The Creation – Season 2223 – Programme note

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SCO.ORG.UK PROGRAMME 6 – 7 Oct 2022 THE CREATION
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. Season 2022/23 Thursday 6 October, 7.30pm Usher Hall, Edinburgh Friday 7 October, 7.30pm City Halls, Glasgow Haydn Die Schöpfung (The Creation) Parts 1 and 2 Interval of 20 minutes Part 3 Maxim Emelyanychev Conductor * Lydia Teuscher Soprano Andrew Staples Tenor Hanno Müller-Brachmann Bass Baritone SCO Chorus Gregory Batsleer Chorus Director THE CREATION * Please note that this is a change to the previously advertised programme. The SCO is extremely grateful to Soprano Lydia Teuscher for replacing Sophie Bevan at very short notice for health reasons. Andrew StaplesMaxim Emelyanychev
Lydia
Teuscher
Hanno
Müller-Brachmann

Thank You FUNDING PARTNERS

The SCO is extremely grateful to the Scottish Government and to the City of Edinburgh Council for their continued support. We are also indebted to our Business Partners, all of the charitable trusts, foundations and lottery funders who support our projects, and to the very many individuals who are kind enough to give us financial support and who enable us to do so much. Each and every donation makes a difference and we truly appreciate it.

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Delivered by Su-a Lee Sub-Principal Cello

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Thank You PRINCIPAL CONDUCTOR'S CIRCLE

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

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–––––

YOUR ORCHESTRA

First Violin

Benjamin Marquise Gilmore

Nicky Sweeney

Tijmen Huisingh

Kana Kawashima

Siún Milne

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Second Violin

Marcus Barcham Stevens

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Hannah Strijbos

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Cello

Philip Higham

Su-a Lee

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Eric de Wit

Niamh Molloy

Information correct at the time of going to print

Bass Nikita Naumov

Ivan Zavgorodniy

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Flute

André Cebrián

Alba Vinti

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Robin Williams Katherine Bryer Clarinet

Maximiliano Martín

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Cerys Ambrose-Evans

Alison Green

Contrabassoon

Rhiannon Carmichael

Horn

Jože Rošer

Jamie Shield

Trumpet

Peter Franks

Shaun Harrold

Trombone

Duncan Wilson Cillian Ó’Ceallacháin

Alan Adams

Timpani

Tom Hunter

Sub-Principal Bassoon

Our Musicians
Alison Green

WHAT YOU ARE ABOUT TO HEAR

Ironically, we have George Frideric Handel to thank for the creation of Haydn’s bighearted, celebratory oratorio The Creation. Haydn was in London in 1791 – making the first of his trips organised by impresario Johann Peter Salomon, and eagerly awaited by British audiences – and it was in the English capital that he attended the Handel Festival in Westminster Abbey. There, he was overwhelmed by the splendour and grandeur of Handel’s earlier oratorios Messiah and Israel in Egypt – and felt inspired to try something similar, making it known that he planned to compose a similar work, on a Biblical theme, and one that would appeal to a broad audience.

But then, little happened. In fact, it wasn’t until 1795, when Haydn was about to depart for England on the second and final of his visits, that Salomon handed him an anonymous English libretto on the subject of the creation, one that Handel himself had apparently intended to set in a never-realised oratorio of his own. Haydn was captivated, immediately seeing the potential in the text, which collected together passages from the Biblical books of Genesis and Psalms, as well as from Milton’s Paradise Lost.

Back in Vienna, the composer set to work. He asked no less a figure than the Viennese Imperial Court Librarian, Baron Gottfried van Swieten, to translate and adapt the English libretto into German. Van Swieten went further, omitting certain passages he considered unsuitable for musical setting, and helpfully adding his own indications to the text as to how Haydn might like to set the words to music – a fugue here, a solo aria there, and a bit of descriptive word-

Haydn (1732-1809) Die Schöpfung (The Creation) (1795–98) Part I Part II Part III

painting in between. Haydn graciously accepted van Swieten’s suggestions, and even went along with some of them –though he quietly discarded many others.

Haydn completed his setting in 1798, by which time he was 66. And he prepared two versions of The Creation from the start – one in German, using van Swieten’s translation and adaptation, the other in the original English, with slight modifications to some of the melodic lines to accommodate the differences in language.

The composer later said that he felt composing The Creation was almost an act of religious devotion in itself. But the oratorio reflects belief of a very personal kind. Almost nowhere to be seen or heard are ideas of guilt, conflict or retribution. Instead, The Creation is a work of optimistic and assured faith, and it’s equally assured

in its belief in the power of music to inspire and uplift its listeners.

The Catholic church, however, was less than impressed by The Creation’s easy-going, non-judgemental tone and – it claimed –rather secular manner of conveying the creation story, and the oratorio was banned from places of worship. Nevertheless, it proved enormously popular at its various premieres. It was first unveiled to a private, aristocratic audience at Vienna’s Schwarzenberg Palace on 29 April 1798, whose enthusiastic reaction prompted two more hastily arranged private performances in the same location. The general public had to wait until the following year to hear it – at its first public performance, in Vienna’s Imperial Burgtheater on 19 March 1799 – but by then expectations had built up enormously. It proved the greatest triumph of Haydn’s long career.

The composer later said that he felt composing The Creation was almost an act of religious devotion in itself. But the oratorio reflects belief of a very personal kind.
Franz Joseph Haydn

And part of that success, almost certainly, is down to the clear, simple but highly effective approach that Haydn took to The Creation’s structure, and to its setting. It’s in three parts, the first two covering the six days of creation, and the third depicting Adam and Eve in the Garden of Eden. Its three soloists – soprano, tenor and bass – play the archangels Gabriel, Uriel and Raphael (bass and soprano later take on the roles of Adam and Eve). Each act of creation – from those of the water and the land, right through to the plants, birds, animals and man – is announced in a recitative then celebrated in an aria by the soloists, with each day rounded off by a jubilant hymn of praise from the chorus. In that way, The Creation’s choral singers themselves portray the choir of angels who glorify the creations of their maker.

It also famously employs some of Haydn’s most vividly illustrative music – not least in the work’s opening ‘Representation of Chaos’, whose sinister, meandering, unpredictable figures break all the musical rules of Haydn’s time in their portrayal of the unsettling, sometimes dissonant disorder before God began his week of creativity. A hushed recitative for the archangel Raphael (bass) begins the First Day, explaining the Almighty’s creation of Heaven and Earth, leading to the chorus’s famously startling, blazing depiction of the creation of light. Archangel Uriel (tenor) takes over in an aria marking the effects of the coming of light and order, then explains the defeat of Satan’s host in more urgent music, the chorus later joining him in banishing cursed spirits, and then singing in hushed reverence of God’s newly created world.

Raphael kicks off the Second Day with a recitative describing the dividing of the

water from the land, and the first storms (in appropriately tumultuous, turbulent music, and even some musical raindrops from woodwind and strings), before Gabriel (soprano) celebrates the wonders that have been created so far with oboe obbligato accompaniment.

Another recitative and aria from Raphael launch the Third Day with the creation of the seas, mountains, rivers and brooks, against surging, swelling orchestral accompaniment that calms considerably as the creation continues. Plants are created in a gently rocking aria from Gabriel, led by clarinet and bassoon, and the chorus brings the day to a celebratory, dizzyingly contrapuntal conclusion.

Uriel describes God’s creation of the stars and planets in a recitative at the beginning of the Fourth Day, continuing to a narration of a majestic orchestral depiction of a bright, brilliant sunrise, then a calmer, quieter, rather more magical moonrise. The chorus leads a bounding celebration of the day’s creations, with thoughtful, lyrical contributions from the three solo archangels.

The Fifth Day begins Part Two of the oratorio, and Gabriel celebrates the creation of birds in a recitative and sunny, airborne aria. The archangel mentions specifically the eagle, lark, dove and nightingale, with a rising and falling clarinet figure for the lark, and far more naturalistic dove calls on bassoons, followed quickly by Raphael explaining God’s creation of whales in the oceans, complete with underwater chugging from the orchestral basses. After a brief recitative from Raphael, all three soloists take part in a contemplative trio that gazes in awe and

Each act of creation – from those of the water and the land, right through to the plants, birds, animals and man – is announced in a recitative then celebrated in an aria by the soloists, with each day rounded off by a jubilant hymn of praise from the chorus. In that way, The Creation’s choral singers themselves portray the choir of angels who glorify the creations of their maker.

wonder at the beauty and diversity of God’s creations so far, before the soloists lead the day to a more outspoken, celebratory choral conclusion.

The emergence of the creatures of the earth – lions, tigers, stags, horses, cattle, sheep, insects and worms – makes for a vivid, urgent opening to the Sixth Day, in a recitative and aria from Raphael. Listen out for roaring lions from the trombones, leaping tigers and trotting stags in the strings, a bucolic flute solo introducing the cattle, some ovine bleating from Raphael himself, and a bit of unmistakable creeping, crawling music for the worms. Uriel continues with the creation of man and woman, in music of appropriate pomp and grandeur. Both chorus and the three soloists wonder at God’s omnipotence and mercy, and celebrate the conclusion and completion

of His creations with a jolly, fast-moving, day-closing chorus.

A gentle orchestral depiction of the Garden of Eden, with prominent parts for a trio of flutes, launches Part Three of the oratorio, followed by an equally gentle recitative from Uriel introducing Adam and Eve. They sing their thanks to God, accompanied by an obbligato oboe as well as a choir of angels represented by the chorus. After a sensuous, slow-moving love duet for Adam and Eve, Uriel warns the two newly minted humans that they will remain happy only if they refrain from desiring more than they should have or know – Haydn’s only brief mention of temptation and the Fall. The work ends in a spirit of joyful celebration with a final chorus that begins slowly and majestically, before moving to faster-moving, many-layered, bustling music.

LIBRETTO

Haydn

PART I

1 Overture

2 Recitative • Raphael, Uriel & Chorus

Raphael

Im Anfange schuf Gott Himmel und Erde, und die Erde war ohne Form und leer, und Finsternis war auf der Fläche der Tiefe.

PART I

1 Overture

Chorus

Und der Geist Gottes Schwebte auf der Fläche der Wasser, Und Gott sprach: Es werde Licht! Und es ward Licht.

Uriel

Und Gott sah das Licht, daß es gut war, und Gott schied das Licht von der Finsternis.

2 Recitative • Raphael, Uriel & Chorus

Raphael

In the beginning God created the heaven and the earth; And the earth was without form and void; And darkness was upon the face of the deep.

Chorus

And the spirit of God moved upon the face of the waters; And God said: Let there be Light, and there was Light.

Uriel

And God saw the Light, that it was good; And God divided the Light from the darkness.

3 Aria • (Uriel) & Chorus

Uriel

Nun schwanden vor dem heiligen Strahle Des schwarzen Dunkels gräuliche Schatten: Der erste Tag entstand. Verwirrung weicht, und Ordnung keimt empor. Erstarrt entflieht der Höllengeister Schar In des Abgrunds Tiefen hinab Zur ewigen Nacht.

3 Aria • (Uriel) & Chorus

Uriel

Now vanish before the holy beams

The gloomy, dismal shades of dark; The first of days appears. Disorder yields to order fair the place.

Affrighted fled hell’s spirits, black in throngs; Down they sink in the deep of abyss, to endless night.

(1732–1809) Die Schöpfung (The Creation) (1795-98)

Chorus

Verzweiflung, Wut und Schrecken Begleiten ihren Sturz, Und eine neue Welt Entspringt auf Gottes Wort.

4 Recitative • (Raphael)

Und Gott machte das Firmament und teilte die Wasser, die unter dem Firmament waren, von den Gewässern, die ober dem Firmament waren, und es ward so.

Da tobten brausend heftige Stürme; wie Spreu vor dem Winde, so flogen die Wolken, die Luft durchschnitten feurige Blitze, und schrecklich rollten die Donner umher. Der Flut entstieg auf sein Geheiß der allerquickende Regen, der allerverheerende Schauer, der leichte, flockige Schnee.

5 Solo • Gabriel with Chorus

Mit Staunen sieht das Wunderwerk Der Himmelsbürger frohe Schar, Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags.

6 Recitative • Raphael

Und Gott sprach: Es sammle sich das Wasser unter dem Himmel zusammen an einem Platz und es erscheine das trockne Land; und es ward so.

Und Gott nannte das trockne Land: Erde und die Sammlung der Wasser nannte er Meer; Und Gott sah, daß es gut war.

Chorus

Despairing, cursing rage attends their rapid fall. A new created world springs up at God’s command.

4 Recitative • (Raphael)

And God made the firmament, and divided the waters, Which were under the firmament, from the waters, which were above the firmament, and it was so.

Outrageous storms now dreadful arose

As chaff by the winds are impelled the clouds.

By heaven’s fire the sky is enflamed, and awful rolled the thunders on high. Now from the floods in streams ascend reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

5 Solo • Gabriel with Chorus

The marv’llous work beholds amaz’d the glorious hierarchy of heav’n, and from th’ ethereal vaults resounds the praise of God, and of the second day.

6 Recitative • Raphael

And God said:

Let the waters under the heaven be gathered together unto one place, and let the dry land appear; and it was so.

And God called the dry land earth, and the gathering of waters called he seas; and God saw that it was good.

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7 Aria • Raphael

Rollend in schäumenden Wellen Bewegt sich ungestüm das Meer. Hügel und Felsen erscheinen, Der Berge Gipfel steigt empor.

Die Fläche, weit gedehnt, durchläuft der breite Strom in mancher Krümme. Leise rauschend gleitet fort Im stillen Tal der helle Bach.

7 Aria • Raphael

Rolling in foaming billows

uplifted roars the boist’rous sea. Mountains and rocks now emerge, their tops into the clouds ascend, Thro’ th’ open plains outstretching wide in serpent error rivers flow. Softly purling glides on thro’ silent vales the limpid brook.

8 Recitative • Gabriel

Und Gott sprach:

Es bringe die Erde Gras hervor, Kräuter, die Samen geben, und Obstbäume, die Früchte bringen ihrer Art gemäß, die ihren Samen in sich selbst haben auf der Erde; und es ward so.

8 Recitative • Gabriel

And God said:

Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, Whose seed is in itself upon the earth; And it was so.

9 Aria • Gabriel

Nun beut die Flur das frische Grün Dem Auge zur Ergötzung dar. Den anmutsvollen Blick Erhöht der Blumen sanfter Schmuck. Hier duften Kräuter Balsam aus, Hier sproßt den Wunden Heil. Die Zweige krümmt der goldnen Früchte Last;

Hier wölbt der Hain zum kühlen Schirme sich, Den steilen Berg bekrönt ein dichter Wald.

9 Aria • Gabriel

With verdure clad the fields appear delightful to the ravish’d sense; By flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs; here shoots the healing plant. By load of fruits th’ expanded boughs are press’d; To shady vaults are bent the tufty groves;

The mountain’s brow is crown’d with closed wood.

10 Recitative • Uriel

Und die himmlischen Heerscharen Verkündigten den dritten Tag, Gott preisend und sprechend:

10 Recitative • Uriel

And the heavenly host proclaimed the third day, praising God and saying:

11 Chorus

Stimmt an die Saiten, ergreift die Leier, Laßt euren Lobgesang erschallen! Frohlocket dem Herrn, dem mächtigen Gott, Denn er hat Himmel und Erde Bekleidet in herrlicher Pracht!

11 Chorus

Awake the harp, the lyre awake! In shout and joy your voices raise! In triumph sing the mighty Lord! For he the heavens and earth has clothed in stately dress.

12 Recitative • Uriel

Und Gott sprach:

Es sei'n Lichter an der Feste des Himmels,

um den Tag von der Nacht zu scheiden und Licht auf der Erde zu geben, und es seien diese für Zeichen und für Zeiten und für Tage und für Jahre. Er machte die Sterne gleichfalls.

13 Recitative • Uriel

In vollem glanze steiget jetzt Die Sonne strahlend auf, Ein wonnevoller Bräutigam, Ein Riese stolz und froh, Zu rennen seine Bahn. Mit leisem Gang und sanftem Schimmer Schleicht der Mond die stille Nacht hindurch. Den ausgedehnten Himmelsraum Ziert ohne Zahl der hellen Sterne Gold. Und die Söhne Gottes Verkündigten den vierten Tag Mit himmlischem Gesang, Seine Macht ausrufend also:

12 Recitative • Uriel

And God said:

Let there be lights in the firmament of heaven

To divide the day from the night, And to give light upon the earth; And let them be for signs and for seasons, and for days and for years. He made the stars also.

13 Recitative • Uriel

In splendour bright is rising now The sun and darts his rays; An am’rous, joyful, happy spouse, A giant proud and glad To run his measur’d course. With softer beams and milder light steps on the silver moon thro’ silent night. The space immense of th’azure sky

In num’rous host of radiant orbs adorns, And the sons of God announced the fourth day in song divine, Proclaiming thus his power:

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14 Trio & Chorus

Chorus

Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament.

Trio

Dem kommenden Tage sagt es der Tag, Die Nacht, die verschwand, der folgenden Nacht:

Chorus

Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament.

Trio

In alle Welt ergeht das Wort, Jedem Ohre klingend, Keiner Zunge fremd:

Chorus

Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament.

PART II

15 Recitative • Gabriel:

Und Gott sprach:

Es bringe das Wasser in der Fülle hervor webende Geschöpfe, die Leben haben, und Vögel, die über der Erde fliegen mögen in dem offenen Firmamente des Himmels.

14 Trio & Chorus

Chorus

The heavens are telling the glory of God; The wonder of his works displays the firmament.

Trio

Today that is coming speaks it the day; The night that is gone to following night.

Chorus

The heavens are telling the glory of God; The wonder of his works displays the firmament.

Trio

In all the lands resounds the word, Never unperceived, ever understood.

Chorus

The heavens are telling the glory of God; The wonder of his works displays the firmament.

PART II

15 Recitative • Gabriel:

And God said:

Let the waters bring forth abundantly the moving creature that hath life, And fowl that may fly above the earth in the open firmament of heaven.

16 Aria • Gabriel

Auf starkem Fittiche Schwinget sich der Adler stolz

Und teilet die Luft Im schnellesten Fluge Zur Sonne hin.

Den Morgen grüßt Der Lerche frohes Lied, Und Liebe girrt Das zarte Taubenpaar. Aus jedem Busch und Hain erschallt Der Nachtigallen süße Kehle. Noch drückte Gram nicht ihre Brust, Noch war zur Klage nicht gestimmt Ihr reizender Gesang.

17 Recitative • Raphael

Und Gott schuf große Walfische und ein jedes lebende Geschöpf, das sich beweget, und Gott segnete sie, sprechend: Seid fruchtbar alle, mehret euch, Bewohner der Luft, vermehret euch Und singt auf jedem Aste! Mehret euch, ihr Flutenbewohner, Und füllet jede Tiefe! Seid fruchtbar, wachset, mehret euch, Erfreuet euch in eurem Gott!

16 Aria • Gabriel

On mighty pens uplifted soars the eagle aloft, And cleaves the sky in swiftest flight to the blazing sun.

His welcome bids to morn the merry lark, And cooing calls the tender dove his mate. From ev’ry bush and grove resound the nightingale’s delightful notes. No grief affected yet her breast, Nor to a mournful tale were tun’d her soft enchanting lays.

17 Recitative • Raphael

And God created great whales, And ev’ry living creature that moveth, And God blessed them saying: Be fruitful all, and multiply!

Ye winged tribes, be multiplied, and sing on ev’ry tree! Multiply, ye finny tribes, and fill each wat’ry deep!

Be fruitful, grow and multiply! And in your God and Lord rejoice!

18 Recitative • Raphael

Und die Engel rührten ihr' unsterblichen Harfen und sangen die Wunder des fünften Tags.

18 Recitative • Raphael

And the angels struck their immortal harps,

And the wonders of the fifth day sang.

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19 Trio & Chorus

Gabriel

In holder Anmut stehn, Mit jungem Grün geschmückt, Die wogigten Hügel da. Aus ihren Adern quillt In fließendem Kristall Der kühlende Bach hervor.

Uriel

In frohen Kreisen schwebt, Sich wiegend in der Luft, Der munteren Vögel Schar. Den bunten Federglanz Erhöht im Wechselflug Das goldene Sonnenlicht.

Raphael

Das helle Naß durchblitzt

Der Fisch und windet sich Im steten Gewühl umher. Vom tiefsten Meeresgrund Wälzet sich Leviathan Auf schäumender Well' empor.

Trio

Wie viel sind deiner Werk', o Gott! Wer fasset ihre Zahl? Wer, o Gott! Wer fasset ihre Zahl?

Trio & Chorus

Der Herr ist groß in seiner Macht, Und ewig bleibt sein Ruhm.

19 Trio & Chorus

Gabriel

Most beautiful appear, with verdure young adorn’d

The gently sloping hills. Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright.

Uriel

In lofty circles plays, and hovers thro’ the sky The cheerful host of birds. And in the flying whirl the glitt’ring

plumes are dyed, As rainbows by the sun.

Raphael

See flashing thro’ the wet in thronged swarms the fry On thousand ways around. Upheaved from the deep, th’immense Leviathan sports On the foaming wave.

Trio

How many are thy works, O God! Who may their numbers tell? Who? O God! who may their numbers tell?

Trio & Chorus

The Lord is great, and great his might; His glory lasts for ever, and for evermore.

20 Recitative • Raphael

Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe nach ihrer Art: Vieh und krichendes Gewürm und Tiere der Erde nach ihren Gattungen.

20 Recitative • Raphael

And God said:

Let the earth bring forth the living creature after his kind; Cattle and creeping things, and beasts of the earth after their kind.

21 Recitative • Raphael

Gleich öffnet sich der Erde Schoß Und sie gebiert auf Gottes Wort Geschöpfe jeder Art, In vollem Wuchs und ohne Zahl. Vor Freude brüllend steht der Löwe da. Hier schießt der gelenkige Tiger empor. Das zackige Haupt erhebt der schnelle Hirsch.

Mit fliegender Mähne springt und wieh'rt Voll Mut und Kraft das edle Roß. Auf grünen Matten weidet schon Das Rind, in Herden abgeteilt. Die Triften deckt, als wie gesät, Das wollenreiche, sanfte Schaf. Wie Staub verbreitet sich In Schwarm und Wirbel Das Heer der Insekten. In langen Zügen kriecht Am Boden das Gewürm.

21 Recitative • Raphael

Straight opening her fertile womb, the earth obey’d the word, And teem’d creatures numberless, in perfect forms and fully grown.

Cheerful roaring stands the tawny lion. In sudden leaps the flexible tiger appears. The nimble stag bears up his branching head.

With flying mane and fiery look, Impatient neighs the sprightly steed. The cattle in herds already seeks his food on fields and meadows green. And o’er the ground, as plants, are spread

The fleecy, meek and bleating flock. Unnumber’d as the sands in whirl arose the host of insects. In long dimensions creeps with sinuous trace the worm.

22 Aria • Raphael

Nun scheint in vollem Glanze der Himmel, Nun prangt in ihrem Schmucke die Erde. Die Luft erfüllt das leichte Gefieder, Das Wasser schwellt der Fische Gewimmel, Den Boden drückt der Tiere Last. Doch war noch alles nicht vollbracht. Dem ganzen fehlte das Geschöpf, Das Gottes Werke dankbar sehn, Des Herren Güte preisen soll.

22 Aria • Raphael

Now heav’n in fullest glory shone; Earth smiles in all her rich attire. The room of air with fowl is fill’d; The water swell’d by shoals of fish; By heavy beasts the ground is trod. But all the work was not complete. There wanted yet that wond’rous being That grateful should God’s pow’r admire, With heart and voice his goodness praise.

23 Recitative • Uriel

Und Gott schuf den Menschen nach seinem Ebenbilde, nach dem Ebenbilde Gottes schuf er ihn. Mann und Weib erschuf er sie. Den Atem des Lebens hauchte er in sein Angesicht, und der Mensch wurde zur lebendigen Seele.

23 Recitative • Uriel

And God created man in his own image, in the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, And man became a living soul.

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24 Aria • Uriel

Mit Würd' und Hoheit angetan, Mit Schönheit, Stärk' und Mut begabt, Gen Himmel aufgerichtet steht der Mensch, Ein Mann und König der Natur. Die breit gewölbt' erhabne Stirn Verkünd't der Weisheit tiefen Sinn, Und aus dem hellen Blicke strahlt der Geist

Des Schöpfers Hauch und Ebenbild. An seinen Busen schmieget sich Für ihn, aus ihm geformt, Die Gattin, hold und anmutsvoll. In froher Unschuld lächelt sie, Des Frühlings reizend Bild, Ihm Liebe, Glück und Wonne zu.

24 Aria • Uriel

In native worth and honour clad, With beauty, courage, strength adorn’d, To heav’n erect and tall, he stands a man, the Lord and King of nature all.

The large and arched front sublime Of wisdom deep declares the seat, And in his eyes with brightness shines the soul,

The breath and image of his God. With fondness leans upon his breast

The partner for him form’d, A woman fair and graceful spouse. Her softly smiling virgin looks, of flow’ry spring the mirror, Bespeak him love, and joy, and bliss.

25 Recitative • Raphael

Und Gott sah jedes Ding, was er gemacht hatte; und es war sehr gut. Und der himmlische Chor feierte das Ende des sechsten Tages mit lautem Gesang:

26 Chorus & Trio Chorus

Vollendet ist das große Werk, Der Schöpfer sieht's und freuet sich. Auch unsre Freund' erschalle laut, Des Herren Lob sei unser Lied!

Gabriel & Uriel

Zu dir, o Herr, blickt alles auf. Um Speise fleht dich alles an. Du öffnest deine Hand, Gesättigt werden sie.

Raphael

Du wendest ab dein Angesicht, Da bebet alles und erstarrt. Du nimmst den Odem weg, In Staub zerfallen sie.

25 Recitative • Raphael

And God saw ev’ry thing, that he had made;

And behold, it was very good; And the heavenly choir in song divine thus closed the sixth day.

26 Chorus & Trio Chorus

Achieved is the glorious work; The Lord beholds and is well pleas’d.

In lofty strains let us rejoice! Our song let be the praise of God!

Gabriel & Uriel

On thee each living soul awaits; From thee, O Lord, they beg their meat. Thou openest thy hand and sated all they are.

Raphael

But as to them thy face is hid, With sudden terror they are struck. Thou tak’st their breath away; they vanish into dust.

Trio

Den Odem hauchst du wieder aus, Und neues Leben sproßt hervor. Verjüngt ist die Gestalt der Erd' An Reiz und Kraft.

Chorus

Vollendet ist das große Werk, Des Herren Lob sei unser Lied! Alles lobe seinen Namen, Denn er allein ist hoch erhaben! Alleluja! Alleluja!

INTERVAL

PART III

27 Recitative • Uriel

Aus Rosenwolken bricht, Geweckt durch süßen Klang, Der Morgen jung und schön. Vom himmlischen Gewölbe Strömt reine Harmonie

Zur Erde hinab. Seht das beglückte Paar, Wie Hand in Hand es geht! Aus ihren Blicken strahlt Des heißen Danks Gefühl. Bald singt in lautem Ton Ihr Mund des Schöpfers Lob; Laßt unsre Stimme dann Sich mengen in ihr Lied.

28 Duet • Eve & Adam with Chorus

Eve & Adam

Von deiner Güt', o Herr und Gott, Ist Erd' und Himmel voll. Die Welt, so groß, so wunderbar, Ist deiner Hände Werk.

Trio

Thou lett’st thy breath go forth again, And life with vigour fresh returns. Revived earth unfolds new force and new delights.

Chorus

Achieved is the glorious work. Our song let be the praise of God! Glory to his name for ever; He sole on high exalted reigns. Alleluia! Alleluia!

INTERVAL

PART III

27 Recitative • Uriel

In rosy mantle appears, by tunes sweet awak’d, the morning young and fair. From the celestial vaults pure harmony descends on ravished earth. Behold the blissful pair, where hand in hand they go! Their flaming looks express what feels the grateful heart A louder praise of God their lips shall utter soon. Then let our voices ring, United with their song!

28 Duet • Eve & Adam with Chorus

Eve & Adam

By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d This world, so great, so wonderful, thy mighty hand has fram’d.

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Chorus

Gesegnet sei des Herren Macht, Sein Lob erschall' in Ewigkeit.

Adam

Der Sterne hellster, o wie schön Verkündest du den Tag!

Wie schmückst du ihn, o Sonne du, Des Weltalls Seel' und Aug'!

Chorus

Macht kund auf eurer weiten Bahn Des Herren Macht und seinen Ruhm!

Eve

Und du, der Nächte Zierd' und Trost, Und all das strahlend' Heer, Verbreitet überall sein Lob In eurem Chorgesang.

Adam

Ihr Elemente, deren Kraft Stets neue Formen zeugt, Ihr Dünst' und Nebel, Die der Wind versammelt und vertreibt:

Adam, Eve & Chorus

Lobsinget alle Gott, dem Herrn, Groß wie sein Nam' ist seine Macht.

Eve

Sanft rauschend lobt, o Quellen, ihn!

Den Wipfel neigt, ihr Bäum'!

Ihr Pflanzen duftet, Blumen haucht Ihm euren Wohlgeruch!

Adam

Ihr, deren Pfad die Höh'n erklimmt, Und ihr, die niedrig kriecht, Ihr, deren Flug die Luft durchschneid't, Und ihr im tiefen Naß:

Chorus

For ever blessed be his pow’r! His name be ever magnified!

Adam

Of stars the fairest, o how sweet thy smile at dawning morn!

How brighten’st thou, O sun, the day, thou eye and soul of all!

Chorus

Proclaim in your extended course th’almighty pow’r and praise of God!

Eve

And thou that rules the silent night, and all ye starry host, Spread wide and ev’rywhere, spread wide his praise in choral songs about!

Adam

Ye strong and cumb’rous, strong elements, who ceaseless changes make, Ye, ye dusky mists and dewy steams, who raise and fall thro’ th’air,

Adam, Eve & Chorus

The praise of God our Lord resound! Great his name, and great his might.

Eve

Ye purling fountains tune his praise, and wave your tops ye pines! Ye plants exhale, ye flowers breathe at him your balmy scent!

Adam

Ye that on mountains stately tread, and ye, That lowly creep, ye, ye birds, that sing at heaven’s gate, And ye, that swim the stream,

Adam, Eve & Chorus

Ihr Tiere, preiset alle Gott! Ihn lobe, was nur Odem hat!

Adam & Eve

Ihr dunklen Hain', ihr Berg' und Tal', Ihr Zeugen unsres Danks, Ertönen sollt ihr früh und spät Von unserm Lobgesang.

Adam, Eve & Chorus

Heil dir, o Gott, o Schöpfer, Heil!

Aus deinem Wort entstand die Welt, Dich beten Erd' und Himmel an, Wir preisen dich in Ewigkeit!

29 Recitative • Adam & Eve

Adam

Nun ist die erste Pflicht erfüllt, Dem Schöpfer haben wir gedankt. Nun folge mir, Gefährtin meines Lebens! Ich leite dich, und jeder Schritt Weckt neue Freud' in unsrer Brust, Zeigt Wunder überall. Erkennen sollst du dann, Welch unaussprechlich Glück Der Herr uns zugedacht. Ihn preisen immerdar, Ihm weihen Herz und Sinn. Komm, folge mir! Ich leite dich.

Eve

O du., für den ich ward, Mein Schirm, mein Schild, mein All! Dein Will' ist mir Gesetz. So hat's der Herr bestimmt, Und dir gehorchen bringt Mir Freude, Glück und Ruhm.

Adam, Eve & Chorus

Ye living souls extol the Lord! Him celebrate, him magnify!

Adam & Eve

Ye valleys, hills, and shady woods, our raptur’d notes ye heard; From morn to ev’n you shall repeat our grateful hymns of praise.

Adam, Eve & Chorus

Hail, bounteous Lord! Almighty, hail!

Thy word call’d forth this wond’rous frame. Thy pow’r adore the heav’n and earth, We praise thee now and ever more.

29 Recitative • Adam & Eve

Adam

Our duty we performed now in off’ring up to God our thanks. Now follow me, dear partner of my life! Thy guide I’ll be, and ev’ry step pours new delights into our breast, shows wonders ev’rywhere. Then may’st thou feel and know the high degree of bliss the Lord allotted us, And with devoted heart His bounty celebrate. Come, follow me! Thy guide I’ll be.

Eve

O thou, for whom I am!

My help, my shield, my all!

Thy will is law to me. So God, our Lord, ordains, And from obedience grows my pride and happiness.

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30 Duet • Adam & Eve

Adam

Holde Gattin, dir zur Seite Fließen sanft die Stunden hin. Jeder Augenblick ist Wonne, Keine Sorge trübet sie.

Eve

Teurer Gatte, dir zur Seite, Schwimmt in Freuden mir das Herz. Dir gewidmet ist mein Leben, Deine Liebe sei mein Lohn.

Adam

Der tauende Morgen, O wie ermuntert er!

Eve

Die Kühle des Abends, O wie erquicket sie!

Adam

Wie labend ist Der runden Früchte Saft!

Eve

Wie reizend ist Der Blumen süßer Duft!

Adam & Eve

Doch ohne dich, was wäre mir –

Adam Der Morgentau, Eve

Der Abendhauch, Adam

Der Früchte Saft, Eve

Der Blumen Duft.

30 Duet • Adam & Eve

Adam

Graceful consort!

At thy side softly fly the golden hours. Ev’ry moment brings new rapture; Ev’ry care is put to rest.

Eve

Spouse adored! At thy side purest joys o’erflow the heart.

Life and all I am is thine; My reward thy love shall be.

Adam

The dew dropping morn, O how she quickens all!

Eve

The coolness of ev’n, O how she all restores!

Adam:

How grateful is of fruit the savour sweet!

Eve:

How pleasing is of fragrant bloom the smell!

Adam & Eve

But without thee, What is to me

Adam

The morning dew,

Eve

The breath of ev’n,

Adam

The sav’ry fruit,

Eve

The fragrant bloom!

Adam & Eve

Mit dir erhöht sich jede Freude, Mit dir genieß ich doppelt sie, Mit dir ist Seligkeit das Leben, Dir sei es ganz geweiht!

31 Recitative • Uriel

O glücklich Paar, und glücklich immerfort, Wenn falscher Wahn euch nicht verführt, Noch mehr zu wünschen als ihr habt, Und mehr zu wissen als ihr sollt!

Adam & Eve:

With thee is ev’ry joy enhanced, With thee delight is ever new; With thee is life incessant bliss; Thine it whole shall be.

32 Chorus

Singt dem Herren alle Stimmen!

Dankt ihm alle seine Werke! Laßt zu Ehren seines Namens Lob im Wettgesang erschallen! Des Herren Ruhm, er bleibt in Ewigkeit!

Amen!

31 Recitative • Uriel

O happy pair, and always happy yet,

If not misled by false conceit; Ye strive at more as granted is, and more to know as know ye should!

32 Chorus

Praise the Lord, ye voices all!

Magnify His name through all Creation! Celebrate his pow’r and glory!

Let his name resound on high! The Lord is great; his praise shall last for aye.

Amen.

ENDS

ENDS

Conductor MAXIM EMELYANYCHEV

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

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

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

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

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

For full biography please visit sco.org.uk

LYDIA TEUSCHER

Lydia Teuscher was born in Freiburg, Germany, and studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim.

In the 2022/23 season she will sing Ännchen in Weber Der Freischütz for Opernhaus Zürich, Estrella in concert performances of Schubert Alfonso und Estrella with the Helsinki Baroque Orchestra/Aapo Häkkinen, Mozart Mass in C Minor with Orchestre National de Lille/Jan Willem de Vriend, a programme of Bach cantatas with Les Violons du Roy/ Bernard Labadie and JS Bach Matthäus-Passion with Tampere Philharmonic Orchestra/ Aapo Häkkinen.

Recent highlights include Bach’s Weihnachtsoratorium with Philharmonia Baroque Orchestra & Chorale/Richard Egarr; concert arias with Symphonieorchester des Bayerischen Rundfunks/Giovanni Antonini, Mahler’s Symphony no. 2 with Orquestra Simfònica de Barcelona i Nacional de Catalunya/Kazushi Ono; Caliste in staged performances of Telemann Pastorelle en Musique in the Schlosstheater Neues Palais Potsdam, at the Innsbrucker Festwochen der Alten Musik and in the Markgräfliches Opernhaus Bayreuth with Ensemble 1700/Dorothé Oberlinger; Brahms’ Ein Deutsches Requiem with Philhamonia Zürich/Gianandrea Noseda.

On the opera stage, Lydia has sung Pamina Die Zauberflöte at Salzburg Mozartwoche, Festival d’Aix-en-Provence, the Bolshoi, Bayerische Staatsoper, Munich and Deutsche Staatsoper, Berlin; Susanna Le nozze di Figaro at Glyndebourne Festival, Dresdner Semperoper, Staatstheater Karlsruhe and at the Hyogo Performing Arts Center in Japan; Ännchen Der Freischütz for Opernhaus Zurich; Hero in Berlioz Béatrice et Bénédict at the Saito Kinen Festival in Japan; Zerlina Don Giovanni for the Bolshoi and Gretel in Humperdinck Hänsel und Gretel for Glyndebourne Festival, Dresdner Semperoper and Saito Kinen Festival.

Soprano

Tenor ANDREW STAPLES

A prolific concert performer, Andrew has appeared with the Berliner and Wiener Philharmoniker, the Symphonieorchester des Bayerischen Rundfunks and the Orchestra of the Age of Enlightenment with Sir Simon Rattle; the Orchestre de Paris, Swedish Radio Symphony Orchestra and London Symphony Orchestra with Daniel Harding; the Deutsches Symphonie-Orchester Berlin and the Scottish Chamber Orchestra with Robin Ticciati; the Rotterdams Philharmonisch Orkest, the Orcherstre Métropolitain and the Philadelphia Orchestra with Yannick Nézet-Séguin; the Accademia Santa Cecilia with Semyon Bychkov; and the Staatskapelle Berlin with Daniel Barenboim.

Andrew made his debut at the Royal Opera House, Covent Garden as Jacquino Fidelio, returning for Flamand Capriccio, Tamino Die Zauberflöte, Tichon Katya Kabanova and Narraboth Salome. He has also appeared at the Metropolitan Opera, the National Theatre Prague; La Monnaie Brussels; the Salzburger Festspiele; Hamburgische Staatsoper, Theater an der Wien, the Lucerne Festival and the Lyric Opera of Chicago.

Recent and future engagements include his Metropolitan Opera debut as Andres Wozzeck, Nicias in concert performances of Thais with the Toronto Symphony Orchestra and Das Lied von der Erde with the New York Philharmonic, Orchestre de Paris, Deutsches Symphonie-Orchester Berlin and Budapest Festival Orchestra. Further future engagements include returns to the Deutsches Symphonie-Orchester Berlin and the Bayerischer Rundfunk Munich.

For full biography please visit sco.org.uk

HANNO MÜLLERBRACHMANN

Hanno has sung with the London, Radio France, Wiener and Berliner Philharmonic Orchestras, the Berlin and Dresden Staatskapelle, Orchestra National de France, and the Boston and Los Angeles Symphony Orchestras under conductors including Thielemann, Haitink, Barenboim, Welser-Möst, Harnoncourt, Luisi, von Dohnányi, Labadie, Nelsons and Gardiner. He made his Carnegie Hall debut with the Chicago Symphony Orchestra under Barenboim. Hanno was a member of the ensemble of the Berlin State Opera from 1998 until 2011 and has also appeared at the Bayerische, Hamburgische and Wiener Staatsoper and San Francisco Opera.

He has given recitals in Berlin, Graz, Amsterdam, Hamburg, Paris and Lausanne, at London’s Wigmore Hall and at the Schwarzenberg Schubertiade, Berlin Festwochen and the Edinburgh Festival.

Hanno is a Professor at the Musikhochschule Karlsruhe.

For full biography please visit sco.org.uk

Bass Baritone

SCO CHORUS

The Scottish Chamber Orchestra Chorus, under the direction of Gregory Batsleer since 2009, has built a reputation as one of Scotland’s most vibrant and versatile choirs. Widely regarded as one of the finest orchestral choruses in the UK, it celebrated its 30th anniversary in 2021.

Members enjoy the unique opportunity to perform with one of the world’s leading chamber orchestras, working with international conductors including Maxim Emelyanychev, Harry Christophers, Richard Egarr, Andrew Manze, John Storgårds and Sir James MacMillan.

The Chorus appears regularly with the Orchestra in Scotland’s major cities. Recent concerts have covered a wide range of music including MacMillan Seven Last Words from the Cross, Stravinsky Mass, Handel Messiah and Theodora, Haydn Seasons, Beethoven ‘Choral’ Symphony and Missa Solemnis, Brahms Ein deutsches Requiem, a rare performance of Vaughan Williams Flos Campi and the premiere of The Years by Anna Clyne, SCO Associate Composer 2019-2022.

The SCO Chorus also appears on its own in a cappella repertoire, both digital and live, including an acclaimed performance of Tallis’ Spem in Alium at Greyfriars Kirk and concerts as part of the SCO’s 2022 Summer Tour including the premiere of Anna Clyne’s The Heart of Night. Its annual Christmas concerts have quickly established themselves as a Season highlight.

Other notable out-of-Season appearances have included a critically-acclaimed debut at the BBC Proms in Handel’s Jephtha in 2019 and a dramatised performance of Parry’s Songs of Farewell in 2017, devised by stage director Jack Furness and Chorus Director Gregory Batsleer.

Our Young Singers' Programme was established in 2015 to nurture and develop aspiring young singers. It is designed for young people with a high level of choral experience and ambitions to further their singing with a world-class ensemble.

Further information at sco.org.uk

The SCO Chorus Young Singers' Programme is kindly supported by the Baird Educational Trust.

YOUR CHORUS TONIGHT

The chorus list is correct at time of publication

Chorus Director

Stuart Hope Associate Chorusmaster

Alan Beck Voice Coach

Emma Morwood Voice Coach

Susan White Chorus Manager

* Young Singers' Programme

SOPRANO

Kirstin Anderson

Naomi Black Emily Borrill Morven Chisholm Mairi Day

Joanne Dunwell Liberty Emeny Lucy Forde Emily Gifford Lisa Johnston Lesley Mair Katie McGlew Jenny Nex Annike Petin Alison Robson Emily Zehetmayr*

ALTO

Shona Banks

Sarah Campbell

Gill Cloke Judith Colman Anne Gallacher

Jennie Gardner

Claire Goodenough Holly Gowen* Anne Grindley Caroline Hahn Fiona Haldane Lorna Htet-Khin Melissa Humphreys

Elizabeth McColl

Hilde McKenna

Charlotte Perkins Linda Ruxton Anna Yule

TENOR

Matthew Andrews David Ferrier Colin French Ian Gibson Peter Hanman Fraser Macdonald* Keith Main Michael Scanlon Paul Vaughan

BASS

Gavin Easton

Richard Hyder David Ireland

Jamie Lewis* Sandy Matheson

Richard Murphy Douglas Nicholson David Paterson

Jonathan Pryce Felix Reynish*

Fraser Riddell Peter Silver Stephen Todd Roderick Wylie

Chorus Director

GREGORY BATSLEER

Gregory Batsleer is acknowledged as one of the leading choral conductors of his generation, winning widespread recognition for his creativity and vision. Since taking on the role of SCO Chorus Director in 2009 he has led the development of the Chorus, overseeing vocal coaching, the SCO Young Singers’ Programme and the emergence of regular a capella concerts. As well as preparing the Chorus for regular performances with the Orchestra, he has directed their recent successful appearances at the Edinburgh International Jazz, East Neuk, Glasgow Cathedral and St Andrews Voices Festivals, and at Greyfriars Kirk.

Gregory has recently taken up the position of Festival Director for the London Handel Festival and will lead the programming, and development of the Festival, fulfilling its mission to bring Handel’s music to the widest possible audiences. Since 2017 he has been Artistic Director of Huddersfield Choral Society and was Chorus Director with the Royal Scottish National Orchestra from 2015 - 2021.

As Guest Conductor Gregory has worked with many of the UK’s leading orchestras and ensembles. Recent highlights include performances with the Royal Northern Sinfonia, RSNO, Hallé Orchestra, Black Dyke Band, National Youth Choir of Great Britain, Orchestra of Opera North, Manchester Camerata, SCO and Royal Liverpool Philharmonic.

From 2012 to 2017, he was Artistic Director of the National Portrait Gallery’s Choir in Residence programme, the first ever in-house music programme of any gallery or museum in the world. He has curated and devised performances for the Southbank Centre, Wilderness Festival and Latitude and collaborated with leading cultural figures across a variety of different art forms. Gregory is the co-founder and conductor of Festival Voices, a versatile ensemble dedicated to cross-art collaboration.

As a non-executive director, Gregory sits on the boards of Manchester Camerata and Charades Theatre Company. His outstanding work as a choral director was recognised with the 2015 Arts Foundation’s first-ever Fellowship in Choral Conducting.

Greg's Chair is kindly supported by Anne McFarlane

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

THE CREATION

6-7 Oct, 7.30pm Edinburgh | Glasgow

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

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

SCHULDT CONDUCTS SCHUMANN

10-11 Nov, 7.30pm Edinburgh | Glasgow

MAXIM’S BAROQUE INSPIRATIONS

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

ISRAEL IN EGYPT

1-2 Dec, 7.30pm Edinburgh | Glasgow

FELIX YANIEWICZ AND THE SCOTTISH ENLIGHTENMENT

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

YEOL EUM SON PLAYS MOZART

15-16 Dec, 7.30pm Edinburgh | Glasgow

VIENNESE NEW YEAR

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

MUSIQUE AMÉRIQUE

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

AN EVENING WITH FRANÇOIS LELEUX

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

MÖDER DY / MOTHER WAVE

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

MOZART’S FLUTE CONCERTO 15-17 Feb, 7.30pm St Andrews | Edinburgh | Glasgow

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

THE DREAM

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

FOLK INSPIRATIONS WITH PEKKA 9-10 Mar, 7.30pm Edinburgh | Glasgow

LES ILLUMINATIONS

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

HANDEL: MUSIC FOR THE ROYALS

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

SCHUBERT’S

UNFINISHED SYMPHONY

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

SUMMER NIGHTS WITH KAREN CARGILL 19-21 Apr, 7.30pm St Andrews | Edinburgh | Glasgow

BEETHOVEN’S FIFTH 27-29 Apr, 7.30pm Edinburgh | Glasgow | Aberdeen

TCHAIKOVSKY’S FIFTH 4-5 May, 7.30pm Edinburgh | Glasgow

BRAHMS REQUIEM

11-12 May, 7.30pm Edinburgh | Glasgow

SCO.ORG.UK

4 Royal Terrace, Edinburgh EH7 5AB +44 (0)131 557 6800 sco.org.uk

The Scottish Chamber Orchestra is a charity registered in Scotland No. SC015039. Company registration No. SC075079.

CONCERTS SEASON 22/23
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WE BUILD RELATIONSHIPS THAT LAST GENERATIONS.

Generations of our clients have trusted us to help build and preserve their wealth.

For over 250 years, they have relied on our expert experience to help make sense of a changing world. During that time we’ve earned an enviable reputation for a truly personal approach to managing wealth.

For those with over £250,000 to invest we o er a dedicated investment manager, with a cost structure and level of service, that generates exceptional client loyalty.

Find out more about investing with us today: Murray Clark at our Edinburgh o ce on 0131 221 8500, Gordon Ferguson at our Glasgow o ce on 0141 222 4000 or visit www.quiltercheviot.com

Investors should remember that the value of investments, and the income from them, can go down as well as up and that past performance is no guarantee of future returns. You may not recover what you invest. Quilter Cheviot and Quilter Cheviot Investment Management are trading names of Quilter Cheviot Limited. Quilter Cheviot Limited is registered in England with number 01923571, registered o ce at Senator House, 85 Queen Victoria Street, London, EC4V 4AB. Quilter Cheviot Limited is a member of the London Stock Exchange and authorised and regulated by the UK Financial Conduct Authority.

INVESTING FOR GENERATIONS

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A warm welcome to everyone who has recently joined our family of donors, and a big thank you to everyone who is helping to secure our future.

Monthly or annual contributions from our donors make a real difference to the SCO’s ability to budget and plan ahead with more confidence. In these extraordinarily challenging times, your support is more valuable than ever.

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.

SCO.ORG.UK/SUPPORT-US The SCO is a charity registered in Scotland No SC015039.
PART OF OUR FUTURE

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