Shostakovich
SPECTACULAR Perth Concert Hall Thu 21 Apr 2022 7.30pm Usher Hall, Edinburgh Fri 22 Apr 7.30pm Glasgow Royal Concert Hall Sat 23 Apr 7.30pm
Supported by
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Søndergård Conducts
ALPINE SYMPHONY EDN Fri 29 Apr GLA Sat 30 Apr
rsno.org.uk
Jay Capperauld Fèin-Aithne Alfvén Bergakungen (The Mountain King) Suite R Strauss An Alpine Symphony Thomas Søndergård Conductor Musicians from Royal Conservatoire of Scotland
The RSNO is supported by the Scottish Government
Shostakovich
SPECTACULAR Shostakovich wrote his Fifth Symphony in terror for his life and gave it the title ‘A Soviet artist’s response to justified criticism’. But the music tells another story: of fear, resistance and unbreakable courage. Andrey Boreyko explores the many faces of a 20th-century genius, joining the phenomenal Simon Trpčeski in the delightful Concerto that Shostakovich wrote for his teenage son, and unleashing the raw satirical energy of Lady Macbeth of Mtsensk – music so outrageous that Stalin had it banned.
SHOSTAKOVICH Two movements from the Suite from Lady Macbeth of Mtsensk Op29 (arr. James Conlon) [12’]
SHOSTAKOVICH Piano Concerto No2 in F Major Op102 [20’] INTERVAL
SHOSTAKOVICH Symphony No5 in D Minor Op47 [46’] Andrey Boreyko Conductor Simon Trpčeski Piano Royal Scottish National Orchestra
Supported by
PERTH CONCERT HALL Thu 21 Apr 2022 7.30pm USHER HALL, EDINBURGH Fri 22 Apr 7.30pm GLASGOW ROYAL CONCERT HALL
Sat 23 Apr 7.30pm The Glasgow performance will be recorded for the RSNO Archive. Supported by the Iain and Pamela Sinclair Legacy.
If viewing these notes at the concert, please do so considerately and not during performances. Please silence all mobile telephones and alerts, and refrain from taking photographs, without flash, until the end of each piece.
The RSNO’s performance of this concert in Perth is kindly supported by the Gannochy Trust. The Gannochy Trust has supported the Perth Concert Series annually since 1995. In recent years the Trust’s major grant has enabled the four partners to develop opportunities for young people to engage with live orchestral music, encouraging a lifetime connection while at the same time developing a range of important transferable skills. Further information about the Trust is available at www.gannochytrust.org.uk.
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DVOŘÁK & BRAHMS Wed 4 May 2pm New Auditorium, Glasgow Royal Concert Hall
Dvořák Legends Nos 1, 3, 4 & 8 Thea Musgrave Loch Ness; A Postcard from Scotland Brahms Serenade No2 Erina Yashima Conductor
The performance of Thea Musgrave’s Loch Ness, part of the RSNO’s Scotch Snaps series, is kindly supported by the John Ellerman Foundation and the Ambache Charitable Trust, which raises the profile of music by women.
rsno.org.uk
The RSNO is supported by the Scottish Government
RSNO: Scotland’s National Orchestra 5
WELCOME
Welcome to this evening’s concert, the first in Scotland since our return from a successful European Tour. Although the landscape of international touring has changed significantly since our last overseas concerts in 2020, it was a great comfort to return to the stage and receive such a warm reception in Germany, the Netherlands and Poland. Tonight’s concert explores the work of Shostakovich. The question of whether or not to continue playing Russian repertoire is one that remains at the forefront of our minds as Russia’s invasion of Ukraine continues to cause such devastation. Our position remains that we are proud to play music by composers who worked resolutely in the midst of oppression. To hear their music now represents the triumph of artistic freedom in the face of tyranny.
Shostakovich’s ambitious opera Lady Macbeth of Mtsensk was initially a great success. However, it was later denounced by the Soviet media after Stalin attended a performance. His Second, Third and Fourth symphonies also generated significant backlash from the state, vanishing from public view for decades. When composing his Fifth, which we will hear tonight under the baton of Andrey Boreyko, Shostakovich took to satire to ensure his work was heard. It was a practical way for Shostakovich to showcase his talent using the ‘accepted’ styles of Soviet music, interpreted by those in charge as a work of patriotism but by audiences as the moving sound of conformity in terror. We are grateful to Andrey for stepping in to replace James Conlon at short notice for this evening’s performance. Simon Trpčeski joins us for Shostakovich’s Second Piano Concerto. I have fond memories of performing this piece on tour following its use in the animated Disney film Fantasia 2000. The music was used to tell the tale of The Steadfast Tin Soldier, and when I hear it I’m reminded of how impactful music can be when paired with pictures. This week we released Yoyo & The Little Auk, our brand-new animated film for nursery children. I encourage you to take a look at our website and watch the film. I hope that this music and the message of Yoyo will stay with our youngest audiences for some years to come.
Alistair Mackie CHIEF EXECUTIVE
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73-78
64–72
55–63
46–54
37–45
28–36
19–27
10–18
1–9
ROYAL SCOTTISH NATIONAL ORCHESTRA
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ARTISTIC TEAM Thomas Søndergård
1
MUSIC DIRECTOR
Elim Chan
2
PRINCIPAL GUEST CONDUCTOR
Neeme Järvi
3
CONDUCTOR LAUREATE
Alexander Lazarev
4
CONDUCTOR EMERITUS
Kellen Gray
5
ASSISTANT CONDUCTOR
Gregory Batsleer
6
CHORUS DIRECTOR, RSNO CHORUS
Patrick Barrett
7 CHORUS DIRECTOR, RSNO JUNIOR CHORUS
FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska
8 9 10
ASSOCIATE LEADER
VIOLA Tom Dunn PRINCIPAL Felix Tanner ASSOCIATE PRINCIPAL VIOLA
Asher Zaccardelli
ASSISTANT PRINCIPAL
Susan Buchan SUB PRINCIPAL Lisa Rourke SUB PRINCIPAL Nicola McWhirter Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt
31 32 33 34 35 36 37 38 39 40
CELLO Betsy Taylor ASSOCIATE PRINCIPAL 41 Kennedy Leitch ASSISTANT PRINCIPAL 42 Rachael Lee 43 Sarah Digger 44 Robert Anderson 45
Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis Aaron Berrera Reyes
52
SECOND VIOLIN Xander van Vliet PRINCIPAL Jacqueline Speirs
FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson
53 54 55
ASSOCIATE PRINCIPAL
22 23 24 25 26 27 28 29 30
46 47
ASSOCIATE PRINCIPAL
48 49 50 51
PRINCIPAL PICCOLO
OBOE Adrian Wilson PRINCIPAL Peter Dykes ASSOCIATE PRINCIPAL Henry Clay PRINCIPAL COR ANGLAIS
Duncan Swindells
60
PRINCIPAL BASS CLARINET
DOUBLE BASS Ana Cordova PRINCIPAL Margarida Castro
Marion Wilson ASSOCIATE PRINCIPAL Harriet Wilson SUB PRINCIPAL Nigel Mason Wanda Wojtasinska Paul Medd Anne Bünemann Sophie Lang Robin Wilson Emily Nenniger
59
PRINCIPAL CLARINET
Emily Davis ASSOCIATE LEADER 11 Tamás Fejes ASSISTANT LEADER 12 Patrick Curlett ASSISTANT PRINCIPAL 13 Caroline Parry 14 Ursula Heidecker Allen 15 Lorna Rough 16 Susannah Lowdon 17 Alan Manson 18 Elizabeth Bamping 19 20 21
CLARINET Timothy Orpen
56 57 58
BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto
61 62 63
PRINCIPAL CONTRABASSOON
HORN Christopher Gough PRINCIPAL Alison Murray ASSISTANT PRINCIPAL Andrew McLean
64 65 66
ASSOCIATE PRINCIPAL
David McClenaghan Martin Murphy ASSISTANT PRINCIPAL
67 68
TRUMPET Christopher Hart PRINCIPAL Marcus Pope SUB PRINCIPAL Jason Lewis ASSOCIATE PRINCIPAL
69 70 71
TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair
73 74
72
PRINCIPAL BASS TROMBONE
TUBA John Whitener PRINCIPAL
75
TIMPANI Paul Philbert PRINCIPAL
76
PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL
77 78
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Dmitri Shostakovich (1906-1975)
Two movements from the Suite from LADY MACBETH OF MTSENSK Op29 (arr. Conlon) Opera rarely shows much restraint, but there can be few more unrestrained and extreme operas than Dmitri Shostakovich’s 1934 Lady Macbeth of Mtsensk. From its subject – described by the bumptious young composer as ‘a quiet Russian family who beat and poison one another … a modest picture drawn from nature’ – to the character of Katerina Ismailova, the lady of the title, to music that veers between wild satire, violent passions, humour and savagery, tragedy and bleak despair, it creates a violent, terrible, blackly comic world with the greatest vividness. It is certainly the most important Russian opera of the 20th century, and provided a model in many ways for Benjamin Britten when he reinvented British opera in 1945 with Peter Grimes. FIRST PERFORMANCE Full opera: Leningrad (now St Petersburg), 22 January 1934 DURATION Two movements: 12 minutes
Passacaglia The Drunkard
Lady Macbeth was a smash hit on its premiere in Leningrad in 1934 (and in Moscow two days later, and very soon all over Europe and America), instantly recognised as the first great Soviet opera, surpassing the composer’s first operatic attempt, The Nose, written a few years earlier. After that riotous avant-garde satire, based on an absurdist story by Nikolai Gogol about a man’s nose that detaches itself and assumes an independent life, Shostakovich wanted to write something ‘with a Soviet theme’. The 19th-century story by Nikolai Leskov he settled on doesn’t immediately appear to answer that description, but the composer explained in his veiled way that ‘Leskov was unable to interpret correctly the events in his story … my role as a Soviet composer is to interpret these events from our Soviet point of view …’. Guessing Shostakovich’s meaning has always been a matter of personal taste and politics, and you may make of this what you will, but it is certainly true that he wanted to create sympathy for his heroine – in the Leskov not a notably attractive character – and to portray this murderous and amoral woman as a victim of circumstances.
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The opera is punctuated by a number of orchestral interludes (an idea Britten borrowed), which variously describe, comment or meditate upon the action. In 1991 the American conductor James Conlon arranged these into an orchestral suite, so that symphony orchestras and non-opera audiences might play and hear some of this great music. Tonight the RSNO presents excerpts from that suite. The bleak and tragic Passacaglia comes after the first murder, of Katerina’s brutish fatherin-law, whom she feeds with poisonous mushrooms. This implacable music certainly describes the trap that Katerina is in: the passacaglia is a rigid baroque form in which the ostinato bassline repeats itself again and again, and here, after its thunderous opening, it imprisons the music in a baleful arc, the orchestra tethered to its inexorable pulse, trying hopelessly to escape the grip of the bass. As the sound grows and rises, more instruments join in the struggle, a massive counterpoint of strings, wind, brass, percussion; there is much shrieking and blaring, but no escape, nowhere to go, and finally everything subsides back, exhausted, to where it started. After this, the interlude of the drunken peasant sounds almost jovial: immensely loud and relentless, but with something of the circus about its rollicking, syncopated showtime burlesque. Well, as usual with Shostakovich, there is more to it than meets the ear. Remember the peasant has just discovered Katerina’s husband’s decaying body, and is charging off to the police. As the composer drily remarked: ‘The bastard ran to the police, overjoyed that he could inform on her. A hymn to informers – it’s a hymn to all informers!’ © Robert Thicknesse
What was happening in 1934? 18 Jan Raymond Briggs, best known for his illustrated story The Snowman, was born 23 Feb Sir Edward Elgar, English composer, died 21 Apr The Daily Mail published London gynaecologist Robert Wilson’s photograph of the Loch Ness Monster, admitted as a hoax in 1994 23 May US outlaws Bonnie and Clyde were killed by police in Bienville Parish, Louisiana 30 Jun-2 Jul In The Night of the Long Knives in Germany, Nazis purged the left wing of their own party as well as prominent conservative anti-Nazis 15 Jul The American film industry began to enforce the self-censorship Motion Picture Production Code, or Hays Code 2 Aug Adolf Hitler became Führer of Germany following the death of President Paul von Hindenburg 21 Sep Canadian poet, novelist, singer and songwriter Leonard Cohen was born 16 Oct To evade the army of the Chinese Nationalist Party, or Kuomintang, the People’s Liberation Army of the Communist Party of China began the Long March 2 Dec Guitarist Django Reinhardt, violinist Stéphane Grappelli and their Quintette du Hot Club de France first performed in Paris
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Dmitri Shostakovich (1906-1975)
PIANO CONCERTO No2 in F Major Op102 It’s tempting to see Dmitri Shostakovich’s Second Piano Concerto as a work of breezy optimism, freedom, even joy, a world away from the despair and bitter humour the composer had expressed elsewhere in music paying witness to brutal Soviet oppression. And in many ways, the Concerto is indeed just that.
FIRST PERFORMANCE Moscow, 10 May 1957 DURATION 20 minutes Allegro Andante Allegro
For a start, it’s a piece in which the composer turned his gaze away from the terrors and traumas of the Soviet system and looked towards his family – in particular, his son Maxim, for whom he wrote the work as a joint birthday and graduation present. The young pianist was about to finish his studies at Moscow’s Central Music School, with the hope and intention of continuing into the city’s hallowed Conservatoire. Maxim premiered the Concerto on 10 May 1957, in the Conservatoire’s Great Hall, on the day of his 19th birthday. And on the strength of his performance, he was indeed accepted into the more senior institution. Ironically, however, Maxim had let it be known that he didn’t plan to become a virtuoso soloist (and since then, he’s gone on to be a respected conductor). Accordingly, Shostakovich senior consciously avoided the kind of showy, flashy piano writing he might otherwise have considered, often restricting himself to clean, clear lines with the same melody in both hands. Nonetheless, he also stuffed the piece full of family allusions and jokes that only Maxim would understand. The most obvious of them are the incessant, breathless runs in the Concerto’s final movement, surely a reference to the finger strength-building exercises by Charles-Louis Hanon that plague any serious piano student’s practice sessions, and which Shostakovich was more than accustomed to hearing in the family home.
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It’s with one of his clean, clear piano melodies that Shostakovich begins his bubbling first movement, though UK listeners might not help but hear his second theme as a version of ‘What shall we do with the drunken sailor?’ – and since Shostakovich had been studying British and American folk songs, there’s a distinct possibility that the reference might be intentional. His soulful, heartfelt slow movement drops all pretence of humour or artifice in favour of genuine tenderness and no little sadness, looking back affectionately to Mozart and Beethoven. And aside from its obsessive, Hanon-style runs, Shostakovich’s finale is a wild, whirling dance with an off-kilter seven beats to the bar ( just try tapping your foot to it). But despite its beaming exuberance, the Concerto is perhaps not quite as carefree as all that. For a start, it nestles in nicely among many other works in the well-recognised Soviet genre of ‘youth concerto’, designed to showcase the talents of exceptional young musicians produced by the USSR’s centralised music education system. Shostakovich was careful, too, that the Concerto lived up to the regime’s demands for positive, lifeaffirming music, and indeed played it in a two-piano version with his son for Ministry of Culture officials before a public premiere was permitted. He famously described the Concerto as possessing ‘no redeeming artistic merits’ in a letter to fellow composer Edison Denisov: just false modesty, perhaps, or maybe he’d grown used to preparing himself for the criticism he felt was surely coming. © David Kettle
What was happening in 1957? 10 Jan Following Anthony Eden’s resignation, Harold Macmillan became UK Prime Minister 25 Mar The Treaty of Rome (between six European countries) established the European Economic Community (EEC) 26 Mar Elvis Presley bought Graceland, in Memphis, Tennessee, for $100,000 24 Apr The BBC series The Sky at Night, presented by Patrick Moore, was first broadcast 31 Aug The Federation of Malaya gained independence from the UK 4 Sep Arkansas’ Governor called in the National Guard to prevent African American students from enrolling at Little Rock Central High School; President Eisenhower later sent troops to provide the nine students with safe passage 26 Sep Leonard Bernstein’s West Side Story premiered on Broadway 1 Oct Which? magazine was first published by The Consumers’ Association 4 Oct The USSR launched Sputnik 1, the first artificial satellite to orbit the earth 10 Oct A fire at the Windscale (now Sellafield) nuclear reactor in Cumbria released radioactive material into the atmosphere
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SIMON TRPČESKI Piano Simon Trpčeski has been praised not only for his powerful virtuosity and deeply expressive approach, but also for his charismatic stage presence. Launched onto the international scene 20 years ago as a BBC New Generation Artist, in an incredibly fast-paced career that encompasses no cultural or musical boundaries, he has collaborated with over a hundred orchestras on four continents and performed on the most prestigious stages. The long list of prominent conductors Simon Trpčeski works with includes Lorin Maazel, Vladimir Ashkenazy, Marin Alsop, Gustavo Dudamel, Cristian Măcelaru, Gianandrea Noseda, Vasily Petrenko, Charles Dutoit, Jakub Hrůša, Vladimir Jurowski, Susanna Malkki, Andris Nelsons, Antonio Pappano, Robert Spano, Michael Tilson Thomas, Gabriel Bebeșelea and David Zinman. Simon Trpčeski’s fruitful collaborations with EMI Classics, Avie Records, Wigmore Hall Live, Onyx Classics and currently Linn Records have resulted in a broad and award-winning discography which includes repertoire such as Rachmaninov’s complete works for piano and orchestra and Prokofiev piano concertos as well as composers including Poulenc, Debussy and Ravel. Variations, his latest solo album released in spring 2022, features works by Brahms, Beethoven and Mozart.
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Dmitri Shostakovich (1906-1975)
SYMPHONY No5 in D Minor Op47 After its 1934 Leningrad premiere, Shostakovich’s opera Lady Macbeth of Mtsensk enjoyed great acclaim both in the Soviet Union and abroad. A Moscow production in late 1935 might have been expected to prove a routine success, yet within days Shostakovich’s life lay in ruins. On 28 January 1936 a savage article appeared in the Communist Party newspaper Pravda entitled ‘Muddle Instead of Music’, in which the opera stood accused of being ‘coarse’, ‘primitive’ and ‘vulgar’, while its success abroad was attributed to ‘the fact that it tickles the perverted bourgeois taste with its fidgety, screaming, neurotic music’.
FIRST PERFORMANCE Leningrad (now St Petersburg), 21 November 1937 DURATION 46 minutes Moderato – Allegro non troppo Allegretto Largo Allegro non troppo
The writing of the article had probably been prompted by no less a figure than Joseph Stalin himself, who had attended a performance in December and had seemingly been affronted by the opera’s ideological incorrectness. Shostakovich cancelled the scheduled premiere of his modernistic Fourth Symphony (which wouldn’t be performed until 1961) and every night waited for the secret police to knock on his door. Shostakovich’s next major work would clearly have to avoid modernist excess. Thus his Fifth Symphony is thematically economical and classical in form. The Symphony would also have to seem ideologically correct. Several months after its wildly successful premiere in Leningrad in November 1937, a statement was issued describing the Symphony as ‘A Soviet artist’s reply to just criticism’. The contrite Shostakovich, it would appear, had returned to the true path and could now be resuscitated as an ‘artist of the people’. Ever since, however, debate has raged over the true message of Shostakovich’s Fifth Symphony, confused further by the composer’s
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own often contradictory and ambiguous pronouncements on the piece. Was Shostakovich really kowtowing to the regime in order to save his skin (as many dismissive Western critics initially thought)? Or does the Symphony encode subversive political messages, meanings supposedly unintelligible to the philistine authorities? The debate goes on, at times obscuring the fact that despite – and because of – the political context from which it arose, the work remains one of the greatest monuments of 20th-century symphonic writing. The first movement opens with a jagged, ominous statement – in fact the same theme played out of sync by lower and upper strings – which mutates into a gently rocking accompaniment, over which the first violins sing a haunting melody, its unexpected ‘wrong’ notes giving it a decidedly bittersweet quality. The jagged first theme returns before the atmosphere is again transformed by a serene melody (heard first in the violins and then in the violas) suspended over a gently measured accompaniment. It is often overlooked that this melody is one of some 30 references in the Symphony to Bizet’s Carmen, in this case the ‘amore’ theme in the Act I Habanera. At the same time as his political vilification, Shostakovich suffered unrequited love for a woman who went on to marry a Spaniard named Roman Carmen. The tension builds, the tempo gradually quickens and, after a grotesquely overblown march featuring a relentless snare drum rhythm, the movement reaches a powerful unison climax. The ‘amore’ theme again appears, this time in the guise of a tender duet for flute and horn, before the movement closes in an atmosphere of uneasy repose, a spectral celeste rising up into the ether.
The second movement is a scherzo reminiscent of Mahler in its bold horn gestures, shrill woodwind writing and overall dark humour. The central trio, an Austrian-style slow waltz or Ländler, begins with a flirtatious violin solo that develops into a rudely bucolic dance. After an initially delicate reprieve of the scherzo, an oboe briefly reintroduces the teasing Ländler theme, only to be drowned out by the movement’s swaggering conclusion. Written in just three days, the third movement is said to have left the audience at its premiere in tears. After the richly sonorous opening (in which Shostakovich creates a lavish eight-part string section), the orchestral texture becomes lean, at times even spartan: there is a wistful flute duet accompanied by a hushed harp and a yearning oboe solo over an icy violin tremolo. The music builds to a harrowing climax. Towards the end, the harp and celeste play a ghostly echo of the oboe melody but, by the final string chord, calm prevails. With a dramatic crescendo, the fourth movement bursts into life in the form of a menacing march. After various more introspective episodes, the movement builds towards a loud, seemingly triumphant conclusion. But have we really been on a conventional symphonic journey from the darkness of the first movement to the eventual enlightenment of the finale? Is this the music of a reformed renegade now proudly taking his place alongside his comrades? Shostakovich’s initial pronouncements on the Symphony appear to suggest so: ‘In the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living,’ he said. Given the benefit of hindsight, however, perhaps we should treat this
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interpretation with caution, particularly in the light of the composer’s subsequent, postStalinist revelation: ‘I think it’s clear to everyone what happens in the Fifth. The rejoicing is forced, created under a threat … It’s as if someone were beating you with a stick and saying: “Your business is rejoicing, your business is rejoicing,” and you rise, shakily, and go off muttering, “Our business is rejoicing, our business is rejoicing.”’ Ultimately, the listener must decide. © Anthony Bateman
Listen again to the RSNO
Shostakovich Symphony No5 Plus Ballet Suite No5 Conductor Neeme Järvi More information rsno.org.uk/recordings
What was happening in 1937? 20 Jan Franklin D Roosevelt was sworn in for a second term as US President 6 Feb Of Mice and Men, John Steinbeck’s novella of the Great Depression, was published 16 Feb Wallace H Carothers received a patent for the synthetic polymer nylon 26 Apr During the Spanish Civil War, Guernica was destroyed by the German Luftwaffe, acting in support of the Francoists, leaving hundreds dead 6 May On attempting to moor at Lakehurst, New Jersey, the German airship Hindenburg burst into flames, killing 35 12 May King George VI and Queen Elizabeth were crowned at Westminster Abbey 28 May On the retirement of Stanley Baldwin, Neville Chamberlain became UK Prime Minister 5 Aug The Soviet Union commenced one of the largest campaigns of the Great Purge, to ‘eliminate anti-Soviet elements’ 21 Sep George Allen & Unwin published J R R Tolkien’s The Hobbit 21 Dec Walt Disney’s Snow White and the Seven Dwarfs, the first feature-length animated film, premiered in Los Angeles 29 Dec With the Constitution of Ireland, the Irish Free State became Ireland and Eamon de Valera the first Taoiseach
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S av e
the
D at e
Join us at Prestonfield House on Saturday 11 June 2022 for some Midsummer magic with the RSNO. The Midsummer Gala Ball offers you and your guests a fabulous evening of music, dining and dancing with Scotland’s National Orchestra. For information or to reserve tickets please contact Jenny McNeely at jenny.mcneely@rsno.org.uk
S a t u r d a y 11 J u n e 2 0 2 2
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ANDREY BOREYKO Conductor della Scala. Guest engagements include the Seoul Philharmonic, Orquesta Sinfónica de Galicia, Sinfonica Nazionale RAI, Sinfonia Varsovia, Salzburg Mozarteum Orchester, Rundfunk-Sinfonieorchester Berlin, Frankfurt Museumgesellschaft, and the Sydney, Toronto, Seattle, Minnesota, San Francisco, Chicago, Dallas, Detroit, Cleveland, New York Philharmonic and Los Angeles Philharmonic orchestras.
2021/22 marks Andrey Boreyko’s third season as Music and Artistic Director of the Warsaw Philharmonic Orchestra. Now in his eighth and final season as Music Director of Artis–Naples, Boreyko’s inspiring leadership has raised the artistic standard of the Naples Philharmonic. He concludes his tenure as Music Director by continuing to explore connections between art forms through interdisciplinary thematic programming. Significant projects he has led include pairing Ballets Russesinspired contemporary visual artworks of the Belgian artist Isabelle de Borchgrave with performances of Stravinsky’s Pulcinella and The Firebird, and commissioning a series of compact pieces by composers including Giya Kancheli to pair with an art exhibition featuring small yet personal works by artists such as Picasso and Calder that were created as special gifts for the renowned collector Olga Hirschhorn. Highlights of previous seasons include major tours with The State Academic Symphony Orchestra of Russia and the Filarmonica
Notable among Boreyko’s discography with the Radio-Sinfonieorchester Stuttgart des SWR (of whom he was Principal Guest Conductor) are Arvo Pärt’s Lamentate and Valentin Silvestrov’s Symphony No6 (both for ECM Records), and the premiere recording of his original version of Shostakovich’s Suite from Lady Macbeth of Mtsensk and symphonies Nos1, 4, 5, 6, 8, 9 and 15, all on Hänssler Classics. He has also recorded Tchaikovsky’s Manfred Symphony with the Düsseldorfer Symphoniker, and Lutosławski’s Chain 2 with the Los Angeles Philharmonic for Yarling Records. Nonesuch released a recording of Górecki’s Symphony No4 with the London Philharmonic Orchestra shortly after Boreyko conducted the world premiere in concert with them, subsequently performing the US premiere with the Los Angeles Philharmonic. Andrey Boreyko’s previous appointments include Music Director with the Jenaer Philharmonie, Hamburger Symphoniker, Berner Sinfonieorchester, Düsseldorfer Symphoniker, Winnipeg Symphony and Orchestre National de Belgique.
The RSNO is extremely grateful to Andrey, who has stepped in at very short notice to replace James Conlon
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ROYAL SCOTTISH NATIONAL ORCHESTRA
Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor. The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe. The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan.
The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Strauss’ Ein Heldenleben, was released in 2019. The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life. The team is committed to placing the Orchestra at the centre of Scottish communities via workshops and annual residencies.
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ON STAGE FIRST VIOLIN Maya Iwabuchi
CELLO Aleksei Kiseliov
HORN Andrew McLean
Lena Zeliszewska
Betsy Taylor Kennedy Leitch Rachael Lee Sarah Digger Robert Anderson Miranda Phythian-Adams Lowri Preston
Alison Murray Martin Murphy David McClenaghan Neil Mitchell
DOUBLE BASS Slawomir Grenda
Marcus Pope Jason Lewis Richard Blake Brian McGinley
LEADER
ASSOCIATE LEADER
Tamás Fejes
ASSISTANT LEADER
Patrick Curlett Aysen Ulucan Elizabeth Bamping Liam Lynch Ursula Heidecker Allen Caroline Parry Lorna Rough Susannah Lowdon Daniel Joseph Kirstin Drew Helena Quispe SECOND VIOLIN Jacqueline Speirs ASSOCIATE PRINCIPAL
Marion Wilson Emily Nenniger Robin Wilson Sophie Lang Wanda Wojtasinska Paul Medd Anne Bünemann Nigel Mason John Robinson Heloisa Ribeiro Isabel Protheroe
PRINCIPAL
GUEST PRINCIPAL
Michael Rae Adrian Bornet Piotr Hetman Kirsty Matheson Olaya Garcia Alvarez FLUTE Katherine Bryan PRINCIPAL
Helen Brew Janet Richardson PRINCIPAL PICCOLO
ASSOCIATE PRINCIPAL
TRUMPET Christopher Hart PRINCIPAL
TROMBONE Donal Bannister GUEST PRINCIPAL
Lance Green Lewis Bettles Alastair Sinclair
PRINCIPAL BASS TROMBONE
TUBA John Whitener PRINCIPAL
OBOE Adrian Wilson PRINCIPAL
Peter Dykes Henry Clay
PRINCIPAL COR ANGLAIS
TIMPANI Paul Philbert PRINCIPAL
PERCUSSION Simon Lowdon
VIOLA Tom Dunn
CLARINET Timothy Orpen
PRINCIPAL
PRINCIPAL
Felix Tanner Asher Zaccardelli Lisa Rourke Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt Aoife Magee Nicola Boag
Matthew Billing Lucia Porcedda Gareth Brady
John Poulter Tom Hunter Stuart Semple Philip Hague Joanne McDowall
BASSOON Luis Eisen
HARP Pippa Tunnell
Emma Simpson Paolo Dutto
PIANO/CELESTE Lynda Cochrane
ASSOCIATE PRINCIPAL
PRINCIPAL CONTRABASSOON
PRINCIPAL
SCHOOL & NURSERY PROGRAMMES
YOYO & THE LITTLE AUK
Introduce children aged 3-6 to the magic of classical music with Yoyo & The Little Auk – an inspiring new Scottish adventure from the Royal Scottish National Orchestra, supported by Year of Stories 2022. Yoyo & The Little Auk, narrated by actor James Cosmo (The Chronicles of Narnia, Game of Thrones, Braveheart), is brought to life by a world-class creative team including Scottish BAFTA-winning animator Gavin C Robinson, author Stewart Ennis and composer Euan Stevenson. To learn more, including how to register, visit: rsno.org.uk/project/yoyo-the-little-auk
Supported by
Created in partnership with
GASPARD’S FOXTROT Join us for Gaspard’s Foxtrot - the RSNO’s 2022 National Schools Concert Programme - featuring a special concert film in eight languages, teaching resources and more! Brought to life by Jonathan Dove’s wonderful composition, Gaspard the Fox’s latest adventure – which takes him through the sights, smells and sounds of London – is the perfect introduction to classical music for school children from Primary 1 up to S2 (age 5-16). Teachers and primary schools across Scotland can register for free here: rsno.org.uk/project/gaspard Created in partnership with
RSNO: Scotland’s National Orchestra 21
SUPPORTING THE RSNO I am honoured and extremely proud to be Music Director of the RSNO. It is through the continued generosity of you, our friends, donors and supporters, that we can continue to achieve and realise the most ambitious goals of the Orchestra. One of the wonders of the RSNO is how it brings high quality music not only to concert halls, but to the wider community. From hospital settings to care homes, from our Astar app for families with newborns to our National Schools Concert Programme, our music touches so many lives in Scotland and beyond.
Your support is the cornerstone of all that we do, as it allows us to continually build and develop. Thank you for being part of this wonderful Orchestra’s journey, as we adapt and grow towards a bright future.
Thomas Søndergård MUSIC DIRECTOR, RSNO
RSNO CONDUCTORS’ CIRCLE The RSNO Conductors’ Circle is an inspirational group of individual supporters at the heart of the RSNO’s Individual Giving programme. Our members’ annual philanthropic gifts enable us to realise the Orchestra’s most ambitious goals. Conductors’ Circle members support inspirational concert performances for our audiences alongside transformational education programmes in communities across Scotland, via our ground-breaking initiative Music for Life. The relationship between the RSNO and Conductors’ Circle members involves exceptional levels of access to all aspects of Orchestra life. We design bespoke private events tailored to individual interests and passions, providing insight into the artistic process and bringing our supporters further into the RSNO family. Members of the Conductors’ Circle benefit from an intimate and long-lasting connection with the RSNO Artistic Team and particularly with RSNO Music Director Thomas Søndergård, Principal Guest Conductor Elim Chan and the many
renowned guest Conductors we are privileged to welcome to the RSNO each year. The RSNO is very grateful for the continued support of its Conductors’ Circle: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Stina Bruce Jones Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young We would also like to thank those generous donors who wish to remain anonymous. For more information on Individual Giving and becoming part of the Conductors’ Circle please contact Jenny McNeely at jenny.mcneely@rsno.org.uk
22 Shostakovich Spectacular
PATRON PROGRAMME CHAIR PATRON From musical activities in schools with the musicians of the future to working in community venues across Scotland, as a Chair Patron you are enabling RSNO musicians to explore the many facets of their art and the positive impact it has on people’s lives. Supporting an individual musician puts you at the heart of the RSNO family. You’re connected directly to the musicians on stage and get to enjoy privileged behind-the-scenes access. RSNO musicians truly appreciate our Chair Patrons and enjoy developing personal relationships with our supporters.
Assistant Conductor Kellen Gray
Cello Aleksei Kiseliov PRINCIPAL
First Violin Maya Iwabuchi LEADER Sharon Roffman LEADER
Betsy Taylor
The Solti Foundation Chair
Dunard Fund Chair
Tamás Fejes Assistant LEADER
The James Browning Chair
ASSOCIATE PRINCIPAL The Maxwell Armstrong Chair
Kennedy Leitch
The Bill and Rosalind Gregson Chair
ASSISTANT PRINCIPAL The David and Anne Smith Chair
Patrick Curlett
Arthur Boutiller
Bassoon David Hubbard PRINCIPAL
The James and Morag Anderson Chair
Horn Christopher Gough PRINCIPAL The Springbank Distillers Chair
Alison Murray
ASSISTANT PRINCIPAL Mr & Mrs Pierre and Alison Girard
ASSISTANT PRINCIPAL The RSNO Circle Chair
The Ardgowan Charitable Trust Chair
David McClenaghan
Jane Reid
Rachael Lee
The James Wood Bequest Fund Chair
The Christine and Arthur Hamilton Chair
Trumpet Christopher Hart PRINCIPAL
Alan Manson
The Hugh and Linda Bruce-Watt Chair
Double Bass Ana Cordova PRINCIPAL
Marcus Pope SUB PRINCIPAL
The Kate and Gavin Gemmell Chair
Elizabeth Bamping
John Clark
Trombone Dávur Juul Magnussen
Second Violin Xander van Vliet PRINCIPAL
Flute Katherine Bryan PRINCIPAL
Sophie Lang
Helen Brew ASSISTANT PRINCIPAL
The WL and Vera Heywood Chair
The Hilda Munro Chair
The Ian and Evelyn Crombie Chair
Viola Lisa Rourke SUB PRINCIPAL The Meta Ramsay Chair
David Martin
The Miss Grace MM Mitchell Bequest Chair
Francesca Hunt
The Rolf and Celia Thornqvist Chair
The Gregor Forbes Chair
The David and Anne Smith Chair The Gordon Fraser Charitable Trust Chair
Oboe Adrian Wilson PRINCIPAL The Hedley Wright Chair
Peter Dykes
ASSOCIATE PRINCIPAL Witherby Publishing Group Charitable Trust Chair
Cor Anglais Henry Clay PRINCIPAL
In memory of a dear friend, Fiona H
The J & A Mitchell Chair
Ms Chris Grace Hartness
The Nigel and Margot Russell Chair
PRINCIPAL The Mitchell’s Glengyle Chair
Lance Green
ASSOCIATE PRINCIPAL The William Cadenhead Chair
Timpani Paul Philbert
Ms Chris Grace Hartness
Percussion John Poulter
ASSOCIATE PRINCIPAL The Dot and Syd Taft Chair
Director of Concerts and Engagement Bill Chandler The James and Iris Miller Chair
We would like to acknowledge the generous contribution of Mr Hedley Wright in supporting the RSNO Chair Patron Programme.
RSNO: Scotland’s National Orchestra 23
LEARNING AND ENGAGEMENT PATRON Our Learning and Engagement activity is structured around our Music for Life programme. From apps for babies to concerts and workshops for school children, and lunchtime concerts for older adults, the range of projects is vast. As a Patron, you will have access to our projects to bring you closer to the communities we serve across Scotland. Learning and Engagement Patrons Neil and Nicola Gordon Professor Gillian Mead, FRSE Mr Maurice Taylor CBE RSNO Principal Oboe, Adrian Wilson Witherby Publishing Group Charitable Trust
NEW WORKS PATRON The RSNO is dedicated to bringing new works and outstanding new talent to audiences across Scotland. Our New Works Patrons contribute a significant legacy to orchestral music that extends beyond the RSNO, providing new music for orchestras and audiences around the world – for generations to come. New Works Patron Susie Thomson We are also grateful to those who give but wish to remain anonymous. If you would like more information or would like to discuss how you can become part of the RSNO Family of Supporters, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk
We would like to thank all those who have donated to our new Play Your Part Appeal. The generosity of our supporters at this time is deeply appreciated.
24 Shostakovich Spectacular
Musical Memories Leave a gift to the RSNO and ensure future generations can create their own Musical Memories of the Royal Scottish National Orchestra. We all have special Musical Memories. It could be learning to play an instrument when you were a child, or a special piece of music that just left you breathless the first time you heard the Orchestra play it. Maybe it was seeing a soloist you had always wanted to hear, or just a great concert shared with friends. Memories such as these make music such an important part of our lives. Leaving a gift to the RSNO in your will is the single most important way you can help us to make music and to create memories. Your legacy will support the work of the Orchestra for years to come, ensuring that we can continue to bring great music to a new generation of children, young people and adults right across Scotland. It is easy to leave a gift. After you have made provisions for family and friends, please think of the Orchestra.
Your gift is important to us and to everyone in Scotland who enjoys music. Contact your solicitor to draft a will or add a codicil to your current will. If your estate is subject to inheritance tax, a gift to a charity, such as the RSNO, is tax-free and will reduce the amount of tax payable to the Government. Please ask your solicitor for details. For more information please visit rsno.org.uk/memories If you would like to discuss this further, please contact Torran McEwan, Individual Giving and Partnerships Administrator, in the strictest confidence, at torran.mcewan@rsno.or.uk To the many among you who have pledged to leave a gift already – thank you.
RSNO: Scotland’s National Orchestra 25
CHARITABLE TRUSTS AND FOUNDATIONS Charitable trusts and foundations have a distinguished history of supporting the RSNO, both on and off stage. From one-off donations for specific projects to multi-year funding for our flagship outreach initiatives, including the National Schools Concert Programme and Young Creatives, every grant in support of our work is truly appreciated. We are grateful to the following trusts and foundations for their generosity: Aberdeen Endowments Trust ABO Sirens Fund Alexander Moncur Trust Alma & Leslie Wolfson Charitable Trust Ambache Charitable Trust Arnold Clark Community Fund Balgay Children’s Society Bòrd na Gàidhlig Boris Karloff Charitable Foundation Castansa Trust Creative Scotland Cruden Foundation David and June Gordon Memorial Trust D’Oyly Carte Charitable Trust Dunclay Charitable Trust Educational Institute of Scotland Ettrick Charitable Trust Fenton Arts Trust Fidelio Charitable Trust Forteviot Charitable Trust Gaelic Language Promotion Trust Gannochy Trust Garrick Charitable Trust Glasgow Educational and Marshall Trust Gordon & Ena Baxter Foundation Gordon Fraser Charitable Trust Harbinson Charitable Trust Hugh Fraser Foundation Idlewild Trust Inchrye Trust James Wood Bequest Fund Jean & Roger Miller’s Charitable Trust Jennie S Gordon Memorial Foundation Jimmie Cairncross Charitable Trust John Ellerman Foundation John Mather Charitable Trust John Scott Trust Fund JTH Charitable Trust Leach Family Charitable Trust Leche Trust Leng Charitable Trust Maoin nan Ealan Gàidhlig Marchus Trust McGlashan Charitable Trust MEB Charitable Trust Meikle Foundation Mickel Fund Miss Jean R Stirrat’s Charitable Trust
Mrs M A Lascelles Charitable Trust Nancie Massey Charitable Trust Noël Coward Foundation Northwood Charitable Trust P F Charitable Trust Pump House Trust Privy Purse Charitable Trust PRS Foundation Radcliffe Trust Robertson Ness Trust Robertson Trust Ronald Miller Foundation R J Larg Family Trust Russell Trust RVW Trust Samuel Gardner Memorial Trust Scott-Davidson Charitable Trust Solti Foundation Souter Charitable Trust Stevenston Charitable Trust Swinton Paterson Trust Tay Charitable Trust Thistle Trust Thomson Charitable Trust Thriplow Charitable Trust Tillyloss Trust Trades House of Glasgow Vaughan Williams Charitable Trust Verden Sykes Trust WA Cargill Fund Walter Craig Charitable Trust Walter Scott Giving Group Walton Foundation Wavendon Foundation William Grant Foundation – Bellshill Local Giving Committee William Syson Foundation Witherby Publishing Group Charitable Trust WM Sword Charitable Trust Zich Trust We are also grateful to a number of trusts that wish to stay anonymous. If you would like more information about our work and how you can make a difference, please contact Ajda Milne, Head of Trusts and Projects, at ajda.milne@rsno.org.uk
26 Shostakovich Spectacular
RSNO CIRCLE The Circle is a vital part of the RSNO family. Our community of music-lovers inspire and support us. Supporting us by joining the Circle will help us to bring music to so many people, from our Learning and Engagement programmes to our brand-new digital performances. As part of our community and family, we will keep in touch with our exclusive magazine Inner Circle, our Circle member webpage and invitations to special events throughout the year. To find out more about joining the Circle please visit rsno.org.uk/circle or get in touch with Torran McEwan, Individual Giving and Partnerships Administrator, at torran.mcewan@rsno.or.uk To all our existing Circle members, thank you. Thank you for your unwavering support that allows us to continue sharing the joy of music. Virtuoso
Ms Catherine Y Alexander Mrs A M Bennett Dame Susan and Mr John Bruce Mrs Stina Bruce-Jones Stephen and Morny Carter Francesca and Eoghan Contini Mackie Sir Sandy and Lady Crombie Gavin and Kate Gemmell Dr M I and Mrs C R Gordon Scott and Frieda Grier Judith and David Halkerston Iain MacNeil and Kat Heathcote Miss A McGrory Miss M Michie Mr James Miller CBE Meta Ramsay Mr George Ritchie Mr P Rollinson Mr and Mrs W Semple Mr Ian Taft Claire and Mark Urquhart Raymond and Brenda Williamson Mr Hedley G Wright
Symphony
Mr Anderson Mr Alan and Mrs Carolyn Bonnyman Mr John Brownlie Miss L Buist Mr and Mrs J K Burleigh Mr I Gow Mr J D Home Mrs J Kennedy Mrs A Lamont Mr I C MacNicol Professor J and Mrs S Mavor Mrs McQueen Mrs A McQueen Morag Millar Mr Miller Mrs A Morrison Graham and Elizabeth Morton Mr and Mrs David Robinson Mr D Rogerson Mrs Ann M Stephen Mr Alistair M and Mrs Mandy Struthers Mr and Mrs M Whelan
Concerto
Dr K Chapman and Ms S Adam Mr A Alstead Mr N Barton Miss D Blackie Mr L Borwick Neil and Karin Bowman Dr C M Bronte-Stewart Dr F L Brown Mr and Mrs Burnside Ms H Calvert Mr A Campbell Sir Graeme and Lady Catto Mr R Cavanagh Myk Cichla Dr J Coleiro Ms R Cormack Mr and Mrs B H Cross Christine and Jo Danbolt Mr P Davidson Mr J Diamond Mr S Dunn Mr C Ffoulkes Mrs E Gibb Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Mrs S Hawthorn Richard and Linda Holden Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Norman and Christine Lessels Mr D MacPherson Mr R G Madden Mr and Mrs Marwick Mr S Marwick Mr and Mrs G McAllister Ms M McDougall Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Dr and Mrs D Mowle Dr C C and Mr K R Parish Mr and Mrs D Pirie Ms A and Miss I Reeve Miss L E Robertson Mr D Rogerson
Ross family Dr and Mrs G K Simpson Mr and Mrs A Stewart Mrs M Stirling Mr G Stronach Dr G R Sutherland Mr I Szymanski Mr and Dr Tom Thomson Mr J B and Mrs M B Watson Mr and Mrs D Weetman Mrs Wigglesworth Mr and Mrs Zuckert
Sonata
Ms S Ace Mr K Allen Mrs P Anderson Ms D Baines Mr O Balfour Mr N Barton Dr A D Beattie Mrs H Benzie Mr R Billingham Dr and Mrs Blake Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Mr and Mrs Bryan Lady J Bute Miss S M Carlyon Mr J Claxon Lady Coulsfield Adam and Lesley Cumming Ms K Cunningham Mr F Dalziel and Mrs S Walsh Dr J K and Mrs E E Davidson Mr and Mrs K B Dietz Mrs C Donald Jane Donald and Lee Knifton Ms P Dow Mrs P du Feu Mr John Duffy Mr and Mrs M Dunbar Mr R M Duncan Brigadier and Mrs C C Dunphie Mrs E Egan Mr R Ellis Miss L Emslie
RSNO: Scotland’s National Orchestra 27
Mr R B Erskine Dr E Evans Mr D Fraser Mr D and Mrs A Fraser Mr D Frew Ms J Gardner Dr P and Dr K Gaskell Mr W G Geddes Mrs M Gibson Mr D Gibson Mrs M Gillan Mr R M Godfrey Dr J A Graham and Mrs H M Graham Professor and Mrs A R Grieve Mr and Mrs G Y Haig Lord and Lady Hamilton Dr P J Harper Dr N Harrison Mr and Mrs R J Hart Mr D Hartman Ms V Harvey P Hayes Dr and Mrs P Heywood Bobby and Rhona Hogg Mr R Horne Mr and Mrs F Howell Mr A Hunter Mrs A S Hunter Professor R N Ibbett Ms J Incecik Mr A Kilpatrick Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson G E Lewis Mr R M Love Dr D A Lunt Mrs Lesley P Lyon Mr and Mrs R MacCormick Mr D MacDonald Mr and Mrs MacGillivray Lady Lucinda L Mackay Dr A K and Mrs J C Martin Mr and Mrs J Martin Mr and Mrs D H Marwick Ms S McArthur Mr G McCormack Mrs L McCormick
Mrs M McDonald Mr M McGarvie Mrs C McGowan-Smyth Dr Colin McHardy Dr A H McKee Mr Patrick McKeever Mr G McKeown Ms H L McLaren Mrs E McLean Professor Mead Mr and Mrs B Mellon Mr G Millar Mrs P Molyneaux Mr R Morley Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Mr R Parry Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr W Ramage Mr M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb Mrs E Robertson Mr I Robertson Mr H and Mrs J Robson Ms A Robson Mrs E K Ross F Scott Mrs S Scott Mrs J Shanks Mr J A Shipley Dr M J and Mrs J A Shirreffs Dr Colin and Mrs Kathleen Sinclair Mr M J Smith Mrs E Smith Mr M A Snider Dr and Mrs B Stack Mrs Lorna Statham Mrs T Stevenson
Rev N and Mr R Stewart Mrs R F Stewart Mr and Mrs Struthers Mr and Mrs B Tait Dr and Mrs T Thomson Mr C Turnbull Dr S Tweedie Dr Morag Ward Mr W Watters Dr and Mrs T Weakley Mrs V Wells Mr G West Miss M Whitelaw Dr and Mrs D T Williams Mr D Woolgar Mr R Young
Thank you to all our members of the Circle, including those who wish to remain anonymous. Every one of you makes a real difference.
28 Shostakovich Spectacular
A BIG THANK YOU TO OUR SUPPORTERS FUNDERS
CORPORATE SUPPORTERS
PRINCIPAL MEDIA PARTNER
CHARITY PARTNER
PRINCIPAL TRANSPORT PARTNER
BROADCAST PARTNER
PARTNERS Glasgow Chamber of Commerce • Institute of Directors • Scots Magazine The Scottish Council for Development & Industry • Smart Graphics
PROJECT PARTNERS Abertay University • Alzheimer Scotland • Balhousie Care Group • Children’s Classic Concerts • Children’s Hospices Across Scotland Council of Nordic Composers • Dundee University • Edinburgh International Film Festival • Gig Buddies Glasgow Association for Mental Health (GAMH) • Glasgow Life • Goethe-Institut • Horsecross Arts • National Youth Orchestras of Scotland Prescribe Culture (University of Edinburgh) • Royal Conservatoire of Scotland • Scottish Book Trust • Starcatchers Tayside Healthcare Arts Trust • Usher Hall • Visible Fictions • Young Scot
CHAIR SPONSORS
If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk
RSNO: Scotland’s National Orchestra 29
ROYAL SCOTTISH NATIONAL ORCHESTRA PATRON
CHIEF EXECUTIVE
Carol Fleming
Her Majesty The Queen
Alistair Mackie Nicola Shephard
Constance Fraser
HEAD OF MARKETING
COMMUNICATIONS AND MARKETING OFFICER
EXECUTIVE ASSISTANT
RSNO BOARD OF DIRECTORS
CONCERTS
Elected Directors Dame Susan Bruce DBE
PLANNING OFFICER
Alice Gibson
EXTERNAL RELATIONS ADMINISTRATOR
Torran McEwan
INDIVIDUAL GIVING & PARTNERSHIPS ADMINISTRATOR
Ingrid Bols
Jenny McNeely
Michael Cameron
CHAIR
DRIVER AND DEPUTY STAGE MANAGER
HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS
LIBRARY ASSISTANT
HEAD OF TRUSTS AND PROJECTS
DEPUTY ORCHESTRA MANAGER
DIGITAL CONTENT PRODUCER
HEAD OF ORCHESTRA MANAGEMENT
GRAPHICS AND NEW MEDIA DESIGNER
LIBRARIAN
TRUSTS AND PROJECTS COORDINATOR
ARTISTIC PLANNING MANAGER
INFORMATION SERVICES MANAGER
John Heasley
Lauren Hamilton
Ajda Milne
Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood
Emma Hunter
James Montgomery
Ewen McKay
Graham Ramage
Richard Payne
Naomi Stewart
Tammo Schuelke
Sam Stone
Player Directors Helen Brew David Hubbard Dávur Juul Magnussen Sophie Lang Paul Philbert Lorna Rough
Craig Swindells
FINANCE AND CORPORATE SERVICES
Christine Walker
Angela Moreland
Nominated Directors Cllr Frank Docherty
HONORARY TREASURER
Brodie Smith
CONCERTS ADMINISTRATOR STAGE AND PRODUCTION MANAGER
CHIEF OPERATING OFFICER
CHORUS MANAGER
Ted Howie
FACILITIES COORDINATOR
LEARNING AND ENGAGEMENT
Lorimer Macandrew VIDEO PRODUCER
Andrew Stevenson
Sam McErlean
DIRECTOR OF LEARNING AND ENGAGEMENT
SOUND ENGINEERING INTERN
Brianna Berman
Irene McPhail
ACCOUNTS AND PAYROLL ASSISTANT
Samantha Campbell
Calum Mitchell
Rosie Kenneally
Hedd Morfett-Jones
GLASGOW CITY COUNCIL
PROJECT ASSISTANT
THE CITY OF EDINBURGH COUNCIL
HEAD OF LEARNING AND ENGAGEMENT
Cllr Lezley Marion Cameron
Company Secretary Gordon Murray
LEARNING AND ENGAGEMENT OFFICER (MATERNITY LEAVE)
Rachel Naylor
RSNO COUNCIL
Baroness Ramsay of Cartvale CHAIR
Ms Ruth Wishart
LEARNING AND ENGAGEMENT OFFICER (MATERNITY COVER)
EXTERNAL RELATIONS
VIDEO PRODUCTION INTERN DIGITAL MANAGER
Susan Rennie FINANCE MANAGER
Abby Trainor ADMINISTRATOR
Jade Wilson
FINANCE ASSISTANT
Dr Jane Donald
DIRECTOR OF EXTERNAL RELATIONS
PROGRAMMES EDITOR
Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk
MARKETING MANAGER
Scottish Company No. 27809 Scottish Charity No. SC010702
Lisa Ballantyne
PARTNERSHIPS OFFICER
Ian Brooke
Jessica Cowley
/royalscottishnationalorchestra
@RSNO
@rsnoofficial
Youtube.com/thersno
The RSNO is one of Scotland’s National Performing Companies, supported by the Scottish Government.
Orchestra list and programme details correct at time of going to print. Contents © Copyright RSNO and named authors.
30 Shostakovich Spectacular
Play your
Part appeal
Help us return to the stage and bring support and inspiration to those who need it most Your donation will ensure we can continue our vital work in the community and provide a lifetime of musical inspiration
£50
£100
£500
£1000
could help support our return to live performance in 2022
could help us provide more Digital Care Packages to Scottish care homes and hospices
could help us continue to provide vital creative opportunities for young musicians
could help us to bring inspiring live performances to children across Scotland
Donate now at rsno.org.uk/playyourpart