Principal Conductor Robin Ticciati. And we welcome Quilter Cheviot who are supporting the arrival of the highly charismatic
Emmanuel Krivine as Principal Guest Conductor. Welcome to all our new and returning subscribers for the 2015/16 Season. If this is your first copy of SCO News, I hope you start to deepen your knowledge of our players, find out about our new recordings and enjoy Dr Martin Ennis’ highly informative background to Johannes Brahms – a composer we are immersing ourselves in this Season through his symphonies and Requiem. This is a momentous year for our Chorus as we celebrate their 25th Anniversary. Chorus Director Gregory Batsleer
is doing a fantastic job in developing its activities and we are pleased to be bringing on more young singers through our Scholarships Programme. Their concert at Greyfriars Kirk in December will be a great opportunity to really appreciate the high quality of their singing. I hope you enjoy reading our news and, as always, we encourage you to give us any feedback you may have. Best wishes to you all
Roy McEwan Chief Executive
AIMING TO INSPIRE AND CONNECT WITH PEOPLE OF ALL AGES
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SCO NEWS
Stephanie Gonley
Stephanie Gonley announced as SCO Leader –––––– We are delighted to welcome British violinist Stephanie Gonley as our new leader.
Principal Conducter Robin Ticciati on the podium, she leads Brahms Symphony No 3 and Ein deutsches Requiem as well as recording sessions of volume 2 of Haydn Symphonies (see page 9 for details of volume 1).
Stephanie will lead eight weeks of concerts in the coming 2015/16 Season, including Handel’s Theodora and Bach’s Magnificat both directed by Richard Egarr, two concerts with Principal Guest Conductor Emmanuel Krivine, New Year in Vienna directed by Joseph Swensen and our Family Concert, The Crocodiamond. With our
Assistant leader Ruth Crouch said, “I am really looking forward to working with Stephanie. She brings an enormous amount of experience to the SCO in all repertoires and styles. She is a very versatile musician, having done a lot of solo work and chamber music, as well as orchestral leading. She leads
by example in a collaborative, unfussy way and I love sitting next to her.” –––––– Stephanie will share her time leading the English Chamber Orchestra. We plan to appoint a further leader in the near future.
She leads by example in a collaborative, unfussy way and I love sitting next to her
Duelling soloists return –––––– Chamber Sundays –––––– Chamber Sundays provide you with an opportunity to experience the talents of individuals and smaller ensembles from within the SCO. For the first Chamber Sunday on 15 November 2015, celebrated SCO clarinettists Maximiliano Martín and William Stafford are joined by pianist Scott Mitchell to perform some rarities of 19th century repertoire. Ponchielli’s graceful Il convegno (‘The meeting’) matches operatic virtuosity with beguiling melodies, while the two brief, witty Konzertstücke by the young Felix Mendelssohn are
Alec Frank-Gemmill and William Stafford
hugely enjoyable showpieces. Scotsman reviewer Ken Walton described Maxi and William as “brilliantly duelling soloists” in a performance of the same works with the Orchestra at Paisley Abbey in May. After the interval, SCO Conductor Emeritus and virtuoso violinist Joseph Swensen leads an ensemble of SCO string principals
Save the Date –––––
Supporters’ Concerts 2016 Each year we provide a free concert as a thank you for your ongoing support as an SCO Subscriber or Patron. Each concert lasts an hour, after which refreshments are served. Please note the new date for the Edinburgh concert. –––––– St Andrews Younger Hall 11am, Saturday 20 February 2016 Edinburgh Queen’s Hall 11am, Saturday 27 February 2016 Aberdeen Queen’s Cross Church 2.30pm, Saturday 12 March 2016 Glasgow City Halls 11am, Saturday 16 April 2016 Please add your local date to your diary! If you can’t make your local date, please get in touch as there might be space at one of the other concerts.
and visiting guests in the tender lyricism of Brahms’ richly romantic First String Sextet. –––––– The concert takes place at 3pm in the relaxed, intimate surroundings of Edinburgh’s Queen’s Hall, and the interval gives you a chance to sample the café’s tea, coffee and cakes. Silver and Gold Patrons are invited to an exclusive reception after the concert. Tickets are £13 (£11 concessions, £6 U26, U16 Free) and are available from the Queen’s Hall Box Office www.thequeenshall.net 0131 668 2019
awards –––––– Congratulations to our former Principal Cello David Watkin on winning a Gramophone Award for his recording of Bach Cello Suites. Well done also to SCO Violinist Robert McFall for winning the Hands Up for Trad Ignition Award.
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Explore our touring history online –––––– Have you seen the new SCO website? Take a look at Our Touring History to explore a map of all the different countries and venues the Orchestra has toured to over the last 41 years. –––––– Follow our journey at www.sco.org. uk/about-sco/our-touring-history
NLS PARTNERSHIP
Our Touring History on the new SCO website
Win £250 ––––––
250 SOCIETY Please join us in congratulating recent winners of our 250 Society draw who each won £250. May – Frank Hitchman June – Paul & Ruth Maxwell July – John & Audrey Peutherer August – Peter & Mary Swarbrick September – William Duthie It costs just £5 a month to become a member of the SCO’s 250 Society and be in with a chance of winning a monthly prize of £250. All proceeds go towards funding the work of SCO Connect. To join, simply download the SCO 250 Society membership form at www.sco.org.uk/support-us or contact Adam James on 0131 478 8344.
–––––– Wider Connections –––––– A series of free early evening events presented by violinist and
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journalist Rosenna East and produced in partnership with the National Library of Scotland. Rosenna and invited guests discuss ideas and connections around SCO main season concert programmes, drawing on materials from NLS collections and featuring live music. FOLKLORE AND FAIRY TALES –––––– Tuesday 13 October 2015, 6pm (linked to SCO concert Thursday 29 October - The Maiden in the Tower 28-30 Oct) –––––– Discover the folklore and fairytales that inspired Sibelius’ only opera, The Maiden in the Tower, explore the themes
that influenced Sibelius and the continuing effect of Finnish culture on contemporary composer Lotta Wennäkoski. EXPLORING BACH –––––– Tuesday 8 December 2015, 6pm (linked to SCO concert Thursday 10 December - Generations Of Bach 9-11 Dec) –––––– Examine the lives and music of the Bach family and discover new perspectives and insights into this musical dynasty. IMPRESSIONIST MOVEMENT –––––– Tuesday 12 January 2016, 6pm (linked to SCO Chamber concert
SCO VIBE at the Ross Bandstand
Sunday 17 January 2016) –––––– Explore the effect of the Impressionist movement on the musical output of Ravel and Debussy, the Impressionist interest in Japonisme and the work of contemporary Japanese composer Toru Takemitsu. –––––– Tickets FREE –––––– National Library of Scotland George IV Bridge, Edinburgh EH1 1EW - www.nls.uk/events
Virgin Money Fireworks Concert –––––– Members of SCO Vibe performed some of their own fantastic compositions in front of 1600 Edinburgh school pupils at the Ross Theatre in Princes Street Gardens, in the late summer sunshine on the day of the Virgin Money Fireworks Concert. This Schools Concert, jointly organised by EIF and SCO Connect also featured the Edinburgh Secondary Schools Orchestra. SCO Vibe is a fusion orchestra led by internationally renowned animateur and guitarist Paul Griffiths, open to young musicians aged 11-18.
(c) Euan Robertson 2015
Check out the photos on Facebook. –––––– https://www.facebook.com/ scottishchamberorchestra
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60
Welcome! –––––– Welcome to Marciana Buta as the Orchestra’s new First Violin sitting No 3. Hailing originally from Romania, Marciana (known affectionately as Marci) came to the UK in 2001 to study at Wells Cathedral School on a full bursary. Between 1999-2001, she won the annual national Romanian Solo competition three times and, since the age of seven, was invited to give annual solo concerto appearances with the Arad Philharmonic Orchestra in Romania. In 2006 she began her studies at the Royal Academy of Music in London with Mateja Marinković, having been offered full scholarships for both her BMus and Masters Degrees. She has toured Norway, Poland, Italy, Switzerland, China and Kazakhstan as a soloist and as a chamber musician
Marciana Buta
SECOND INTERVIEW STEPHANIE GONLEY What do you enjoy about being part of a chamber orchestra? How is it different from playing with a symphony orchestra? Chamber music is very important to me and being part of a chamber orchestra is a natural extension of that. I love the subtle attention to detail that comes with a smaller group. With symphony orchestra playing the emphasis is often on the big picture, which can also be fantastic to be a part of. In terms of repertoire, the satisfaction is immense with both genres. Do you have a favourite work for the violin? At the moment it’s possibly the Bach Solo Sonata in C. Did you ever consider playing a different instrument or was it always violin? I started playing the violin at age 6. Actually I much preferred both the cello and the piano, but certain circumstances led to my becoming a violinist. It turned out to be the right instrument for me, but I still regret not developing my piano playing as well. What are you looking forward to in working with the SCO? I’m very excited about the Brahms project this season. I’m also enormously looking forward to doing Theodora with Richard Egarr. You will be leading some of The Brahms Series concerts. What do you enjoy about working with Robin Ticciati? Robin is such a creative musician – his freshness and originality inspire me to be more daring in my own approach. He challenges both musicians and audience to imagine music in new ways
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Recent Recordings Mozart Arias and Overtures With Elizabeth Watts, Soprano and Christian Baldini, Conductor Released in June 2015, this album has picked up several top accolades including Classic FM Disc of the Week and BBC Music Magazine Disc of the Month. Journalist Rebecca Franks caught up with Elizabeth Watts to discuss the album. An overture and aria CD is a simple but clever idea. How did it come about? That was all Christian Baldini and the Scottish Chamber Orchestra. It was already a project before I was on board. But I wanted to record arias that I had done the full roles of before, so those were the top priorities, and then there were things that were just wonderful arias, Iike Servilia’s ‘Per pietà’ from La clemenza di Tito. The overtures are small portraits of the entire
operas; they are like lockets containing miniatures of Mozart. Did he ever write a duffer? I’m not sure. He’s not like Beethoven in that sense, though they are both gods. When I first heard the ‘Eroica’ I went crazy about Beethoven’s symphonies. Sadly songs weren’t his forte, although Fidelio is one of the finest operas.
a great technique, reproduce the Classical style in a truthful way, and bring through the characters. Mozart writes characters brilliantly. Sometimes you have to do even more in a recording session as you haven’t got the visuals. You have to really go for it. All the characters on this disc are fascinating. I’ve done Susanna a lot: I never tire of Figaro. And I find the same with Fiordiligi and Zerlina. I’ve never sung Ilia on stage, which I would love to do. And I’m singing my first Countess in February with Welsh National Opera, which is moving on to a bigger role, so we’ll see how that progresses
What qualities make a good Mozart singer? You always have to sing with
–––––– The full interview was printed in the September issue of BBC Music Magazine.
out now ––––– …cleverly chosen and done with such brimming fizz and fun The Observer The SCO revel in the brio, dash and pathos of this life-enhancing music. The Sunday Times
fresh and exciting… Haydn Symphonies Nos. 31, 70 & 101 with Robin Ticciati
Classic FM Disc of the Week
––––– Available from the SCO merchandise desk or shop.sco.org.uk £12
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From fresh-faced youth to bearded prophet Dr Martin Ennis explains why Brahms and the SCO are an ideal match It’s hard nowadays to picture Brahms other than as a bearded patriarch, stern guardian of the German instrumental tradition. For many, he is the composer who upheld the values of abstract music in the face of ruinous harmonic experimentation, bombast and passing fashion. Each age, however, constructs its own image of a composer, and so it was with Brahms. His early works were seen as challenging, in content as much as in technique, and the public was slow to warm to them. In the article that launched Brahms’ career – ‘Neue Bahnen’ (New
Paths; 1853) – Robert Schumann hailed a Messiah for German music, whose passage through the world, like Christ’s, would not be easy. Brahms was trained in the ‘the most difficult aspects of his art’; ‘wounds,’ Schumann foretold, ‘might well await him’. Brahms had arrived at Schumann’s door a virtual unknown, and the older composer’s encomium undoubtedly gave his career an initial boost. Yet he struggled to find publishers for his more demanding pieces. Brahms’ description of his Cello Sonata Op 38 as ‘easy’ in a letter to one publisher could be read as a composer’s unrealistic assessment of his own work; it’s more likely, however, that he was willing to use any ruse to place his music before an indifferent public. As time went on, as the freshfaced youth was replaced by the bearded prophet, Brahms was embraced by audiences. It wasn’t until the success of Ein deutsches
How could this most conservative of composers possibly be described as progressive? Requiem (1868) that his music started to gain global traction; however, works that we now take as staples were often seen as problematic, even by members of Brahms’ own circle. On hearing a piano-duo version of the Fourth Symphony (1885) Eduard Hanslick, probably Brahms’ greatest apologist, remarked: ‘I felt as if I was being thrashed by two clever men’. Antagonists such as Hugo Wolf interpreted Brahms’ careful compositional crafting as a fundamental lack of imagination: ‘his entire output is one great variation on the works of Beethoven, Mendelssohn and
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Schumann’, Wolf snorted. Though such comments reflect the bitter dispute that raged between the so-called New Germans and the traditionalists, for whom Brahms had become a figurehead, they also contain a streak of envy. By the end of his life – especially after the deaths of Wagner (1883) and Liszt (1886) – Brahms reigned alone. As Wolf put it, ‘no singer, no violinist, no pianist, not a single orchestral society dares stage a concert without at least one work by Brahms’. It wasn’t just performers who felt Brahms’ ubiquity. Writing in 1912, Walter Niemann identified fifty composers of piano music who were clearly under his influence. Hugo Leichentritt went further, claiming that ‘from about 1880 all chamber music in Germany [was] in some way indebted to Brahms’. Even for an admirer like Max Reger, Brahms had become a sort of stifling ‘fog’. A reaction was inevitable, and by the inter-war period Brahms’ music was so passé that few could see its radical
“The SCO is ideally placed to deliver fresh perspectives on Brahms”
facets. So, when Schoenberg gave a centenary address in 1933 entitled ‘Brahms the Progressive’, it was largely assumed he had taken leave of his senses. How could this most conservative of composers possibly be described as progressive? Schoenberg’s was a voice in the wilderness; Germany in 1933 had no interest in the rantings of an iconoclastic Jew. What’s more, the Nazis had little taste for Brahms, whom they suspected of Jewish ancestry. (Was ‘Brahms’ a corruption of ‘Abrahamsohn’?) So, it wasn’t until the post-war period that Schoenberg’s views started to take root, initially within academic circles, where the extraordinary motivic complexity of Brahms’ music was increasingly recognised. The pendulum, it seemed, had swung. It’s tempting to think that we enjoy a balanced image of Brahms today. Analysts are aware of the intricacy of his music, many marvelling at the depths they find in it. Yet audiences no longer baulk at the more intellectually ambitious compositions, such as the symphonies; rather, listeners revel in the luxuriant soundworlds that Brahms conjures. It would also be wrong to suggest that our image of Brahms is now fixed. The period-instrument revolution has started to embrace his music, forcing us to rethink
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our perceptions once again. Pioneers, who cut their teeth on Baroque and, later, Classical music, have ventured further and further into the nineteenth century, using instruments from the period to create appropriate soundscapes. The results, as with forays into earlier repertoires, are often revelatory. A second phase of experimentation, still in its infancy, involves recreating the performance styles of Brahms’ lifetime. Some elements, such as the widespread use of portamenti (slides between notes) and deliberate asynchrony (the avoidance of precise ensemble for expressive effect) are an acquired taste, and it is debatable whether such techniques will ever (re) gain a foothold in mainstream orchestras. Conductors are more likely to adopt the extreme tempo fluctuations that we know Brahms favoured. A highly impulsive performer, he liked to change speed, sometimes drastically, as the music grew more or less excited. Clara Schumann’s account of turning pages for Brahms in a performance of his Piano Trio Op 8 is shocking: he was, it appears, so unpredictable that both page-turner and fellow performers were soon completely lost. What of the Scottish Chamber Orchestra as it embarks on a season of the symphonies? In
Brahms Series 15/16 poster images
many respects, the SCO is ideally placed to deliver fresh perspectives on Brahms. Throughout his career, the composer worked with ensembles of many kinds. However, he prized most highly his association with the Meiningen Court Orchestra, which in his day was much the same size as today’s SCO. Given the breadth of its repertoire, the SCO cannot be expected to change its instrumentarium for each composer. However, to mark the Brahms cycle the Orchestra, guided by Principal Horn Alec Frank-Gemmill, has acquired a set of new horns by Andreas Jungwirth. These are hybrid instruments, a halfway house between natural horns (horns without valves) and modern instruments. They have a lighter sound than the modern horn, an important consideration given the size of the SCO’s string section and, crucially, valves make it easier to play passages that lie awkwardly on natural horn. We know that Brahms favoured the natural horn for some pieces – notably,
the Horn Trio Op 40, – but it’s unclear whether this preference extended to the symphonies. According to Frank-Gemmill, the horn-writing of these works demands an unusual degree of virtuosity; the sound of valveless instruments is so distinctive that it tends to dominate the orchestra. For all his love of the horn, this surely was not Brahms’ intention. Most importantly, perhaps, the SCO now has an established tradition of delivering on modern instruments performances that challenge those of the best period bands. Under Ivor Bolton and Sir Charles Mackerras (who bought a set of natural horns for the Orchestra), the SCO has produced highly polished, stylistically aware interpretations, a tradition maintained and developed by the Orchestra’s current Principal Conductor, Robin Ticciati. Will the coming season reveal another aspect of Brahms? We must wait for the baton to fall –––––– Dr Martin Ennis shares further insights with his former student Robin Ticciati 6.30pm - 8/9 October Edinburgh and Glasgow –––––– The Brahms Series is proudly sponsored by Baillie Gifford
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The Maiden in the Tower A rare Sibelius score sees the light of day Although known mainly for his symphonies and other orchestral scores, Sibelius also wrote extensively for the theatre, incidental music for eleven plays in all, and for the voice, over a hundred songs. His Kullervo Symphony also includes a large-scale operatic central movement and there is a substantial body of choral music. Sibelius toyed with various operatic projects throughout his life, but apart from The Maiden in the Tower, the only work to survive is an orchestral prelude for the abandoned opera The Building of the Boat, which became The Swan of Tuonela. The failure of this one surviving opera to find a place in the repertoire can largely be laid at the door of the rather melodramatic Victorian libretto by Rafael Herzberg about a maiden saved from a predatory bailiff. Most of the interest in the opera actually sits in the orchestral score and one critic reviewing the
+ NIELSEN premiere wondered why Sibelius “had thrown away such good music on so simple a yarn”. And this is where Tuomas Hannikainen’s orchestral suite comes in, rescuing for the concert hall an extensive orchestral score from the mid 1890’s which shares the same sound world as the Karelia Suite while also anticipating much of the mastery for creating atmosphere and passion which is a hallmark of so much of his incidental music such as Pelléas and Mélisande and The Tempest. We are honoured to give you the opportunity to hear the UK premiere of Hannikainen’s skilful orchestral arrangement, revealing such a Sibelian treasure –––––– THE MAIDEN IN THE TOWER 28-30 October 2015 St Andrews, Edinburgh and Glasgow Part of the The Nielsen + Sibelius 150 Series.
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Your Orchestra, Your Say... –––––– In this new look SCO news we would like to give you the opportunity to join with us, comment and have your say. Whether it is via social media or by sending us a letter we love to hear from you –––––– Please consider making a recording of the Mendelssohn Konzertstücke for two clarinets with tonights with tonight’s soloists. Good to hear the orchestra in a different accoustic - still as superb as ever Deryk, Renfrewshire
@SCOmusic Wonderful again does not do that justice, Speechless.#beautiful Paul Barton @psbbank
“I was at Earlston last October with Scrapers and Tooters David conducted the orchestra, just want to say thank you to David and all members of SCO who gave their time and support.” Jane Murphy, Facebook
“Brilliant concert in Fraserburgh United Reformed Church last night. The performance gave delight to so many people - especially those who do not often have the opportunity to hear live music of this quality without travelling a fair distance. Every piece was superb and the bassoon player was pure class! Thank you all so much for the opportunity to hear the orchestra locally.” Chris Reid, Facebook
Tonight’s SCO strings concert in Drumnadrochit was nothing short of sensational! Fiona, age 12
Join the conversation –––––– Sign up for our email newsletter for all our latest news, films, photos, blogs and special offers. sco.org.uk/register Email us Elizabeth Whitty, Customer Communications elizabeth.whitty@sco.org.uk
Fascinating sessions with brilliant musicians from @SCOmusic today. Developing ideas and plans for their tour of Gauche the Cellist!
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Hear us in concert
Diary: Oct-Jan Venues:
Edinburgh Glasgow Aberdeen
Perth St Andrews Ayr
Dumfries
8-9 October 7.30pm
Tuesday 13 December 6pm
15-17 October 7.30pm
22-23 October 7.30pm
BRAHMS SYMPHONY No 1
FOLKLORE AND FAIRY TALES
BRAHMS SYMPHONY No 2
HANDEL’S THEODORA
ROBIN TICCIATI Conductor ISABELLE FAUST Violin
ROSENNA EAST Presenter
ROBIN TICCIATI Conductor LARS VOGT Piano
RICHARD EGARR Conductor SCO CHORUS
28-30 October 7.30pm
Saturday 31 October 10.30am - 4.30pm
4-6 November 7.30pm
11-13 November 7.30pm
Sibelius + Nielsen 150
WAGNER EXPLORE DAY
An evening with
MAIDEN IN THE TOWER
TUOMAS HANNIKAINEN Conductor
PEKKA KUUSISTO Violin
Sunday 15 November 3pm
18 November 5.30pm
CHAMBER SUNDAYS EARLY EVENING RECITAL
Sibelius + Nielsen 150
EMMANUEL KRIVINE
SIBELIUS SYMPHONY No 3
EMMANUEL KRIVINE Conductor KAREN CARGILL Mezzo Soprano
JOSEPH SWENSEN Conductor ALISON MITCHELL Flute
25-27 November 7.30pm
Thursday 3 December 7.30pm
SCHUMANN CELLO CONCERTO
A BOY WAS BORN: MUSIC FOR CHRISTMAS
HARRY JOHNSTONE Horn PETER EVANS Piano
ROBIN TICCIATI Conductor STEVEN ISSERLIS Cello
Tuesday 8 December 6pm
9-11 December 7.30pm
17-19 December 7.30pm
1-5 January Various times
EXPLORING BACH
John Butt conducts
BEETHOVEN PIANO CONCERTO NO 3
NEW YEAR IN VIENNA
JOHN BUTT Conductor PETER WHELAN Bassoon
ALEXANDER JANICZEK Director/Violin LLYR WILLIAMS Piano
JOSEPH SWENSEN Director/Violin
ROSENNA EAST Presenter
GENERATIONS of BACH
GREGORY BATSLEER Conductor DUNCAN FERGUSON Director/Organ
4 Royal Terrace Edinburgh EH7 5AB telephone: 0131 557 6800 email: info@sco.org.uk www.sco.org.uk
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The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039 Company registration No. SC75079
www.sco.org.uk