ISSUE 74 | SCO NEWS | AUTUMN 2019
INTRODUCING ANNA CLYNE
ALSO INSIDE: GREGORY BATSLEER | SCO PLAYERS’ SEASON GUIDE | MASTERWORKS
ISSUE 74 | SCO NEWS | AUTUMN 2019
CONTENTS REGULARS 3 4 7 8 24
09
FOREWORD NEWS 60 SECOND INTERVIEW RECENT RECORDINGS PATRON EVENTS
34 YOUR SAY
35 THROUGH THE EYES OF...
FEATURES
COVER FEATURE
9 SCO PLAYERS’ GUIDE TO THE SEASON What not to miss out on in Season 2019/20
16 SCO MASTERWORKS 2019 MacMillan Tryst
18 INTRODUCING ANNA CLYNE David Kettle talks to our new Associate Composer
26 GREGORY BATSLEER TALKS TO KEITH BRUCE
Celebrating 10 years as SCO Chorus Director
32 FREE PRE-CONCERT INSIGHTS AND PERFORMANCES
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.
26
SCO NEWS|03
A WARM WELCOME TO SCO NEWS
FOREWORD I hope you have had a wonderful Summer.
at the BBC Proms in the Royal Albert Hall later in the week with Richard Egarr. As you might
For the Scottish Chamber Orchestra, it has
imagine, the subsequent performance – which
certainly been one to remember. West Side
was the Chorus’ Proms debut – was out of
Story with Sir John Eliot Gardiner – complete
this world. If you were unable to be with us in
with his fabulous cameo role as Officer
London, I do hope you heard it on BBC Radio 3.
Krupke! Sir James MacMillan’s brand new 5th Symphony ‘Le grand Inconnu’ with the
Our annual Scottish touring programme has
incomparable Sixteen and Harry Christophers
been busier than ever this year, concluding in
and our new Principal Conductor Maxim
mid-September with concerts in Largs, Lanark,
Emelyanychev with SCO Principals in the
St Andrews and Dunbar – as guests of the
Queen’s Hall, all helped to ensure our musicians
Lammermuir Festival – whilst our longstanding
were kept centre-stage during Edinburgh’s
secondary schools’ project Masterworks
remarkable International Festival.
reached 1,500 young people in Edinburgh, Aberdeen and Kilmarnock.
As did this year’s Virgin Money Fireworks Concert in Princes Street Gardens, which
Never ones to let the grass grow, we now look
once again brought the summer festival
forward to the Winter Season! In doing so,
season to a riotous and joyous close. Helped
we formally welcome two exceptional new
enormously by one of Edinburgh’s sunniest
artists to the SCO family, both of whom have
days, our pyrotechnic friends at Pyrovision
made a tremendous impression on musicians
masterminded the most extraordinary,
and audiences alike in recent months. In
awe-inspiring fireworks display I have ever
early November, we will hear the first work –
seen. In addition to the famous Fireworks
Sound and Fury – from Associate Composer
concert, earlier the same day we welcomed
Anna Clyne, whilst later in the same month,
2,000 Primary School children from right
we will arrive at the much-anticipated first
across Edinburgh, who enjoyed a special 45
performances with Maxim Emelyanychev as
minute performance of music from Dukas’ The
Principal Conductor.
Sorcerer’s Apprentice and Berlioz’ Symphonie fantastique.
These are exciting times for the Scottish Chamber Orchestra – we look forward
The day after our fireworks concert is usually
enormously to sharing them with you.
a quiet one, but not this year, as the Orchestra and Chorus gathered to prepare for their
Gavin Reid
performance of Handel’s masterpiece Jephtha
Chief Executive
04|SCO NEWS
SOME RECENT HIGHLIGHTS
NEWS
PROM 55
here but the humanity,
––––––
expressiveness and energy
It was a proud moment
of the SCO Chorus… was
when the Orchestra
even more impactful.”
and Chorus performed
For what was the Chorus’
together onstage at the
debut at the Proms and in
BBC Proms on Friday 30
the Royal Albert Hall, “This
August with conductor
had to be one of the best
and long-time friend of
performances ever from
the SCO, Richard Egarr.
an amateur choir” as The
The Guardian reported,
Arts Desk commented. This
“Orchestra textures were
was an incredible project
beautifully clear, the choral
for the SCO and you can
singing exceptional in its
still listen to the BBC Radio
vividness”. According to
3 live broadcast online at
The Times, “Professional
bbc.co.uk/programmes/
voices can be thrilling
m0007yrs
SCO NEWS|05
FOLLOW THAT CAB! –––––– If you’ve been out and about in Edinburgh or Glasgow recently, then you might have spotted one of the Scottish Chamber Orchestra branded taxis. There are four different designs featuring three of our players – Stephanie Gonley, Amira BedrushMcdonald and Su-A Lee – and our new Principal Conductor, Maxim. So now, not only will our music transport you, but the SCO can give you a lift too. Taxi!
WEDDING –––––– Congratulations to our Principal Double Bass Nikita Naumov as he and our former Marketing Officer Elizabeth Whitty tied the knot at Edinburgh Castle on 7 September.
PHILIP HIGHAM’S NEW ARRIVAL –––––– Congratulations also to Principal Cello Philip Higham on the recent arrival of his baby boy.
06|SCO NEWS
STAFF CHANGES
Director of the Edinburgh
at the Royal Albert Hall
––––––
International Festival at
and is leaving to take up the
This autumn we say hello
the end of 2018, has over
position of Co Principal Oboe
to….
thirty years of experience in
at English National Opera.
Sophie Sim as our new
organisational leadership,
We wish her all the best.
Marketing Officer. Sophie
cultural policy and
will no doubt fast become a
international working.
OUR FESTIVAL
familiar face to you all, as she gets to grips with the ins and
Welcoming Joanna to the
––––––
outs of SCO subscriptions.
Board, SCO Chair Colin
This summer we had four
Sophie replaces Michael
Buchan commented:
hugely successful concerts
Devlin who left the Orchestra
“Joanna Baker is a hugely
as part of the Edinburgh
at the start of August to
knowledgeable and
International Festival.
take up a new post with our
respected figure in the
friends at the BBC SSO.
cultural sector, so naturally
SCO were absolutely delighted
I’m thrilled that she is joining
to be part of two hand-crafted
SCO and University of St
the Board of the SCO. She
performances of Leonard
Andrews Graduate Trainee
joins at a very exciting time
Bernstein’s West Side Story,
Fiona Croal. Fiona will split
as we prepare to welcome
part of the celebrations
her time between the SCO
Maxim Emelyanychev as our
for the composer’s 100th
offices and St Andrews
new Principal Conductor this
birthday anniversary. The
as part of our Orchestra
September.”
performances were ones that Conductor John Eliot Gardiner
in Residence programme And wave goodbye to...
had been developing for over
Sub-Principal Oboist Rosie
60 years, after meeting the
Board Member Joanna
Staniforth. Rosie performed
composer and conductor
Baker. Joanna, who
her final SCO concert at our
in Paris as a student. The
stepped down as Managing
recent BBC Prom Jephtha
Orchestra were delighted
activity at the University.
to be paired with an all-star © Ryan Buchanan
musical cast in what proved to be one of the great celebratory focal points of the Festival. The concerts received huge acclaim and played to sold out houses for both performances. Next up, Festival audiences were given the opportunity of a sneak preview of what to expect in the coming Season, when our new Principal Conductor Maxim was joined
by SCO Principals for a Romantic recital of Brahms, Dohnányi and Schumann at the Queen’s Hall. Our third appearance at the Edinburgh International
60
SECOND INTERVIEW
Festival was in celebration
PAUL GRIFFITHS
of another composer – Sir
You have been leading our creative learning project,
James MacMillan. In his 60th
SCO VIBE since 2013 – how would you describe it?
birthday year, the Orchestra
VIBE is many things, I think. Primarily, it is a project for
were privileged to premiere
teenage musicians from any background or ability to
Sir James’s Fifth Symphony,
create and perform new music. It’s also become a bit
a meditation on the mystery
of a crucible for participants, leaders and organisers
of the Holy Spirit. The piece
to practice collaborative learning and to explore skills
combined the forces of the
that can be transferred to other creative, practical
SCO – with parts written
and collaborative situations. It started with a group in
specifically for natural horns
Edinburgh and now we run projects in Glasgow and
and trumpets – with the
Aberdeen. We did a couple of adjacent VIBE projects and
superb choral faces of the
we are now in the process of creating bespoke versions
Sixteen /Genesis Sixteen,
that reach out to different parts of the community.
for truly one of the most memorable premieres of the
New VIBE, in association with CAMHS (Child and
Festival.
Adolescent Mental Health Services), starts this October – how do you think this form of music
Finally, we were once again
making can help young people?
delighted to close the
One of the central ideas of VIBE is that each participant
International Festival with
has a voice that can be heard in its own time. The
the annual Virgin Money
immersion in the collective allows for anyone to take part
Fireworks Concert. Loved by
at their own level and at their own pace. VIBE aims to
locals and visitors alike, this
create an atmosphere of trust, patience, and absolute
is always a highlight of the
positive regard for all. My hope for the CAHMS project
Edinburgh summer calendar.
is that we are, as a team, super flexible and able to find spaces for these young people to explore their creative
The day included another
voices. We aim to be able to listen to them, hear them and
enthralling schools’ lunchtime
find ways to work as artists together.
concert which was attended by two thousand, Primary
What is the most important thing for participants to
Seven children. We are
take away from a VIBE workshop?
delighted to continue to be
The understanding that creativity is a tool which
partnering with Virgin Money
everyone and anyone can have agency over and that
for this iconic performance.
communal music making is cool beyond words.
08|SCO NEWS
SCO MUSIC
RECENT RECORDINGS SCHUBERT: SYMPHONY NO. 9 IN C MAJOR ‘THE GREAT’ MAXIM EMELYANYCHEV - CONDUCTOR This Season, Linn will release Maxim Emelyanychev’s debut recording with the Scottish Chamber Orchestra. As regular Scottish Chamber Orchestra attenders may know, it was with Schubert’s Ninth Symphony that the Orchestra were first introduced to Maxim when he substituted for an indisposed Robin Ticciati in 2018, and that led to his subsequent appointment as Principal Conductor. Reviewing the concert at the time, The Scotsman wrote: ‘Emelyanychev
brilliant recordings of this symphony
[was] constantly balancing surface charm
which I greatly enjoy and have
and vigour with a far darker, more manic
inspired my own interpretation. A new
undertow – not least in the towering
recording must communicate something
cumulative energy of his propulsive
contemporary and with this album, I
finale.’
want to explore what the music is saying at this time, with this orchestra and this
Schubert’s Ninth Symphony was the
particular combination of extraordinary
composer’s final major contribution to
musicians.”
the genre and his maturity is reflected in its intensely lyrical melodies and
Schubert: Symphony No 9 in C Major,
monumental scale.
‘The Great’ conducted by Maxim Emelyanychev will be available to buy
Commenting on the recording recently,
online via linnrecords.com this November.
Maxim said “This piece holds great
––––––
significance for me as it began my
Available from the SCO merchandise desk or
journey with the SCO. There are many
by phone on 0131 557 6800
SCO PLAYERS’ GUIDE TO THE SEASON
WHAT NOT TO MISS OUT ON IN SEASON 2019/20 WITH AMIRA BEDRUSH-McDONALD, SU-A LEE AND GORDON BRAGG
ONES TO WATCH
xx|SCO NEWS
SCO NEWS|11
SCO PLAYERS’ GUIDE TO THE SEASON
AMIRA BEDRUSH-McDONALD FIRST VIOLIN
SCOTLAND IS A COUNTRY WITH AN INCREDIBLY STRONG AND FAR-REACHING MUSICAL HERITAGE AND OUR ORCHESTRA IS MADE UP OF PLAYERS FROM AROUND THE WORLD.
ONES TO WATCH
Left to right: Nicola Benedetti, Karen Cargill and Colin Currie
This Season could very well be one of the
such a privilege to work with conductors/
most exciting for us yet! 2019/20 sees
directors who have an immediate insight of
the start our new journey with Principal
the instrument you’re playing on.
Conductor Maxim Emelyanychev - the energy and dynamism of which can be
This will be also the first time I get the chance
heard in our forthcoming CD of Schubert
to play all the Beethoven Symphonies in
Symphony No 9 ‘The Great’. We also get
one Season and I can’t wait to see what
to hear him direct from the harpsichord in
differences and perhaps even similarities
January for our ‘Baroque Dances’ concerts
each conductor will bring to these pieces.
and then again at the piano in April for Mozart’s Piano Concerto No 20. Not to be
Scotland is a country with an incredibly
missed...
strong and far-reaching musical heritage and our Orchestra is made up of players
I’m delighted by the return of some of my
from around the world. Therefore, it is
favourite conductors, violinists and directors
always a joy to welcome back home-grown
such as Joseph Swensen, Andrew Manze,
superstars such as Nicola Benedetti,
Alexander Janiczek and Pekka Kuusisto each
Karen Cargill and Colin Currie - each one a
of whom have a huge wealth and breadth
proud cultural ambassador of the musical
of experience as phenomenal players. It’s
language we all share.
12|SCO NEWS
SCO PLAYERS’ GUIDE TO THE SEASON
SU-A LEE SUB PRINCIPAL CELLO
ONE TO WATCH
Left to right: Pekka Kuusisto and Klaus Mäkelä
PEKKA IS A GENIUS…HIS QUIRKY NATURE AND QUICK-WITTED BRILLIANCE MAKE EACH PROGRAMME AN ABSOLUTE JOY TO WORK ON.
You’re in for a treat! No weak links at all
Maxim is a marvel. It was definitely love at
this year! It’s hard to know where to begin
first sight for us, when he stepped in at the
with picking out my highlights for the
last minute for Robin Ticciati. Luckily for us,
coming Season, because it’s honestly all
the feeling was mutual, and we appointed
very exciting indeed!
him immediately. This Season marks his official start as Principal Conductor of the
OK, to cut to the chase: my top two
SCO, and his programmes are as joyous and
programmes both happen to be headed
joyful as he is!
by the inspirational Pekka Kuusisto, closely followed by a Baroque Dance
I am also looking forward to seeing
programme with our fresh new Principal
faces that are well known to us as firm
Conductor Maxim Emelyanychev.
favourites, such as Joseph Swensen, Piotr Anderszewski, Alexander Janiczek,
Pekka is a genius…his quirky nature
Kristian Bezuidenhout, Nicola Benedetti
and quick-witted brilliance make each
and Andrew Manze, to name but a few.
programme an absolute joy to work on.
Not to mention celebrating our very own
We have enjoyed his visits over the past 15
players in solo and directing roles.
years but I am thrilled that he is coming in
As for new faces, I’m rather excited to
more regularly throughout this year as our
meet the young cellist and conductor,
‘Featured Artist’.
Klaus Mäkelä!
xx|SCO NEWS
SCO NEWS|15
SCO PLAYERS’ GUIDE TO THE SEASON
GORDON BRAGG SECOND VIOLIN From the moment that Maxim
this undersells any great piece of music;
Emelyanychev started his first rehearsal
is there only one way to experience a
with us on Schubert’s Ninth Symphony,
Shakespeare play? With this in mind, I am
the Orchestra knew that it had found
delighted that Maxim, Emmanuel Krivine
a musician that it wanted to build a
and Andrew Manze are sharing this
long-term relationship with. His perfect
Beethoven cycle: three ‘theatre directors’
balance of intellect and emotional fire
with totally different approaches, yet all
is married to a superhuman attention
with the greatest integrity to Beethoven
to detail, so I am really excited about
and the score.
exploring Mozart’s ‘Jupiter’ Symphony with him in his opening concert as
A few years ago I was fortunate
Principal Conductor.
enough to play under Peter Eötvös and perform his music. He is a composer of
The spine of the Season is the cycle of
unusual sensitivity and concentrated
Beethoven Symphonies; nine works of
emotional power, so I am looking forward
infinite depth and scope. To talk of one
enormously to the UK Premiere of the
absolute musical ‘truth’ in performing
Double Bass Concerto ‘Aurora’ with our
these works implies that there is only
very own Formula 1 bass-wizard Nikita
one way of playing them, and I think
Naumov.
FROM THE MOMENT THAT MAXIM EMELYANYCHEV STARTED HIS FIRST REHEARSAL WITH US ON SCHUBERT’S NINTH SYMPHONY, THE ORCHESTRA KNEW THAT IT HAD FOUND A MUSICIAN THAT IT WANTED TO BUILD A LONG-TERM RELATIONSHIP WITH.
ONE TO WATCH
Left to right: Maxim Emelyanychev and Nikita Naumov
16|SCO NEWS
SCO MASTERWORKS 2019
MACMILLAN TRYST Inspiring Music Pupils Across Scotland
William Soutar. Sir James himself conducted
Over the past three years, our flagship
the concerts in Edinburgh, Aberdeen and
education programme Masterworks has
Kilmarnock and talked to the audience
visited every part of Scotland – taking in the
about his life and work. He also spent a day
Highlands, Islands and rural areas of the
with the SCO team working with a group of
mainland as well as the central belt. In fact,
enthusiastic pupils at Doon Academy in East
over the three-year cycle we have engaged
Ayrshire.
with over 3,500 pupils and 230 teachers at
The Masterworks Programme – Free
140 schools in 31 of the 32 Scottish local
Workshops, Concerts and Online Resources
authorities! We are incredibly proud of the Masterworks programme. It has been
Masterworks enables pupils to experience
running since 1998 and, according to the
the excitement of live orchestral
teachers and pupils we work with, is still as
performance and is carefully designed
fresh, inspiring and relevant as ever.
to support the SQA curriculum. Each year we run a series of professional
This September we have had the pleasure
development workshops for teachers
of working with Sir James MacMillan and
followed by workshops for selected
featuring the piece he wrote back in 1989
secondary schools. These experiential
for the SCO – Tryst, based on a poem by
workshops are designed by our regular Masterworks presenter Rachel Leach and offer a completely hands-on approach to collaborative composition, catering for whatever instruments and skill-levels we encounter. This year, teachers and teacher trainees attended workshops in Edinburgh, Aberdeen and Kilmarnock run by Rachel and SCO musicians. Our intrepid duos of musicians then visited Orkney, Shetland, East Ayrshire, Aberdeen City and Aberdeenshire to run day-long workshops at eleven different schools. Two
IT HAS BEEN SUPER USEFUL AND FUN
of the workshops took place at special
— Pupil, Aberdeenshire, 2019
Music Scotland, who help us to adapt the
schools with our inclusion partner Drake workshops to suit individual needs.
SCO NEWS|17
A GREAT SESSION WITH VERY CREATIVE PRACTICAL IDEAS THAT I’M LOOKING FORWARD TO USING Music Teacher, Edinburgh CPD
Over 1,500 pupils and teachers attended daytime concerts in Edinburgh, Aberdeen and Kilmarnock, introduced by Rachel Leach. The concerts began with a guided exploration of the themes and compositional techniques used in Tryst and an interview with Sir James, who then conducted a full performance of the piece. Live video projections of the Orchestra were screened during the performance to bring the audience closer to the music-making. The entire Masterworks programme is free to all schools. This year, thanks to our Creative Learning Partner Baillie Gifford, we were able to support transport costs for a number of schools and to provide enhanced online resources for continued use in the classroom. You can see the resources and videos at www.sco.org.uk/mw19res –––––– Our Masterworks 2019 project was delivered in partnership with Aberdeen City Council, East Ayrshire Council and Drake Music Scotland, and kindly supported by The Misses Barrie Charitable Trust, Aberdeen City Council Creative Funding, PF Charitable Trust, Gordon Fraser Charitable Trust, JTH Charitable Trust, The Educational Institute of Scotland, Tay Charitable Trust and Aberdeen Endowments Trust.
18|SCO NEWS
INTRODUCING ANNA CLYNE DAVID KETTLE TALKS TO OUR NEW ASSOCIATE COMPOSER Born in London, the SCO’s incoming Associate Composer, Anna Clyne now makes her home in New York. She has worked all over the world, including highprofile residencies with the Chicago and Baltimore Symphony Orchestras, and the Orchestre National d’Île-de-France. But it was Scotland – specifically Edinburgh – that gave Clyne many of her formative musical experiences. “I was a student in Edinburgh from 1998 to 2002,” she explains, “and it’s great to be coming back.” What does she remember about her undergraduate years? She points to one particular aspect of her studies as making a direct impact on her later work. “In my third and fourth years we did a lot of community music with Nigel Osborne. I remember going to a school for kids with learning disabilities, and we also went out to the Pavarotti Music Centre in Mostar, and to Sarajevo. It was an incredible experience.”
I AM THRILLED TO HAVE THE OPPORTUNITY TO WORK WITH THE WONDERFUL MUSICIANS OF THE SCOTTISH CHAMBER ORCHESTRA. WE HAVE LOTS OF EXCITING PLANS INCLUDING DEVELOPING NEW CONTENT FOR THEIR OUTSTANDING CREATIVE LEARNING PROGRAMME. — Anna Clyne
COVER FEATURE
SCO NEWS|21
COVER FEATURE
WHEN I’M COMPOSING I HAVE WIRELESS HEADPHONES ON AND – WELL, I’M NOT A DANCER, BUT I IMAGINE I CAN DANCE, AND IF THE MUSIC I’M WRITING FEELS RIGHT WITH A SENSE OF MOVEMENT, THAT REALLY HELPS ME WITH THE PACING OF A PIECE
And an experience that has informed
space of time. Where did it all begin for
many of Clyne’s later activities. “In previous
her? “I think I first started writing music
residencies I’ve had,” she continues,
when I was about seven,” she muses. “My
“community music has been a really big
parents gave the family a piano but it had
component. In Chicago, for example, I was
some missing keys, so I avoided those. I
involved in a project that went out to a
remember making my own manuscript
nearby prison, and I partnered with an art
paper out of that old computer paper
therapist in a residential facility for people
with holes down the side, and writing very
with dementia and Alzheimer’s.”
simple pieces for myself and my friends to play. I had my first piece performed – it was
Community music in its broadest sense
for flute and piano – when I was 11, as part
– taking music out of the concert hall,
of an Oxford Youth Prom.”
engaging with audiences who might seldom consider attending a conventional
Remarkably, however, Clyne didn’t have
event – is something Clyne is keen to
a formal composition lesson until her
continue in her new relationship with the
third year at university, which she spent
SCO. “We’re still discussing specifics,” she
at Queen’s University in Ontario, on an
admits, ‘but we’ve talked about taking
exchange programme run by the University
some of my pieces into schools, and I really
of Edinburgh. She later continued her
hope there might be some way of working
composition studies south of the border,
with and mentoring young composers in
at New York’s Manhattan School of Music.
Scotland.”
All that time, however, she feels she’d been thinking as a composer: “They asked me at
But despite the increasing importance of
my Manhattan interview why I wanted to
community work, Clyne’s main relationship
study composition there, and I remember
with the SCO will be as a composer. And
replying that I felt I knew what I wanted to
it’s in that role that she’s already achieved
say, but that I didn’t necessarily have the
remarkable success, in a surprisingly short
tools to do it.”
22|SCO NEWS
ANNA CLYNE
Since then, she’s received commissions
melodic idea, or a harmonic progression.
from performers including the London
Then I’ve broken my own piece down into
Sinfonietta and percussionist Colin Currie,
six sections, each of which develops an idea
as well as from the BBC Proms – her
from the Haydn symphony.” There’s another
virtuosic showpiece Masquerade made a
influence, however, on Clyne’s new piece,
huge impact when it was premiered at the
as its title indicates. “‘Il distratto’ reuses
Last Night in 2013. Another BBC project
music that Haydn wrote for a play, so I also
has been the inclusion of her dark and
went down a literary route. The title comes
turbulent orchestral piece Night Ferry in
from Macbeth’s final soliloquy, when he
the BBC Ten Pieces project, designed to
learns that his wife is dead, and I’ve tried
open up classical music in the classroom for
to incorporate the soliloquy’s reflections
7- to 14-year-olds.
on time – past, present and future – and its really interesting sense of rhythm.”
It’s with another of her most widely performed pieces that she launches her
Clyne has other works in the pipeline
relationship with the SCO on 7 and 8
for her three-year relationship with the
November. Prince of Clouds is an exquisitely
SCO. “They’re all very different, and
tender double violin concerto, with Pekka
that’s what makes it really exciting,” she
Kuusisto and Benjamin Marquise Gilmore
explains. ‘Sound and Fury is for chamber
as soloists at its SCO performances. “It
orchestra, but I’m also going to be writing
was commissioned as a partner piece for
an a cappella choral piece, and a piece for
the Bach Double Violin Concerto,” Clyne
wind octet.’ And working closely with SCO
explains, “and I wrote is specifically for
musicians will be crucial in those works’
violinist Jennifer Koh and her teacher
genesis, Clyne stresses. “You really feel
Jaime Laredo. I was reflecting on the
the individuality of the musicians in this
idea of musical lineage, so the piece is a
orchestra, how they relate to each other,
dialogue between the two soloists, and also
their relationships with each other as an
their interactions with the ensemble.”
ensemble. And that’s something I’ll very much have in mind when I’m writing for
Clyne partners Prince of Clouds with a
them.”
brand new work, also written in response to existing music. Her Sound and Fury takes its
Indeed, collaboration is something that
inspiration from Haydn’s Symphony
Clyne considers central to her approach to
No 60 ‘Il distratto’, which concludes the
creating music. “I’m actually working with
same concert. “It wasn’t a symphony I
a choreographer right now,” she explains.
knew,” she explains, ‘but I’ve really grown to
“I’m writing a section of music, and they’re
love it. It’s in six movements, and for each
sending me back the choreography, which
of them I wrote down a few elements that
I can then respond to in the next music I
caught my attention – maybe a rhythmic or
write. It’s a very symbiotic relationship.”
SCO NEWS|xx
And in fact, rhythm and movement are
very tonal section, but I’ve added quite
things she feels closely drawn to in creating
dissonant, skittish flurries of sound that
music. “I think a lot about the physicality
make it sound a bit uneasy. If something
of sound. When I’m composing I have
feels quite straightforward, it can be good
wireless headphones on and – well, I’m not
to add another layer that kind of messes
a dancer, but I imagine I can dance, and if
things up.”
the music I’m writing feels right with a sense of movement, that really helps me with the
Clyne is a unique figure in contemporary
pacing of a piece.”
music, a composer who’s very open to inspiration and input from others while
She’s comfortable, too, to embrace
maintaining a distinctive, immediately
gloriously consonant, tonal harmonies
approachable style all of her own. From
alongside harsher dissonance in her
the opening concert of her SCO residency
music. “I’m definitely drawn to modal
in November, it’ll be fascinating to chart
harmonies,” she explains, “and to quite
how her relationship with the Orchestra
simple folk-like tunes. But I like to spin
develops.
them out in different directions. In Sound
––––––
and Fury, for instance, I took a four-chord
MOZART, HAYDN & CLYNE
progression that occurs in one of Haydn’s
Directed by Pekka Kuusisto
slow movements and looped it. It’s a
6-7 November in Edinburgh and Glasgow
24|SCO NEWS
PATRON EVENTS
COPENHAGEN AND EAST NEUK Around 40 Patrons enjoyed a very special
performance due to illness, we were very
five days in Copenhagen in May to hear
fortunate that she was replaced by Jonian
the Orchestra perform in the Tivoli
Ilias Kadesha who provided the audience
Gardens Concert Hall and to explore the
with an exceptional performance.
Danish capital for a few days. The trip included a concert in the DR Koncerthuset
In late June, another group of Patrons
featuring the Danish National Symphony
took the opportunity to enjoy another
Orchestra, a guided tour of the
trip, this time slightly closer to home in
beautiful city and a tour of the stunning
sunny Fife. Fuelled by a superb lunch
Copenhagen Opera House.
at The Ship Inn in Elie, we enjoyed exploring the charming Kellie Castle and
Although Nicola Benedetti unfortunately
Gardens before attending a spectacular
had to withdraw from the SCO’s
performance by the SCO of Wagner’s
WIN £250 ––––––
250 SOCIETY Just £5 a month as a member of the 250 Society gives you the chance to scoop £250 in our monthly draw at the same time as knowing that you Siegfried Idyll, Mozart’s Sinfonia
are contributing towards the SCO’s
Concertante and Mendelssohn’s ‘Scottish’
Creative Learning programme.
Symphony. Please join us in congratulating recent Thank you to all the Patrons who joined
winners of our 250 Society:
us on the trips. We hope to be able to organise similar excursions in the future
August: Prof Olivia Robinson
but meanwhile, we look forward to
July: Margaret McCreery
welcoming you to our forthcoming Season
June : Dinah Bourne
of concerts and Patron events. ––––––
To learn more about the 250 Society
To learn more about becoming a Patron,
or to join now, contact Laura Hickey on
please contact Laura Hickey on 0131 478 8344.
0131 478 8344.
26|SCO NEWS
GREGORY BATSLEER TALKS TO KEITH BRUCE CELEBRATING 10 YEARS AS SCO CHORUS DIRECTOR
28|SCO NEWS
GREGORY BATSLEER
THE SCOTTISH CHAMBER ORCHESTRA MAKES MUSIC IN A MOST EXQUISITE CHAMBER FASHION AND I THINK THAT KIND OF MENTALITY IS WHAT I’VE BEEN TRYING TO EMBED WITHIN THE WORK WITH THE CHORUS
As the red carpet is rolled out for new
wanted this choir to stand on its own two
Principal Conductor Maxim Emelyanychev,
feet alongside the Orchestra as an equal,
the new Season is also a cause for vocal
respected for its music-making at the same
celebration as Gregory Batsleer chalks up
level. The Scottish Chamber Orchestra
a decade as SCO Chorus Director. The two
makes music in a most exquisite chamber
occasions intertwine in a season that has
fashion and I think that kind of mentality is
concerts featuring the Choir and Orchestra,
what I’ve been trying to embed within my
including one before Christmas directed by
work with the Chorus.
Gregory Batsleer himself. “Over the last ten years it has probably “If there is any season that encapsulates
changed two-thirds of the membership and
what this Chorus can do it’s this one,” he
I think what makes the choir healthy is a
says. “It is nice at ten years to be doing music
constant stream of singers coming in and
that is going back to our core meaning:
out. In the last year alone, five or six have
Mozart, Beethoven, Haydn, Vivaldi – these
left for various reasons, so we have had the
are composers that are central to what this
opportunity to bring in new members. One
choir does.
of the reasons the choir feels fresh is that membership is never static. New faces bring
“There’s music there that the Chorus will
new ideas, so it is great to be doing a season
perform for as long as it exists, and it is good
of blockbusters, because there are some for
to remember why we are here and what
whom it is their first time.
we stand for, and put all the things we have learned recently into that music-making.”
“Obviously the size of the SCO Chorus
“When I started the job ten years ago I
makes it unusual because most orchestra
SCO NEWS|29
choruses are much bigger. We have about
world coming to conduct, so it will be very
70 singers on the books and we perform,
interesting to see what he brings to it.
typically, with about 55, which means that members don’t have to perform in every
“Then I get to make my debut with
project. People have important roles in their
the Orchestra in December. I wanted
day-to-day lives, so we’ve expanded the
to showcase a few things, including a
pool of singers a little. What has been really
composer that the choir knows deeply,
encouraging has been the level of applicant:
which is Haydn. Haydn has to make you
the vast majority of the singers in this choir
smile because he was so in love with his
have sung at a high level for many years or
music-making – as we are at the SCO
have trained as musicians or sung as choral
Chorus. The Harmony Mass is a 50 minute
scholars. The standard of individual in this
encyclopedia of natural colours and every
choir is peerless and we are able to do that
section in the orchestra also gets a moment
because of its small size.”
to show its flamboyance and its creativity.
The choir’s first outing is on 11 October, with
“The Stravinsky Mass is new to everybody. I
young chief conductor designate of the Oslo
don’t think the Orchestra has ever performed
Philharmonic, Klaus Mäkelä on the podium.
it and it gives the choir an opportunity to do something that it hasn’t done before.
“Mozart Requiem is a piece that Sir Charles
The choir is deeply exposed and the piece
Mackerras did a lot with the orchestra, but
is seductive, with ambiguous harmony.
he passed away just before we had the
Stravinsky poses beautiful questions, while
chance to do it together. Now we have one
the Haydn gives much more encouragement
of the most exciting young conductors in the
towards the meaning of the Mass.”
30|SCO NEWS
GREGORY BATSLEER HAS THE SCO CHORUS OPERATING AS A LEAN, EFFICIENT MACHINE, CAPABLE OF VIGOUR TO MATCH THE PLAYERS, AND OF A VOLUME THAT DEFIES ITS COMPACT SIZE, AS WELL AS SINGING OF GREAT DELICACY. The Herald
Come March, Maxim Emelyanychev
With Beethoven 9 in May closing the cycle
directs the Chorus for the first time as
of all the symphonies in the composer’s
Principal Conductor, although he made
250th anniversary year – conducted by
his debut in that role last October,
Emmanuel Krivine, who begins the series
replacing indisposed Canadian conductor
in November – there is a very pleasing arc
Bernard Labadie for Haydn’s The
to the contributions of the SCO Chorus to
Seasons. His concert teams the familiarity
the 2019/20 season.
of Vivaldi’s Gloria with the much rarer Miserere by Jan Zelenka.
“As long as there is an appetite from the singers and from the organisation to
“The Zelenka was a very specific request
further the work of this Chorus, that is
of Maxim’s. It is one of these little gems of
matched by me,” says Greg. “There is still
the Baroque repertoire, divided into many
work to do and I am excited about that,
parts and has a lot of glorious polyphony.”
especially with the new hall around the corner.”
“Maxim brings a fresh energy to the
––––––
whole organisation. We were really
MOZART REQUIEM WITH SCO CHORUS
fortunate that he was able to begin his
Conducted by Klaus Mäkelä is on 10-12 October
relationship with the Chorus last year,
in Edinbrugh , Glasgow and Aberdeen
and choral programming is going to be
––––––
at the centre of a lot of his work with the
The Edinburgh concert is proudly sponsored by
Orchestra – I know he is really keen to do that. He’s excited to grow with the Chorus as much as the Chorus is excited to grow with him.”
SCO NEWS|xx
32|SCO NEWS
SEASON 2019/20
FREE PRE-CONCERT INSIGHTS AND PERFORMANCES PRE-CONCERT INSIGHTS: Talks, Discussions and Storytelling All events take place from 6.45-7.15pm (unless otherwise stated) and are free to concert ticket holders.
François Leleux
Anna Clyne
Wednesday 25 September, Perth Concert Hall Artist Insights: Conductor François Leleux introduces the first concert of the 2019/20 Perth Series. Thursday 07 November, Edinburgh Queen’s Hall Friday 08 November, Glasgow City Halls Composer Insights: Associate Composer Anna Clyne discusses her two featured pieces. Saturday 18 January, Aberdeen Music Hall (TBC) Artist Insights: Principal Conductor Maxim Emelyanychev discusses this evening’s programme. Thursday 30 January, Edinburgh Usher Hall Friday 31 January, Glasgow City Halls Composer Insights: Author Cate Haste and SCO Creative Learning Director Kirsteen Davidson Kelly discuss the life and music of Alma Mahler. Wednesday 4 March, Perth Concert Hall Artist Insights: Principal Conductor Maxim Emelyanychev discusses the evening programme.
Pekka Kuusisto
Thursday 19 March, Edinburgh Queen’s Hall Friday 20 March, Glasgow City Halls Sunday 22 March, 3.15-3.45pm, Inverness Eden Court Theatre Artist Insights: Robert McFall (former SCO Violinist) discusses the influence of folk music in Hungarian music. Thursday 23 April, Edinburgh Queen’s Hall Friday 24 April, Glasgow City Halls Artist Insights: Nico Muhly discusses his Violin Concerto with Pekka Kuusisto. Thursday 7 May, Edinburgh Queen’s Hall Friday 8 May, Glasgow City Halls Storytelling Insights: Join storyteller Anna Lehr and SCO Cellist Eric de Wit for a musical tale inspired by Mendelssohn’s love of Scotland. Suitable for all ages.
SCO PLATFORM: Pre-Concert Performances by Scotland’s Young Musicians All events take place from 6.45-7.15pm and are free to concert ticket holders. ––––––
Wednesday 30 October, St Andrews Younger Hall SCO Platform: Performance by students from the University of St Andrews.
Friday 6 March, Glasgow City Halls SCO Platform: Performance by pupils from the Music School of Douglas Academy.
Friday 22 November, Glasgow City Halls SCO Platform: Performance by students from the Royal Conservatoire of Scotland.
Thursday 12 March, Edinburgh Usher Hall SCO Platform: Performance by students from the University of Edinburgh.
Thursday 27 February, Edinburgh Queen’s Hall SCO Platform: Performance by pupils from the City of Edinburgh Music School.
Saturday 14 March, Aberdeen Music Hall SCO Platform: Performance by pupils from Aberdeen City Music School.
Thursday 5 March, Edinburgh Usher Hall SCO Platform: Performance by pupils from St Mary’s Music School.
SCO PLATFORM
EXPLORE BEETHOVEN | MUSICAL CREATIVITY AND DEAFNESS SATURDAY 2 NOVEMBER, ST CECILIA’S HALL AND MUSEUM, EDINBURGH Join us for a day of insightful talks, interactive workshops and performances by Scottish Chamber Orchestra musicians, as we explore Beethoven’s life as a deaf musician and composer.
–––––– Full details, including ticket prices and how to book, can be found on our website: sco.org.uk
All talks and panel discussions will be BSL-interpreted.
joanna.burns@sco.org.uk
Or you can email: or call Joanna on 0131 478 8342
34|SCO NEWS
JOIN THE CONVERSATION ––––––
YOUR SAY Since the last issue of SCO News we’ve been and about across Scotland in concert halls, town halls and castles. We’ve garnered five-star reviews at the Edinburgh International Festival, lit up the sky with a world-renowned firework display and had high praise for Handel at our BBC Prom at the Royal Albert Hall. Here’s just a short selection of some of the feedback we’ve received from our
Sign up for our email newsletter For all our latest news, films, photos, blogs and special offers, visit SCO.ORG.UK/LATEST Email us Sophie Sim, Marketing Officer sophie.sim@sco.org.uk Comment on Facebook facebook.com/scottishchamberorchestra Share your experience on Twitter @SCOmusic Share your experience on Instagram @scottishchamberorchestra #mySCO
audience along the way:
SUMMER TOUR
JEPHTHA
What a delight to have been able to spend a couple of hours in Eastern Europe yesterday evening in the company of your magnificent string ensemble at Elgin Town Hall. It was wonderful to see the concert so well attended and all comments that I heard were strongly in your favour.
There was some damn fine singing in Handel’s Jephtha @bbcproms tonight – but you know who pretty much stole the show? The @SCOmusic chorus, that‘s who. Such precision, such spring, such attack. Tremendous.
Adrian Cammack, Elgin We all enjoyed enormously the concert last night, what a great ensemble, so in tune with each other, and so positively enjoying their music-making.
Marjorie Kerr, North Uist
David Benedict @eggsbened
Jephtha with @SCOmusic at the @bbcproms was stunning. All the singers were tremendous.
David Glynn @broadwoodsquare
FIREWORKS Edinburgh you have outdone yourself! What a celebration of art last night with the @VirginMoney fireworks & @SCOmusic – it was a thrill to share that stage & sing for my city. @edintfest you are the BEST! What a way to end my season! This Edinburgh lass couldn’t be more proud!
Catriona Morison @CmorisonMezzo
#mySCO
THROUGH THE EYES OF... KANA KAWASHIMA FIRST VIOLIN You were appointed First Violin back in March
for one – he has a way of making the whole
– can you tell us a little bit about your musical
room feel relaxed, while constantly bringing us
background prior to the SCO?
so much inspiration and pushing us to bring out
I began pursuing the violin seriously at eleven
our best, and the concerts were so enjoyable and
years old when I entered the Yehudi Menuhin
rewarding! Also, the Brahms Symphonies at last
School, where I quickly realised how much I
year’s Edinburgh Festival as well as this year’s
would have to commit in order to make this
West Side Story have to be mentioned. Those
my life. Having been in a ‘normal’ school until
are concerts that will always be great memories.
then, always feeling like I was sacrificing other things to keep up the violin, I found myself
What are you most looking forward to in the
finally being surrounded by people just like me,
coming Season?
all sharing the same passion, which for me felt
Probably our first official concert with Maxim
like an environment perfect for me. After six
Emelyanychev as our new Principal Conductor
years at the school, I went on to study in Vienna
playing Mozart ‘Jupiter’ Symphony – I feel
(for another six years!) before coming back to
that there is a lot of excitement in the air
London where I freelanced and did a year of
for his arrival and I think this will be just the
studies at the Royal Academy of Music.
beginning of something very special. I’m also looking forward to the concert with Kristian
I actually watched the SCO during my studies in
Bezuidenhout – the Orchestra has a great
Vienna back in March 2015 on their European
chemistry with him, and I think the Beethoven
tour. I remember completely falling in love with
Triple Concerto with him, Ben and Philip will be
the style and the warm sound of the Orchestra,
quite a treat. We are so lucky to have incredible
I thought at the time what a dream it would be
Principal players and I’m always so inspired and
able to play just one concert with them in my
in awe whenever they play as soloists with us.
life. So, I still can’t quite believe that exactly four
––––––
years later, I was appointed to a position- it’s
MAXIM CONDUCTS MOZART’S ‘JUPITER’
really a dream come true!
is on 14-16 November in Edinbrugh , Glasgow and Aberdeen
What have been your SCO highlights so far?
––––––
There have already been so many highlights so
The concert is proudly sponsored by
far, every week brings something new and fun, but there are a couple of weeks that come to mind. The week with Pekka Kuusisto last Season
PATRONS
SUPPORT US PLAY YOUR PART IN OUR FUTURE SCO.ORG.UK/SUPPORT-US Join our family of Patrons for as little as £5 a month. For more information, please get in touch with Laura Hickey, Development Officer, on 0131 478 8344 or laura.hickey@sco.org.uk The SCO is a charity registered in Scotland No SC015039.