Season 2016/17 Glasgow - Scottish Chamber Orchestra

GLASGOW CITY HALLS
CONCERT SEASON
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OCTOBER 2016 to MAY 2017
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SCOTTISH CHAMBER ORCHESTRA
www.sco.org.uk
Exploring Mozart’s Monumental Triptych
Tom Service6
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Mozart – The Last Symphonies
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The Perfect Form & Performance for Strauss
Martin Ennis8
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Strauss – Le Bourgeois Gentilhomme
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Berlioz – L’enfance du Christ
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Bruckner – Symphony No 4 ‘Romantic’
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Beethoven – The ‘Pastoral’
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Handel – Israel in Egypt
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Maxwell Davies – An Orkney Wedding
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Orchestra Profile
Nikita Naumov – Principal Double Bass
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Mozart – Piano Concertos Nos 20 & 22
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Strauss – Wind Concertos
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Beethoven – The ‘Emperor’
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Nicola Benedetti plays Beethoven
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Maria João Pires plays Mozart
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Mozart – Coronation Mass
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TO BOOK TICKETS
www.sco.org.uk
Orchestra Profile
Aisling O’Dea – First Violin
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Beethoven – Symphony No 2
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The Paris Concert
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MacMillan – Stabat Mater
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Schumann – Symphony No 2
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Schumann – Symphony No 3 ‘Rhenish’
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Beethoven – The ‘Eroica’
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Beethoven – Missa solemnis
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Schubert – Symphony No 4 ‘Tragic’
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Beethoven – Symphony No 7
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SCO Insights27
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SCO Connect28
How to Book / Ticket Prices / Seating Plan30
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Subscription Prices & Booking Form32
WELCOME
TO OUR
16/17
SEASON
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Robin Ticciati
Principal Conductor
For the last three years the SCO has gone on an
exhilarating journey exploring the more familiar
music of Berlioz, Schumann, Brahms and Haydn.
Our thoughts planning our 2016/17 Season were
quite simply – where to from here?
as his ‘Indian Summer’, it is here we find nostalgia,
whimsical melancholy and above all an acceptance of
beauty. Strauss wrote that these pieces embodied “the
eternal spirit of Mozart at the end of a thankful life”.
This Season will embrace the new music of Martin
Suckling, Helen Grime, Thomas Adès, Anna Meredith,
Jörg Widmann, Sir James MacMillan, Sir Peter
Maxwell Davies, Thierry Escaich and Lyell Cresswell
and celebrate what is new, what is challenging, what is
provoking to our ears.
Someone even more indebted to the past than
Richard Strauss was Anton Bruckner. Written in 1874
(three years earlier than Brahms’ Second Symphony)
Bruckner’s Fourth is an archetype of the ultimate
Romantic composition. There is a hidden programme
in this Symphony which ranges from hunting horns,
to bird song, to the first rays of a new day. However,
it is intended as ‘absolute’ music, and in it Bruckner
calls upon music of the past – Johann Fux, Giovanni
Palestrina, JS Bach – to compose a progressive tome
perfectly suited to the style, intellect and sound world
of the SCO. While in so many ways it will be a new
departure for the Orchestra, and you our audience,
it will also be one of the peaks in our Season and –
for now – a culmination of all our work together
on the 19th century.
To complement our ever-present Classical narrative of
Mozart, Strauss will be celebrated at his most personal
this Season. My first meeting with the Orchestra in 2007
included in its programme the operatic Duet Concertino
for Clarinet and Bassoon played by Maximiliano Martín
and Peter Whelan. It ignited within me a passion for the
intimate later works of this composer. Often described
With wonderful guest artists revelling in music from
Rameau to Adès, we hope every programme will
feel like a gift. Whether it’s Kristian Bezuidenhout
weaving Mozart magic on his fortepiano or Tom Poster
producing sparks in the world premiere of Martin
Suckling’s Piano Concerto, we will be thrilled to have
you with us as there is something here for everyone.
The heartbeat of this beautiful ensemble is its desire
to give you – our audience – a new experience every
evening. An experience filled with a sense of searching,
spontaneity, daring and joy. With that in mind we have
sought to grow our focus on the living composers, both
from Britain and further afield, who are the craftsmen
and women of today: the voices that sing for what
humanity represents – or doesn’t – in the 21st century.
Come join us!
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The depth and the
emotional sphere
of the performance
was breathtaking
and the music was
just sublime. What a
fabulous evening!
First-time
concert attender
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We have never
heard the SCO excel
themselves so well.
The opening of the
second movement of
Beethoven 7 was spellbindingly magical.
YOUR
ORCHESTRA
IS ONE OF
THE WORLD’S
BEST
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Email from
Season subscriber
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I took some firsttime concert goers
along with me and
they absolutely loved
it. We’ll definitely
be returning many
more times!
@SCOmusic
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There was a
tremendous sense of
occasion; the orchestra
played brilliantly, as
ever, with Ticciati
utterly in control.
Many thanks.
Facebook comment
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SCO concerts are
always memorable for
a host of reasons, not
least the freshness of
the interpretation. Our
students enjoyed the
evening enormously.
Director of Music,
St Mary’s Music School
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The orchestra was as
incredible as always
when they played
Brahms. It was spinetingling to say the least
and I gained a deeper
understanding of the
third symphony.
Concert attender
EXPLORING
MOZART’S
MONUMENTAL
TRIPTYCH
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Tom Service
What are Mozart’s last three symphonies? Yes, of course
these are three large-scale orchestral works, each in
four movements, composed in 1788 by a 32-year-old
composer in Vienna – what could be more obvious?
But why were they written, at a time of personal and
professional insecurity in Mozart’s life, with apparently
little obvious prospect of performance? What did they
mean to him as a compositional achievement, and what
do they mean to us today as listeners and performers?
Should we even think of these symphonies as separate
pieces – or rather, are they a single cycle of symphonic
possibility and emotional, even spiritual experience?
That’s what the conductor Nikolaus Harnoncourt
thinks. He has a theory that the pieces make a threepart ‘instrumental oratorium’, since their expressive
and architectural scale is unprecedented in Mozart’s
previous symphonic works (apart from the ‘Prague’
Symphony No 38), and the materials they use reflect
Mozart’s study of Baroque counterpoint and harmony,
especially the way that Bach and Handel transformed
compositional technique into ecclesiastical feeling.
One example: the last movement of these pieces – the
finale of finales that is the cosmic fugue at the end of
the 41st Symphony – is based on a four-note idea that
can trace a genealogy as far back as a chant written in
the 13th century and attributed to Thomas of Aquinas,
which was used by composers from Josquin to Joseph
Haydn, and which turns up strikingly often in Mozart’s
own sacred and secular music, from his very First
Symphony to his Credo K192 and 33rd Symphony.
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And that’s just four notes! In fact, every bar of these
pieces is a palimpsest of musical history that goes back
and forward in time in the meanings the music creates:
back to the musical past and the specifically late-18th
century resonances of Mozart’s musical language, and
forward, because of these works’ profound impact
on later composers, and in the way that successive
generations of conductors, orchestras and audiences
have played and interpreted them.
Thrillingly, this the first time that Robin Ticciati has
led the SCO in these essential but ever-changing
cornerstones of their repertoire. I have no idea if Robin
agrees with Harnoncourt’s ideas, or whether he’s more
influenced by Charles Mackerras, or René Jacobs or
Richard Strauss’ performances.
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What I do know is that we’re in for a multidimensional musical experience in these
concerts that will expand our Mozartian
minds, making new meanings, connections
and feelings in the catalytic combination of
the SCO’s playing and our listening.
Friday 7 October 2016
7.30pm
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Proudly sponsored by
Robin Ticciati
conducts
Mozart
THE LAST
SYMPHONIES
ROBIN GENERATES
SOMETHING
SPONTANEOUS, SO ONE
LITTLE EYEBROW LEADS
IN AN UNEXPECTED
DIRECTION AND IT
BECOMES LESS LIKE A
SYMPHONY AND MORE
LIKE PLAYING STRING
QUARTETS. IT’S A VERY
SPECIAL EXPERIENCE.
David Watkin
MOZART
Symphony No 39 (29’)
MOZART Symphony No 40 (35’)
MOZART
Symphony No 41 ‘Jupiter’ (31’)
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ROBIN TICCIATI – Conductor
“Representing no occasion, no immediate purpose,
but an appeal to eternity” is how his biographer
Alfred Einstein characterised the creation of Mozart’s
last three symphonies.
Written at a time of personal and professional
insecurity in Mozart’s life, with little obvious prospect
of performance, what did they mean to Mozart as a
compositional achievement, and what do they mean
to you the listener today? Are they three separate
symphonies, or a symphonic cycle to be enjoyed as
one emotional, even spiritual experience? Come and
decide for yourself.
This concert opens the Scottish Chamber Orchestra’s
new Season under the baton of Principal Conductor
Robin Ticciati.
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THE PERFECT
FORM AND
PERFORMANCE
FOR STRAUSS
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Martin Ennis
For many concert-goers, the music of Richard Strauss
(1864-1949) remains the preserve of the symphony
orchestra. Most of the tone-poems with which he
established his reputation demand enormous forces;
sometimes even a large orchestra will not suffice, as
demonstrated by the collaboration of the Hallé and
BBC Philharmonic Orchestras in a recent performance
of the ‘Alpine’ Symphony.
Strauss, however, was a master of reinvention. The overt
allusions to Mozart in his 1911 opera, Der Rosenkavalier
struck many at the time as the work of a revisionist,
even a backslider. With the benefit of hindsight,
however, we can see that Strauss was helping set the
points for a new stylistic direction. He further reduced
his orchestra to Mozartian proportions, the equivalent
size of the SCO.
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Writing in 1912, shortly after the premiere
of Der Rosenkavalier, the conductor Felix
Weingartner urged composers “to create in
the spirit of Mozart using… modern means of
expression”. This Season’s works offer a clear
realisation of this aim; more, they reveal
a side to Strauss’ personality that is all too
rarely explored. Prepare to be surprised and
delighted in equal measure.
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Over the coming Season, the SCO will explore this less
familiar aspect of Strauss. The works performed range
from the incidental music for Molière’s Le bourgeois
gentilhomme, in which arrangements of Jean-Baptiste
Lully are juxtaposed with pastiche dances by Strauss
himself, to two of his last works, the Oboe Concerto
and the Duet Concertino, where echoes of Strauss’
beloved Mozart are never far distant. The Second
Horn Concerto, with Alec Frank-Gemmill as soloist,
also features.
For the SCO and Robin Ticciati, the turn to Strauss
is well-timed. Strauss started his conducting career
at the Meiningen Court Orchestra, Brahms’ favourite
ensemble, and many of his early works, including the
First Horn Concerto, blend influences from Schumann
and Brahms. The SCO’s experiences over recent Seasons
with these two composers, alongside a long-standing
commitment to Classical repertoire, are an ideal
preparation for Strauss’ more intimate creations.
EXPLORE
STRAUSS
Friday 14 October 2016
7.30pm
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See Page 27
Robin Ticciati
conducts
Strauss
Le BOURGEOIS
GENTILHOMME
TICCIATI AND THE SCO,
IN SPLENDID FORM,
STRIPPED IT TO THE
BONE, MADE IT LEAN,
LOW-CALORIE AND VERY
BEETHOVENIAN IN ITS
DRAMA AND EXCITEMENT,
AND DELIVERED AN
ACCOUNT THAT SEEMED
WHIPLASH AND INCISIVE
IN ITS IMMEDIACY… IT
WAS UTTERLY BEAUTIFUL.
The Herald
MOZART
Overture, The Marriage of Figaro (4’)
SUCKLING
Piano Concerto (c.30’)
SCO Commission, World Premiere
STRAUSS
Le Bourgeois Gentilhomme (36’)
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ROBIN TICCIATI – Conductor
TOM POSTER – Piano
Strauss once claimed that “the human soul was
first revealed… in Mozart’s melodies”. Tonight’s
programme juxtaposes the sparkling overture
to Mozart’s Marriage of Figaro, an opera Strauss
conducted many times, with a distinctly retrospective
work – the charming, dance-like incidental music to
Molière’s Le bourgeois gentilhomme. The programme
includes a new Piano Concerto by Martin Suckling,
written for the SCO, Robin Ticciati and Tom Poster.
Suckling blurs the lines between soloist and orchestra,
abandoning traditional ideas of the concerto as a
vehicle for display for one in which “the piano sings
the world into existence”.
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COMPOSER INSIGHTS: 6.30pm
Martin Suckling introduces his new Piano Concerto.
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Friday 21 October 2016
7.30pm
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THE QUILTER CHEVIOT
KRIVINE SERIES
Emmanuel Krivine
conducts
Berlioz
L’ENFANCE du CHRIST
with the
SCO Chorus
IT’S GREAT FUN
WORKING WITH
KRIVINE. HE HAS
A GREAT SENSE
OF HUMOUR AND
HIS CONCERTS
ARE ALWAYS
MEMORABLE – VERY
FREE AND WITH
LOTS OF ENERGY!
Eric de Wit,
SCO Cello Player
BERLIOZ
L’Enfance du Christ (93’)
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EMMANUEL KRIVINE – Conductor
CHRISTIANNE STOTIJN – Mary
BERNARD RICHTER – Centurion, Narrator
EDWIN CROSSLEY-MERCER – Polydorus, Joseph
JÉRÔME VARNIER – Herod, Ishmaelite Father
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SCO CHORUS
GREGORY BATSLEER – Chorus Director
In this grand and impressive music, Berlioz tells the
story of Christ’s birth and infancy as an immense choral
epic. The beautiful Shepherd’s Farewell has taken on a
life of its own as a Christmas carol, but it is just one of
the magical moments in this score. The Slaughter of the
Innocents is evoked with terrible vividness, the flight
to Egypt and the manger scene all bring forth beautiful
music from one of the all-time great orchestrators, the
French Romantic Hector Berlioz.
Principal Guest Conductor Emmanuel Krivine brings
the story to life through the musicians, a quartet of
soloists and the SCO Chorus who are expertly coached
by Chorus Director Gregory Batsleer.
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EXPLORE
STRAUSS
Friday 4 November 2016
7.30pm
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See Page 27
Robin Ticciati
conducts
Bruckner
SYMPHONY No 4
‘ROMANTIC’
BRUCKNER’S FOURTH
IS AN ARCHETYPE
OF ROMANTIC
COMPOSITION. IN IT,
HE CALLS UPON MUSIC
OF THE PAST – JOHANN
FUX, GIOVANNI
PALESTRINA, JS BACH
– TO COMPOSE A
PROGRESSIVE TOME
PERFECTLY SUITED TO
THE STYLE, INTELLECT
AND SOUND WORLD
OF THE SCO.
Robin Ticciati
STRAUSS
Oboe Concerto (25’)
BRUCKNER Symphony No 4 ‘Romantic’ (70’)
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ROBIN TICCIATI – Conductor
RAMÓN ORTEGA QUERO – Oboe
Tonight’s programme unites two late Romantic masters,
Anton Bruckner and Richard Strauss. In some respects
polar opposites – Bruckner obsessed by the spiritual,
Strauss a man of the world – both build nonetheless on
Wagner’s heritage.
Bruckner’s Fourth Symphony, the ‘Romantic’,
foregrounds the other-worldliness in Wagner, with
its magical horncalls and shimmering evocations of
the German forest. By the time of the Oboe Concerto,
written for an American soldier who door-stepped
Strauss in 1945, Wagner’s grandiloquence had long
since been abandoned; however, traces of his distinctive
harmonies remain, melded – as so often in late Strauss –
with pure Mozartian melody.
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CONDUCTOR INSIGHTS: 6.30pm
Dr Martin Ennis of Girton College, Cambridge in
conversation with Principal Conductor Robin Ticciati.
13
BEETHOVEN
THE ‘PASTORAL’
Friday 11 November 2016
7.30pm
BEETHOVEN
Overture, Prometheus (5’)
MÉHUL
Symphony No 1 in G minor (26’)
BEETHOVEN
Symphony No 6 ‘Pastoral’ (40’)
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RICHARD EGARR – Conductor
We have come to expect startling adventures every time
our Associate Artist Richard Egarr is in town, and this
programme will doubtless be no exception. We may not
be familiar with the name Etienne Méhul as his scores
were lost for many years but, as Paris’ answer to Mozart
and Haydn, Beethoven thought highly of his French
contemporary. Egarr agrees, reasoning that Méhul’s
stormy First Symphony “deserves a much higher status
in 19th century music history”. Experience the freedom
of the countryside and total harmonic happiness with
Beethoven’s homage to nature, his ‘Pastoral’.
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Kindly supported by SCO PATRONS
To become an SCO Patron, please see page 33
to make a donation.
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CONDUCTOR INSIGHTS: 6.30pm
Richard Egarr in conversation with
SCO Viola Player Steve King.
Richard Egarr
Conductor
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ISRAEL in EGYPT
Friday 25 November 2016
7.30pm
HANDEL
Israel in Egypt (100’)
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PETER DIJKSTRA – Conductor
ILSE EERENS – Soprano
SORAYA MAFI – Soprano
IESTYN DAVIES – Counter Tenor
JAMES GILCHRIST – Tenor
THOMAS OLIEMANS – Baritone
ASHLEY RICHES – Bass Baritone
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SCO CHORUS
GREGORY BATSLEER – Chorus Director
Hailstones and lightning, buzzing flies and leaping
frogs… Israel in Egypt leads you excitedly through
the plagues of Egypt and the crossing of the Red Sea,
following Moses and the Children of Israel through
the book of Exodus.
The epic nature of the story could not be more suited to
Handel’s genius for story-telling and drama. Of all his
great oratorios, Israel in Egypt is second only to Messiah
in drama. It is dominated by virtuosic choruses, making
it the perfect piece for the SCO Chorus.
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AT THE HEART OF THIS
PERFORMANCE WAS
GREGORY BATSLEER’S
SCO CHORUS, ITS
MODEST NUMBERS
HARDLY AN ISSUE
WHEN THE DICTION,
ARTICULATION AND
UNANIMITY OF ATTACK
WERE DELIVERED WITH
SUCH LUSTROUS CLARITY.
THEIR PRISTINE SINGING
HAD A STAR-LIKE
CONSTANCY THAT GAVE
A BRILLIANT HEAVENLY
SHEEN TO THE PLAYING
OF THE SCO.
The Scotsman
Friday 2 December 2016
7.30pm
A Celebration of
Scotland’s Musical Hero
Maxwell Davies
AN ORKNEY
WEDDING
THE EVENING CLOSED
WITH “THE PARTY PIECE
OF ALL PARTY PIECES”
AN ORKNEY WEDDING,
WITH SUNRISE. IT VIVIDLY
BRINGS TO LIFE WHAT
ITS COMPOSER CALLS
“A PICTURE-POSTCARD
RECORDING OF A
WEDDING ON HOY”.
Bachtrack review
SIBELIUS
The Tempest: Suite No 2 (17’)
MAXWELL DAVIES Accordion Concerto (c.25’)
SCO Commission: World Premiere
Commission kindly supported by
Mr Roland Williams, PRS for Music Foundation
and the Royal Academy of Music
BARTÓK
Divertimento (25’)
MAXWELL DAVIES
An Orkney Wedding, with Sunrise (13’)
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ALEXANDRE BLOCH – Conductor
OWEN MURRAY – Accordion
Sir Peter Maxwell Davies’ love of Scotland has inspired
him to create so much wonderful music imbued with
landscape, weather and sea, and also its history and
traditional music. This very special concert offers
the latest chapter, in the shape of his new Accordion
Concerto for Edinburgh-born virtuoso, Owen Murray.
We close with one of Maxwell Davies’ most iconic
works, An Orkney Wedding, with Sunrise. The raucous
dances and boozy merriment of this Scottish wedding
are strongly evoked as the Orchestra cheer on stage
and the conductor even toasts the audience with a
dram of whisky…
And how to end the party? The bagpipes herald a blaze
of light as the sun rises and it’s time to go home.
15
NIKITA
NAUMOV
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Principal Double Bass
Tell us about your instrument – does it have a story?
What was your first musical experience?
I own a French double bass. It’s not very expensive
or one of the best basses I have ever played, but it’s
what I could afford. On my double bass I use really
special strings – gut strings, but wound with metal,
called Eudoxa strings. I think they have less pressure
on the instrument and the bass sounds much better
with them. They make the sound more open, and
are very helpful for having a bigger sound and easier
articulation. It really fits in with the SCO sound. A lot
of our cello players are using all gut strings or Eudoxa
as well. My bass is just over 100 years old. I bought it
in London from a friend who is a bass dealer.
I was seven when I came to music school and that’s
when I started to play the little double bass. They gave
me a small sized cello with bass guitar strings on it.
My father told me recently that we missed the violin
audition and so I was given the double bass to play!
I remember my first piece when I was seven was a little
melody by Mozart. I now know it in English as Twinkle,
Twinkle Little Star. I was quite proud of it because it
was quite difficult, some people were playing open
strings – I was already able to play it using my first and
fourth fingers. My father used to play guitar a lot at
home and practise. I remember a lot of melodies he was
playing and I think this helped me to have my love for
music, even before I started school.
I have another double bass that I use to practise at
home which I don’t play in concerts. That bass came
from Kazakhstan. I got it from my teacher, he died
about four years ago and he gave it to me – it was the last
instrument he played. It’s very special to me. It’s made
from many different pieces of wood. In those days in
Kazakhstan a lot of people repaired and crafted their
own instruments, nowadays this is changing.
I love playing double bass and think it is the most
important instrument in the orchestra. It’s like the
foundation of a building. So the double bass is the
foundation of the orchestra. You usually build up the
harmony from the bass. So harmonically it’s one of
the most important instruments of course!
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What’s the atmosphere like when it is an orchestra
colleague playing the solo part?
When the likes of Maxi (Martín) or Peter (Whelan)
play a solo in the orchestra it always sounds absolutely
incredible. Or Jane (Atkins), her solo that really touched
me was in James MacMillan’s Percussion Concerto,
Veni, veni, Emmanuel. Towards the end she had this
totally crazy part – that was probably one of my best
experiences in the SCO.
I played a double bass concerto with the SCO the
first year I joined. I was very nervous because I had
just joined the orchestra. My colleagues were very
supportive, extremely supportive and I really enjoyed
it very much. I respect my colleagues very much and
it was an amazing feeling to play with them and be
supported by them.
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KRISTIAN BEZUIDENHOUT
plays
ROBIN TICCIATI
conducts
MOZART PIANO
CONCERTOS
Nos 20 & 22
STRAUSS WIND
CONCERTOS
Friday 9 December 2016
7.30pm
Friday 16 December 2016
7.30pm
STRAUSS
Duet Concertino (18’)
MEREDITH
Fringeflower (5’)
First performed by the SCO at the
2006 Cheltenham Festival
STRAUSS
Horn Concerto No 2 in E-flat (20’)
SCHUBERT
Symphony No 1 (29’)
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ROBIN TICCIATI – Conductor
ALEC FRANK-GEMMILL – Horn
MAXIMILIANO MARTÍN – Clarinet
PETER WHELAN – Bassoon
ADÈS
Chamber Symphony (13’)
MOZART
Piano Concerto No 20 in D minor, K466 (30’)
GRIME
A Cold Spring (10’)
MOZART
Piano Concerto No 22 in E-flat, K482 (34’)
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ROBIN TICCIATI – Conductor
KRISTIAN BEZUIDENHOUT – Fortepiano
The fortepiano is the instrumental ‘technology’ –
Kristian Bezuidenhout’s word – that Mozart knew
and loved, and for which he effectively created
his own genre in Vienna in the 1780s: the piano
concertos that he would compose, perform, and
sell in his subscription concerts as an independent
musician in the capital of the Habsburg Empire.
The E-flat Major and D minor concertos explore
the grandest reaches of his virtuosities of technique
and feeling: now tragic, now consoling, always
contemporary – resonances amplified by music
from Helen Grime and Thomas Adès.
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Kindly supported by
Colin and Sue Buchan
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Strauss’ father was a leading horn player, so it’s not
surprising that the horn plays a major role in his
music. The First Horn Concerto (1883), written when
the composer was in his teens, has a tuneful freshness
reminiscent of Schumann; the Second (1942) is
nostalgic in mood. Strauss’ Duet Concertino (1947)
recreates Hans Christian Andersen’s fairy tale The
Swineherd, with the two soloists, clarinet and bassoon,
representing the Princess and the Swineherd characters.
We finish with Schubert’s First Symphony, another work
by a precocious teenager. Though it contains echoes of
Classical precursors, Schubert’s individuality, not least
in his melodic invention, shines through.
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PRE-CONCERT RECITAL: 6.15pm
Pre-concert recital by students from the Royal
Conservatoire of Scotland, who are working with
musicians from the SCO to develop their skills and
experience in the performance of chamber music.
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Kindly supported by
Donald and Louise MacDonald
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EXPLORE STRAUSS
See Page 27
LLYR WILLIAMS
plays
NICOLA BENEDETTI
plays
BEETHOVEN
PIANO CONCERTO
No 5 ‘EMPEROR’
BEETHOVEN
VIOLIN CONCERTO
Friday 13 January 2017
7.30pm
Friday 20 January 2017
7.30pm
MOZART
Overture, La clemenza di Tito (5’)
MOZART
Violin Concerto No 4 in D, K218 (24’)
BERG
Lyric Suite (15’)
BEETHOVEN
Piano Concerto No 5 ‘Emperor’ (38’)
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ALEXANDER JANICZEK – Director / Violin
LLYR WILLIAMS – Piano
A majestic close to the acclaimed two-year journey
Llŷr Williams and Alexander Janiczek have been
taking with the SCO through the concertos of
Mozart and Beethoven. ‘Emperor’ was never
Beethoven’s title, but it well becomes such a grand,
imposing work: tragically, it is the only one of his
piano concertos that Beethoven never played.
His deafness made it impossible.
In contrast, Mozart’s youthful Violin Concerto is
pure sunshine. Between them lies “…a small
monument to a great love.” Berg’s hyper-Romantic
Lyric Suite conceals in its notes the story of a
passionate love affair.
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FEAST YOURSELVES
ON THE CONCERTOS
FROM JANICZEK AND
WILLIAMS, AS AN
EVENING BECOMES NOT
ABOUT THE INDIVIDUAL
IN FRONT OF THE
SCORE, BUT TWO EQUAL
MINDS STRIVING FOR
THE MEANING BEHIND
THESE WONDERFUL
CONCERTOS.
Robin Ticciati
BEETHOVEN
Leonore Overture No 1 (10’)
Symphony No 4 (34’)
​Violin Concerto (42’)
–––––
JOSEPH SWENSEN – Conductor
NICOLA BENEDETTI – Violin
“Tender, and sensitive, and intimate… I’m just so
unbelievably moved by his music”, is how Scottish
violinist Nicola Benedetti describes Beethoven’s
Violin Concerto, the centrepiece of this brilliant
all-Beethoven programme.
Thomas Edison once said, “Genius is 1%
inspiration and 99% perspiration”. This certainly
applies to tonight’s Overture. Leonore No 1 was
one of Beethoven’s four attempts at writing an
overture to Fidelio. The Fourth is the most Classical
of Beethoven’s mature symphonies – in form if not
in content. But, within the ‘Classical’ frame lurks
something wonderfully subversive and original.
19
Friday 27 January 2017
7.30pm
–––––
Kindly supported by
DUNARD FUND
Maria João Pires
plays
Mozart
PIANO
CONCERTOS
PIRES WAS AN
IDEAL MATCH
FOR THE SCO…
ADDING SHAPELY
PHRASING,
UNDERSTATED
VIRTUOSITY
AND A WARM,
SINGING TOUCH.
The Herald
DVORÁK
Legends Op 59: Nos 1-5 (25’)
MOZART Piano Concerto No 21 in C, K467 (29’)
DVORÁK
Legends Op 59: Nos 6-10 (21’)
MOZART Piano Concerto No 27 in B-flat, K595 (30’)
–––––
ROBIN TICCIATI – Conductor
MARIA JOÃO PIRES – Piano
It’s hard not to hear Mozart’s last Piano Concerto
No 27, K595 as a valedictory statement: its slow
movement of luminous simplicity, the harmonic
fantasy and experimentation of its first movement, the
restrained joy of its finale. But this music’s special sound
world – exquisitely matched to the radiance of Maria
João Pires’ pianism – could so easily have heralded a new
departure for Mozart’s piano concerto writing.
The C Major Concerto, written just a few years before,
belongs to another world of extrovert manners and
expressive generosity – qualities that Dvořàk’s Legends
distil in refined but rustic miniature.
20
Friday 24 February 2017
7.30pm
Richard Egarr
conducts
Mozart
CORONATION
MASS
I ALWAYS LOOK
FORWARD TO RICHARD
EGARR’S CONCERTS
WITH THE SCO BECAUSE
HE IS SUCH A GREAT
COMMUNICATOR.
THAT’S TRUE IN TERMS
OF THE MUSIC, WITH
HIS ABILITY TO MAKE
FAMILIAR THINGS FRESH
AND EXCITING.
Simon Thompson
BEETHOVEN
Overture, Coriolan (8’)
MOZART
Symphony No 36 in C ‘Linz’, K425 (36’)
Overture, The Magic Flute, K620 (7’)
Mass in C ‘Coronation’, K317 (25’)
–––––
RICHARD EGARR – Conductor
ELIZABETH WATTS – Soprano
DANIELA LEHNER – Mezzo Soprano
JAMES GILCHRIST – Tenor
ANDREW FOSTER-WILLIAMS – Bass Baritone
–––––
SCO CHORUS
GREGORY BATSLEER – Chorus Director
What’s in a key? The scales of C Major and C minor
might start from the same note, but the music they
inspired from Mozart and Beethoven couldn’t be
more different. For Mozart, C Major was a region of
self-confident optimism and cosmic order, as in the
so-called ‘Linz’ symphony – written in just a few days in
1783 – and his 1779 ‘Coronation’ Mass, one of the most
joyfully life-affirming of the many Missa brevis settings
that Mozart composed in Salzburg. But Beethoven’s
Coriolan Overture turns to C minor to create a singlemindedly tragic experience, a musical journey to selfannihilation written for Heinrich Joseph von Collin’s
play. And the Magic Flute Overture? It’s in E-flat Major,
C minor’s jubilant cousin…
21
AISLING
O’DEA
–––––
First Violin
Tell us about your childhood music memories.
When did you join the SCO?
Music has always played a very important role in my
life, what with my mother being a concert pianist and
my father a tenor, I found myself at an early age going
in the same direction. There was always practising or a
rehearsal of some kind happening at home. Violinists,
cellists passing through on a regular basis; an aria from
some Mozart opera coming from the music room was
all perfectly ‘normal’ in the O’Dea household in Dublin!
Of course I grew up thinking, “does this not happen
in everyone’s home?”
I have been a member of the first violin section of
the Orchestra since 2007. Being a member of the
SCO opens up so many different and interesting
opportunities in addition to performing regularly
on the concert platform throughout Scotland.
A special musical memory was when I was in the
European Union Youth Orchestra, playing at the Proms
in London under the baton of Bernard Haitink. The
programme included Stravinsky’s Rite of Spring. This
is such an exciting piece to play and is still one of my
absolute favourites. Being part of this performance on
the stage of the Royal Albert Hall with 120 other young
musicians from all of the countries of the European
Union and Bernard Haitink conducting was nothing
other than fantastic. I guess the combination of the
exuberance of youth, energy and musical imagination
all made for a great experience.
I still get the same feeling today performing with the
SCO. When totally absorbed in ‘that’ moment, the music
takes you to another place. There are very few, if any,
better feelings than this.
22
What other opportunities are there as an SCO member?
That ‘feeling’ in performance I mentioned earlier is one
I love, and enjoy to share. I am lucky to be a part of the
many different projects run by the Creative Learning
team, SCO Connect, which enables me to do just that.
Sharing and creating music on many different levels,
be it with SCO VIBE (for 11-18 year olds) or working
in schools with children and young adults from
underprivileged backgrounds through creative space
workshops, to name but a few, is a wonderful aspect of
being a musician with the SCO.
Seeing the difference it makes to people in the moment
when they realise they are an important part of the
creative process is brilliant. Tapping into, encouraging
creativity and just simply having fun on these projects
and workshops helps not only build confidence but
gives a sense and real understanding of collaboration
and teamwork… it helps to keep it all ‘real’ and that
works for me!
23
ANDREW MANZE
conducts
BEETHOVEN
SYMPHONY No 2
Friday 3 March 2017
7.30pm
BRITTEN
Variations on a Theme of Frank Bridge (25’)
MACMILLAN
Concertino for Horn and Strings (c.15’)
SCO Commission: World Premiere
BEETHOVEN
Symphony No 2 (32’)
–––––
ANDREW MANZE – Conductor
ALEC FRANK-GEMMILL – Horn
The SCO’s superb Principal Horn, Alec Frank-Gemmill,
is in the spotlight for Sir James MacMillan’s new
arrangement of his thrillingly theatrical Horn Quintet.
MacMillan grew up playing in brass ensembles and
he cherishes the horn of fanfares and hunting calls as
much as the soft-voiced instrument of matchless lyrical
beauty. Either side of the premiere we have youthful
tours-de-force by two of the great ‘Bs’ of history.
Conductor Andrew Manze is rightly acclaimed as an
outstanding interpreter of both Britten and Beethoven.
–––––
PRE-CONCERT RECITAL: 6.15pm
Pre-concert recital by students from the Royal
Conservatoire of Scotland, who are working with
musicians from the SCO to develop their skills and
experience in the performance of chamber music.
Laurence Cummings
Conductor
––
LAURENCE CUMMINGS
conducts
THE PARIS CONCERT
Friday 10 March 2017
7.30pm
RAMEAU
Suite from Les Boréades (25’)
MOZART
Symphony No 31 in D ‘Paris’ (17’)
JC BACH
Sinfonia Concertante in E-flat for flute,
two clarinets, two horns and bassoon (17’)
–––––
This concert forms part of a month-long celebration of
recent works by Sir James MacMillan in partnership
with the BBC SSO, Royal Conservatoire of Scotland,
Hebrides Ensemble and Glasgow Life.
HAYDN Symphony No 92 in G ‘Oxford’ (28’)
–––––
LAURENCE CUMMINGS – Conductor / Harpsichord
SCO Wind Soloists
–––––
Proudly sponsored by
Have you ever strolled round the streets of Paris and
wondered how to spark that creative genius in you?
A city that has long been a great source of inspiration
to many was the compositional base for all the works
in this programme.
The opening of Mozart’s ‘Paris’ is one of the grandest,
most thrilling sounds, with Mozart making use of
clarinets for the first time in a symphony. Haydn’s
‘Oxford’ was so-called because he conducted it when
he was awarded an honorary doctorate at Oxford
University – but it was a case of ‘here’s one I wrote
earlier’ (in Paris). Rameau and JC Bach will have you
searching for your favourite dancing shoes.
24
SCO and THE SIXTEEN
perform
PHILIPPE HERREWEGHE
conducts
MACMILLAN
STABAT MATER
SCHUMANN
SYMPHONY No 2
Friday 24 March 2017
7.30pm
Friday 31 March 2017
7.30pm
BACH
The Art of Fugue, Contrapunctus I & IV (8’)
MENDELSSOHN
Piano Concerto No 2 in D minor (25’)
MACMILLAN
Tryst (30’)
Stabat Mater (60’)
Commissioned by the Genesis Foundation
for Harry Christophers and The Sixteen:
Scottish Premiere
–––––
SIR JAMES MACMILLAN – Conductor (Tryst)
HARRY CHRISTOPHERS – Conductor
(Stabat Mater)
THE SIXTEEN
The glorious choral sound of The Sixteen
captivates and inspires Sir James MacMillan – and
his latest major work for them is the climax of this
special concert.
In the first half the composer himself conducts Tryst
– one of the very first pieces he wrote for the SCO
back in the late 1980s. Inspired by his folksong of the
same name, this is a showpiece that the Orchestra has
performed to great effect all over the world.
SCHUMANN
Symphony No 2 (38’)
–––––
PHILIPPE HERREWEGHE – Conductor
MARTIN HELMCHEN – Piano
The premiere of Schumann’s Second Symphony was
conducted by his friend Felix Mendelssohn, and the
work incorporates Bach’s ‘musical signature’ quoted
in The Art of Fugue – the notes B-A-C-H (in English
B-flat, A, C, B) – so surely he would nod approval at
this programme.
It was during the composition of this Symphony
that Schumann began to experience the early signs
of the mental disorder that would eventually bring
his creative life to a premature halt. He wrote,
“my resistant spirit had a visible influence on [the
symphony] and it is through this that I sought to
fight my condition.”
Philippe Herreweghe
Conductor
––
–––––
COMPOSER INSIGHTS: 6.30pm
Sir James MacMillan introduces his Stabat Mater in
conversation with Svend Brown.
–––––
This concert forms part of a month-long celebration of
recent works by Sir James MacMillan in partnership
with the BBC SSO, Royal Conservatoire of Scotland,
Hebrides Ensemble and Glasgow Life.
25
Jean-Guihen Queyras
Cello
––
EMMANUEL KRIVINE
conducts
SCHUMANN
SYMPHONY No 3
‘RHENISH’
Friday 7 April 2017
7.30pm
SCHUBERT
Symphony No 5 (27’)
MENDELSSOHN
Piano Concerto No 1 in G minor (21’)
SCHUMANN
Symphony No 3 ‘Rhenish’ (32’)
–––––
EMMANUEL KRIVINE – Conductor
BERTRAND CHAMAYOU – Piano
Inspired in part by a visit to the recently completed
cathedral in Cologne, Schumann’s ‘Rhenish’
combines the energy of Beethoven (the ‘Eroica’
and ‘Pastoral’ Symphonies are clearly among its
influences) with Schumann’s own highly lyrical gift.
By contrast, Mozart is a constant presence in
Schubert’s Fifth Symphony. In 1816 (the year of
the Symphony’s composition) Schubert confided to
his diary, “O Mozart, immortal Mozart, how many,
oh how endlessly many such comforting perceptions
of a brighter and better life hast thou brought to
our souls!”
–––––
THE QUILTER CHEVIOT
KRIVINE SERIES
26
BEETHOVEN
THE ‘EROICA’
Friday 21 April 2017
7.30pm
ESCAICH
Baroque Song (16’)
HAYDN
Cello Concerto in D (25’)
BEETHOVEN
Symphony No 3 ‘Eroica’ (47’)
–––––
ALEXANDRE BLOCH – Conductor
JEAN-GUIHEN QUEYRAS – Cello
The ‘Eroica’. The symphony that changed the musical
world, casting aside the familiar forms of Haydn
and Mozart and announcing the beginning of the
Romantic age with the most expansive and heroic
sounds the world had yet heard. Be inspired,
energised and discover the transformational nature
of this seminal work.
Before this, relish Haydn’s supremely assured
Cello Concerto, played by the virtuosic soloist
Jean-Guihen Queyras.
BEETHOVEN
MISSA SOLEMNIS
with the
SCO CHORUS
Friday 28 April 2017
7.30pm
BEETHOVEN
Missa solemnis (80’)
–––––
JOHN STORGÅRDS – Conductor
RACHEL WILLIS-SØRENSEN – Soprano
KAREN CARGILL – Mezzo Soprano
JOHN MARK AINSLEY – Tenor
NEAL DAVIES – Bass Baritone
–––––
SCO Chorus
GREGORY BATSLEER – Chorus Director
CLEMENS SCHULDT
conducts
SCHUBERT
SYMPHONY No 4
‘TRAGIC’
Friday 5 May 2017
7.30pm
Beethoven wished that “music should come from the
heart, that it may go to the heart”. Missa solemnis was
a four-year labour of love and nothing else Beethoven
composed surpasses it for scale, sincerity or sheer
vision. Not only does he place extreme demands on his
musicians, he also requires amazing ability from the
SCO Chorus and a team of first-rate soloists.
EXPLORE BEETHOVEN’S
MISSA SOLEMNIS
See Page 27
Gregory Batsleer
SCO Chorus Director
––
STRAVINSKY
Pulcinella Suite (24’)
CRESSWELL
Llanto: Clarinet Concerto (18’)
SCO Commission: World Premiere
SCHUBERT
Symphony No 4 in C minor ‘Tragic’ (31’)
–––––
CLEMENS SCHULDT – Conductor
MAXIMILIANO MARTÍN – Clarinet
Charismatic and compelling on stage, SCO
Principal Clarinet Maximiliano Martín is a
superb concerto soloist. Here, he premieres Llanto
(‘Lament’), written especially for him by Lyell
Cresswell whose own track record with concertos
is formidable – including a commission for the
BBC Proms. The drama of pitching soloist against
orchestra inspires him to compose powerfully
dramatic music. Award-winning young conductor
Clemens Schuldt gives us playful (Stravinsky at
his most hilarious) and ‘tragic’ – though
Schubert’s Symphony has many more upbeat
than sombre moments.
–––––
COMPOSER INSIGHTS: 6.30pm
Lyell Cresswell and Professor William Sweeney
from the University of Glasgow discuss writing
for the clarinet.
27
Friday 12 May 2017
7.30pm
–––––
Proudly sponsored by
Robin Ticciati
conducts
Beethoven
SYMPHONY
No 7
THERE IS NATURAL
CHEMISTRY BETWEEN
THE TETZLAFF
SIBLINGS, A REAL
SENSE OF MUSICAL
COMMUNICATION,
BRINGING
OFF PERFECTLY
THE ALMOST
IMPROVISATORY,
MUSING TO-ANDFRO OF IDEAS.
The Arts Desk
WIDMANN
Con Brio (12’)
BRAHMS Double Concerto (32’)
BEETHOVEN
Symphony No 7 (36’)
–––––
ROBIN TICCIATI – Conductor
CHRISTIAN TETZLAFF – Violin
TANJA TETZLAFF – Cello
Brahms’ Double Concerto, with its signature melodies
and grand sweeping phrases, delights audiences the
world over. It requires soloists who are at the top of
their game, and you can’t get much better than the
brother-sister Tetzlaff duo sharing the limelight.
One of Germany’s most sought-after composers,
Jörg Widmann, designed his virtuosic Con Brio to
acknowledge the brilliance of Beethoven’s Seventh
and Eighth Symphonies.
Since it was chosen as the backdrop to Colin Firth’s
dramatic address in The King’s Speech, Beethoven’s
Seventh Symphony has become one of his most
recognised and popular pieces, in particular the
expressive, slow second movement, the Allegretto.
Be prepared to feel uplifted.
28
SCO INSIGHTS
SCO INSIGHTS give you the opportunity to delve
deeper into our repertoire. Choose from:
• Explore Days in partnership with the University
of Edinburgh Short Courses
• Wider Connections, early evening talks in
partnership with the National Library of Scotland
• Pre-concert Insights with our artists
––––––––––––––––––––––––––––––––––––––––
SCO EXPLORE:
STRAUSS
Saturday 10 December 2016
10.30am - 4.30pm
University of Edinburgh
Reid Concert Hall
Bristo Square
Edinburgh EH8 9AG
This Explore Day links to the theme of Strauss’ more
intimate works which runs through this Season.
Dr Raymond Holden of the Royal Academy of Music
(London), the award-winning author of Richard
Strauss: a Musical Life, is a passionate and engaging
expert on Strauss. Join him and guests in a fascinating
study of this composer. The presentation includes rare
recordings and films by, and of, the composer.
–––––
SCO EXPLORE:
BEETHOVEN’S
MISSA SOLEMNIS
Saturday 22 April 2017
10.30am - 4.30pm
University of Edinburgh
St Cecilia’s Hall
Niddry Street, Cowgate
Edinburgh EH1 1NQ
Beethoven described the Missa solemnis as his
“greatest work.” It was composed around the same
time as his celebrated Ninth Symphony and is one of
his very few religious compositions. Some might
even claim that it is the greatest work by any
composer. Others, however, have been bewildered
by its complexity and by the unorthodox treatment
of the text. Come along to this SCO Explore Day
with musicologist, composer and the editor of the
Beethoven Compendium, Professor Barry Cooper
(University of Manchester) to unravel the intricacies
behind this dramatic work. He will be joined by SCO
Chorus Director, Gregory Batsleer. This Explore Day
links to the performance of Beethoven’s Missa solemnis
conducted by John Storgårds, on Friday 28 April 2017
at the City Halls.
–––––
Each Explore Day is £35 (includes tea and coffee).
Places are limited. For more information and
to book tickets visit www.sco.org.uk.
–––––
In association with The University of Edinburgh
––––––––––––––––––––––––––––––––––––––––
WIDER CONNECTIONS
National Library of Scotland
George IV Bridge
Edinburgh EH1 1EW
–––––
SCOTLAND’S MUSIC
Tuesday 22 November 2016
6.00pm - 7.00pm
The music and traditions of Scotland have frequently
provided creative inspiration to classical composers.
Composer Laureate, Sir Peter Maxwell Davies, is one
such composer who has often drawn on Orcadian,
or more generally Scottish influences. Come and
hear invited guests explore this theme, referring in
particular to the music being performed on
Friday 2 December 2016 at the City Halls.
–––––
MUSIC AND RELIGION
Tuesday 14 March 2017
6.00pm - 7.00pm
Over the centuries, many composers have been inspired
to set the 13th century Catholic Hymn to Mary, the
Stabat Mater including, most recently, Sir James
MacMillan. Come and hear invited guests discuss the
relationship between music and religion. This event
is linked to Sir James MacMillan’s Stabat Mater being
performed on Friday 24 March 2017 at the City Halls.
–––––
Book tickets at www.sco.org.uk (free).
–––––
In partnership with the National Library of Scotland
29
––
Excellent. Great to get
the children engaged
in listening to real
instruments, live music
and storytelling.
Family Workshop
participant
–––––
––
Most of us play in
amateur orchestras and
ensembles. Playing with
SCO players takes us to
a completely new level.
Feels like driving a
Formula One super car!
BY GIVING
TO US WE CAN
CONTINUE
TO GIVE BACK
TO YOU
–––––
Scrapers and Tooters
participant
––
The most beautiful
introduction to classical
music. Best workshop
I have been to!
Creative Workshops
participant
––
You can be very proud
of the work you invest
in these young people,
hearing them this
afternoon I realise
how much they have
learned with you all.
Parent of
SCO VIBE participant
PLAY YOUR PART
Now, more than ever, the Scottish
Chamber Orchestra needs your help.
Ticket income accounts for less than
a third of what it costs the SCO to
operate and we face challenging
times in terms of public sector
funding cuts. The SCO would simply
cease to exist without generous
financial support from our family of
Patrons, corporate partners and trusts.
––
Many SCO Connect
projects are funded
by trusts, foundations
and members of the
SCO 250 Society.
You can help by making a
donation on your subscription form
or by visiting us online at:
www.sco.org.uk/support-us
––
Excellent session –
really different to
anything else we’ve
done and it’s inspired
us to do more at home.
To find out more visit
www.sco.org.uk/creative-learning
Creative Workshops
participant
31
BOOKING FOUR
OR MORE CONCERTS?
The SCO offers flexible subscriptions –
simply choose any four or more Season
2016/17 concerts. As well as substantial
discounts on regular ticket prices, you can
enjoy priority booking and many other
exclusive benefits.
BUY TICKETS
Glasgow Royal Concert Hall
Box Office
2 Sauchiehall Street
Glasgow G2 3NY
0141 353 8000
www.glasgowconcerthalls.com
–––––
–––––
Phone or Counter: 10am to 6pm Monday to Saturday.
Save money
Save up to 35% (40% for seniors) on single ticket
prices – the more you book, the more you save.
–––––––––––––––––––––––––––––––––––––
WHY TAKE A SUBSCRIPTION?
Free choice of concerts
Select any four or more Season 2016/17 concerts.
Best seats
Priority booking and the best available seats in
the area of your choice and, wherever possible,
you can keep your seats from year to year.
Change your mind
If a date becomes inconvenient, swap your tickets
for another Glasgow Season 2016/17 concert.
Please note: 24 hours’ notice required and exchanges
incur a £1 box office transaction fee per ticket.
City Halls
Box Office
Candleriggs
Glasgow G1 1NQ
(in person only)
–––––
Counter: 12 noon to 6pm Monday to Saturday.
Online transaction charge of £1.00. Telephone
booking transaction charge of £1.50. Postage charge of
£1.00 where applicable. All major credit cards, except
American Express and Visa Electron, accepted.
Spread the cost
Pay by Direct Debit in four instalments.
Please note: collection of tickets on the night must be made
30 minutes prior to the start of the concert.
Save on SCO CDs
Receive a £5 CD Voucher.
–––––
SCO News
Receive our magazine, SCO News.
–––––
HOW TO BOOK A SUBSCRIPTION
By post
SCO Subscriptions, Scottish Chamber Orchestra,
4 Royal Terrace, Edinburgh EH7 5AB
If you have any enquiries regarding your
subscription please call the SCO on 0131 557 6800.
Please note: Chamber Concerts and Explore Days cannot
be included in a subscription, but you can book them at
the same time as your subscription. We regret that tickets,
including subscription tickets, are non-refundable.
UNDER 26?
–––––
IF YOU’RE UNDER 26
TICKETS COST £6
32
BY THE NEARMIRACULOUS
SUBTLETY OF ROBIN
TICCIATI AND THE
TRANSLUCENTLYTEXTURED SCO, AN
ORCHESTRA WHICH
GOES FEARLESSLY
WHERE OTHERS WILL
NOT… I DIDN’T FEEL
LIKE A LISTENER
TUNING IN; I FELT THE
SOUL OF THE MUSIC
WAS IN ME.
Michael Tumelty
The Herald
TICKET PRICES
SEATING PLAN
All single tickets, including ticket discounts listed
below, are on sale from 1 June 2016. Subscription
bookings are taken from 16 March 2016.
City Halls
Candleriggs
Glasgow G1 1NQ
I
£29.50
II
£25.50
III
£20.50
IV
£15.50
–––––––––––––––––––––––––––––––––––––
3 March 2017 and 5 May 2017: Stalls seats only available.
IV
IV
IV
IV
IV
III
I
I
I
I
I
I
SOUTH TERRACE
SOUTH TERRACE
II
II
II
II
II
III
III
III
III
III
NORTH TERRACE
III
NORTH TERRACE
–––––
STALLS
STALLS
IV
III
III
IV
III
IV
IV
IV
IV
IV
III
III
III
EXPLORE DAYS
Tickets: £35 (no discounts)
–––––
TICKET DISCOUNTS
All concerts except Benedetti plays Beethoven.
II
II
II
I
I
III
IV
IV
BALCONY
BALCONY
IV
IV
STALLS
STALLS
Senior Citizens – £2 off full price.
STAGE
STAGE
STAGE
STAGE
Under 26s, students and unemployed people – £6.
Under 18s – free. Under 16s must accompanied by a
paying adult. Maximum of 2 free children’s tickets per
adult ticket. Additional children £5 each (excludes
Benedetti plays Beethoven – Under 18s – £5 each).
People with a disability – 50% off full price tickets for
people with a disability and, where one is required,
50% off for their carer.
Group discounts – groups of 6 or more booking
together save 20% off full price tickets.
School groups – teachers and/or accompanying adults
go free when bringing a school group. For more
information, contact SCO Marketing on 0131 557 6802
or info@sco.org.uk.
Please note: all discounts are subject to availability. We regret
that tickets are non-refundable. Every effort is made to ensure
that all information is correct at the time of going to press. The
SCO does, however, reserve the right to change dates, artists or
programmes if necessary.
–––––
Full access for wheelchair users.
Guide dogs are welcome.
A Sennheiser infrared assisted hearing system
is available. Sennheiser is an infrared audio
transmission system for the hearing aid user
or for those with impaired hearing. It relays
the performance sound, via transmitters,
to customers using this equipment.
Please note: You will require a ‘necklace type’ receiver
in order to listen to the infrared system with your
hearing aid switched to the ‘T’ setting as your hearing
aid will not automatically work by itself with this
system. Receivers are available from the cloakroom
for a £5 refundable deposit and can be pre-booked
via the Box Office.
Available from the Cloakroom at City Halls.
33
SUBSCRIPTION PRICES
BAND
I
II
III
IV
FULL PRICE TICKETS
£29.50
£25.50
£20.50
£15.50
STANDARD DISCOUNTS
Saving off
full price
Number
of concerts
I
II
III
IV
15%
15%
15%
15%
15%
20%
20%
20%
20%
25%
25%
25%
25%
30%
30%
30%
30%
35%
35%
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
£100.32
£125.40
£150.48
£175.56
£200.64
£212.40
£236.00
£259.60
£283.20
£287.69
£309.82
£331.95
£354.08
£351.05
£371.70
£392.35
£413.00
£402.78
£421.96
£86.72
£108.40
£130.08
£151.76
£173.44
£183.60
£204.00
£224.40
£244.80
£248.69
£267.82
£286.95
£306.08
£303.45
£321.30
£339.15
£357.00
£348.18
£364.76
£69.72
£87.15
£104.58
£122.01
£139.44
£147.60
£164.00
£180.40
£196.80
£199.94
£215.32
£230.70
£246.08
£243.95
£258.30
£272.65
£287.00
£279.93
£293.26
£52.72
£65.90
£79.08
£92.26
£105.44
£111.60
£124.00
£136.40
£148.80
£151.19
£162.82
£174.45
£186.08
£184.45
£195.30
£206.15
£217.00
£211.68
£221.76
SENIOR DISCOUNTS
Saving off
full price
Number
of concerts
I
II
III
IV
20%
20%
20%
20%
20%
25%
25%
25%
25%
30%
30%
30%
30%
35%
35%
35%
35%
40%
40%
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
£94.40
£118.00
£141.60
£165.20
£188.80
£199.17
£221.30
£243.43
£265.56
£268.45
£289.10
£309.75
£330.40
£326.06
£345.24
£364.42
£383.60
£371.70
£389.40
£81.60
£102.00
£122.40
£142.80
£163.20
£172.17
£191.30
£210.43
£229.56
£232.05
£249.90
£267.75
£285.60
£281.86
£298.44
£315.02
£331.60
£321.30
£336.60
£65.60
£82.00
£98.40
£114.80
£131.20
£138.42
£153.80
£169.18
£184.56
£186.55
£200.90
£215.25
£229.60
£226.61
£239.94
£253.27
£266.60
£258.30
£270.60
£49.60
£62.00
£74.40
£86.80
£99.20
£104.67
£116.30
£127.93
£139.56
£141.05
£151.90
£162.75
£173.60
£171.36
£181.44
£191.52
£201.60
£195.30
£204.60
Please note: disability subscription packages start from four concerts. The discount is 50% off full price tickets when you purchase
tickets for four or more concerts in one transaction. If you are under 26 you can also take advantage of the subscription benefits
outlined on page 30, when you purchase tickets for four or more concerts in one transaction.
34
SUBSCRIPTION BOOKING FORM
Title:
Forename:
Surname:
Address:
Postcode:
Telephone:Mobile:
Email:
1. Please choose your Season concerts (tick boxes)
Friday 7 October
Friday 14 October
Friday 21 October
Friday 4 November
Friday 11 November
Friday 25 November
Tick for ALL 22 CONCERTS:
Friday 2 December
Friday 9 December
Friday 16 December
Friday 13 January
Friday 20 January
Friday 27 January
Friday 21 April
Friday 28 April
Friday 5 May
Friday 12 May
Friday 24 February
Friday 3 March
Friday 10 March
Friday 24 March
Friday 31 March
Friday 7 April
Please write the total number of concerts selected
2. Your subscription type
Standard
Senior
Disabled
Under 26
Please write in the box the number of subscriptions required for each category.
3. Please choose your price band (tick one box)
I
II
III
IV
4. Where applicable, do you have a preference on seating area
Stalls
Balcony
5. Your Payment (reference subscription prices opposite)
Total cost of
subscription
+
£
Additional
concerts
+
£
Box office
postage fee
£2.00
=
Total
£
to pay
6. Please help us by making a donation to the SCO
You can round up your subscription or specify your amount (e.g. £10 / £50 / £100)
£
7. How do you wish to pay?
I enclose a cheque payable to ‘Scottish Chamber Orchestra’
Please debit my Mastercard/Visa/debit card (delete as appropriate).
Card Number:
Expiry Date:
/
Start Date:
Issue Number (where applicable)
/
Security code (last three digits on signature strip)
I wish to spread the cost of subscription over four months by Direct Debit. Please send me a Direct Debit form.
Please return this form to: SCO Subscriptions, 4 Royal Terrace, Edinburgh EH7 5AB
Please note: postal transaction fee subject to change if postage costs rise.
Please tick this box if you do not wish to join the SCO’s e-news list to receive updates about concerts, events, offers and
news by email. (We will not give your details to any third parties.)
35
THANK YOU
Our sincerest thanks to everyone who supports the
work of the SCO. Your generosity significantly adds to
the considerable investment of the Scottish Government
and means the SCO can continue performing across
the world, making award-winning recordings and
delivering meaningful creative learning projects.
–––––
Principal Sponsor
Virgin Money
–––––
SCOTTISH CHAMBER ORCHESTRA
HRH The Prince Charles, Duke of Rothesay
Patron
Donald MacDonald CBE
Life President
Colin Buchan
Chairman
Benefactor
Dunard Fund
Roy McEwan OBE
Chief Executive
Corporate Sponsors
Aberdeen Asset Management
Baillie Gifford
Quilter Cheviot
Stewart Investors
Turcan Connell
Robin Ticciati
Principal Conductor
Corporate Supporters
The Balmoral Hotel
Capital Document Solutions
The Co-operative Membership
Corney & Barrow
David Macdonald Limited
Heritage Portfolio
Kinloch Anderson
Linn Records
Pulsant
Radio Forth
Sheraton Grand Hotel & Spa, Edinburgh
Stac Polly Restaurants
Waldorf Astoria Edinburgh – The Caledonian
Emmanuel Krivine
Principal Guest Conductor
Joseph Swensen
Conductor Emeritus
Sir Peter Maxwell Davies
Composer Laureate
Martin Suckling
Associate Composer
Karen Cargill
Associate Artist
Richard Egarr
Associate Artist
Alexander Janiczek
Associate Artist
Gregory Batsleer
Chorus Director
–––––
The SCO would also like to thank Local
Authorities, Corporate Partners, Patrons,
Subscribers, 250 Society Members and
many trusts and foundations.
Core funded by
ENJOY MORE MUSIC,
SPEND LESS!
–––––
BOOK AN SCO SUBSCRIPTION
FROM JUST FOUR CONCERTS
As well as substantial discounts on
regular tickets prices, you can enjoy
priority booking, special events and
many other exclusive benefits.
An SCO subscription is completely
flexible – you choose the concerts you
like – and benefit from huge savings
if you book for four or more concerts.
You can save up to 40% or you can
book 16 concerts for less than it costs
to go to 15 – you can’t beat value
like that!
KEEP IN TOUCH WITH THE SCO
FOR ALL THE LATEST NEWS, FILMS,
PHOTOS, BLOGS, SPECIAL OFFERS
AND LOTS MORE.
Sign up for our e-newsletter and get
all the latest news straight to your inbox
sco.org.uk/keep-me-informed
–––––
LARGE PRINT, BRAILLE AND
TALKING NOTES VERSIONS OF
THIS BROCHURE ARE AVAILABLE.
CALL 0131 557 6802
Please note that all timings (shown in brackets)
are approximate and do not include intervals or
platform changes.
–––––––––––––––––––––––––––––––––––––
Design
Owen | O’Shea
owenoshea.com
Photography
Marco Borggreve
Felix Broede
Eoin Carey
Fabrice Dell’Anese
Rhys Frampton
FSC
Michiel Hendryckx
Ben McKee
Jen Owens
Euan Robertson
Robert Workman
Friday 7 October
7.30pm
Friday 14 October
7.30pm
Friday 21 October
7.30pm
Friday 4 November
7.30pm
MOZART
The Last Symphonies
STRAUSS
Le Bourgeois
Gentilhomme
BERLIOZ
L’enfance
du Christ
BRUCKNER
Symphony No 4
‘Romantic’
Friday 11 November
7.30pm
Friday 25 November
7.30pm
Friday 2 December
7.30pm
Friday 9 December
7.30pm
BEETHOVEN
The ‘Pastoral’
HANDEL
Israel in Egypt
MAXWELL DAVIES
An Orkney Wedding
MOZART
Piano Concertos
Nos 20 & 22
Friday 16 December
7.30pm
Friday 13 January
7.30pm
Friday 20 January
7.30pm
Friday 27 January
7.30pm
STRAUSS
Wind Concertos
BEETHOVEN
The ‘Emperor’
Nicola Benedetti
plays BEETHOVEN
Maria João Pires
plays MOZART
Friday 24 February
7.30pm
Friday 3 March
7.30pm
Friday 10 March
7.30pm
Friday 24 March
7.30pm
MOZART
Coronation Mass
BEETHOVEN
Symphony No 2
The Paris Concert
MACMILLAN
Stabat Mater
Friday 31 March
7.30pm
Friday 7 April
7.30pm
Friday 21 April
7.30pm
Friday 28 April
7.30pm
SCHUMANN
Symphony No 2
SCHUMANN
Symphony No 3
‘Rhenish’
BEETHOVEN
The ‘Eroica’
BEETHOVEN
Missa solemnis
Friday 5 May
7.30pm
Friday 12 May
7.30pm
SCHUBERT
Symphony No 4
‘Tragic’
BEETHOVEN
Symphony No 7
–––––
4 Royal Terrace
Edinburgh EH7 5AB
telephone: 0131 557 6800
email: info@sco.org.uk
www.sco.org.uk
TO BOOK TICKETS
www.sco.org.uk
The Scottish Chamber Orchestra is a
charity registered in Scotland No. SC015039
Company registration No. SC75079
–––––