Tchaikovsky’s Fourth Symphony by Royal Scottish National Orchestra

Fourth Symphony Tchaikovsky’s

Caird Hall, Dundee

Thu 19 Mar 2026 7.30pm

Usher Hall, Edinburgh

Fri 20 Mar 7.30pm

Glasgow Royal Concert Hall Sat 21 Mar 7.30pm

Fourth Symphony Tchaikovsky’s

Caird Hall, Dundee Thu 19 Mar 2026 7.30pm

Usher Hall, Edinburgh Fri 20 Mar 7.30pm

Glasgow Royal Concert Hall Sat 21 Mar 7.30pm

Beauty, passion and the miracles of nature – there’s no tale that an orchestra can’t tell, and there’s definitely no symphony quite like Tchaikovsky’s shattering Fourth: raw tragedy and roof-raising triumph, it’s explosive stuff, so guest conductor Kristiina Poska begins with something a little more tranquil. Arvo Pärt’s haunting Cantus is the perfect complement to a wonderful new set of songs from Elena Langer, inspired by the songs of birds and the nature poetry of Glyn Maxwell.

ARVO PÄRT Cantus in Memoriam Benjamin Britten [6’]

ELENA LANGER The Lives of Birds [21’] WORLD PREMIERE Commissioned by the RSNO. Generously supported by Javan Herberg KC and Jessica Boyd KC

INTERVAL

TCHAIKOVSKY Symphony No4 in F Minor Op36 [43’]

Kristiina Poska Conductor

Anna Dennis Soprano

Royal Scottish National Orchestra

The Dundee concert is supported by Leisure and Culture Dundee, Leng Charitable Trust, Northwood Charitable Trust and Tay Charitable Trust.

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.

Ethan Loch Plays Gershwin

EDINBURGH

FRI 27 MAR: 7.30pm

GLASGOW

SAT 28 MAR: 7.30pm

Thomas Søndergård Conductor

Ethan Loch Piano

Soloists from Royal Conservatoire of Scotland

Jane Irwin Casting Director, Royal Conservatoire of Scotland

RSNO Youth Chorus

Patrick Barrett Director, RSNO Youth Choruses

Book online at

Welcome

Thank you for joining the RSNO for this very special concert.

It’s a rare pleasure to welcome back soloist, composer and conductor this evening. Many of you will remember soprano Anna Dennis joining us last Season to give the world premiere of a piece by Neil T Smith, Hidden Polyphony. Tonight Anna gives another world premiere, The Lives of Birds, a setting of poems by Glyn Maxwell, composed by the brilliant Elena Langer, whose concerto/ cantata The Dong with a Luminous Nose went down a storm in our 2024:25 Season. I am certain this new work will be a success too, especially with Kristiina Poska at the helm, returning to the Orchestra for the first time since 2023.

We open tonight’s concert with one of the most distinctive and atmospheric contemporary composers, Arvo Pärt, in slightly belated celebration of his 90th birthday last year. Cantus in Memoriam Benjamin Britten features on one of our many recordings with Neeme Järvi, which helped establish our reputation as a top recording orchestra. Most recently, we recorded Lorne Balfe’s fantastic score for Netflix’s The Dinosaurs. With massive Hollywood names involved in the production, including executive producer Steven Spielberg and narrator Morgan Freeman, our Orchestra and recording studio continue to cement our reputation internationally. The Dinosaurs is on Netflix now, and you can listen to the soundtrack on the usual streaming platforms or on YouTube.

I hope some of you in Edinburgh and Glasgow came along to our pre-concert showcases from St Mary’s Music School and Douglas Academy respectively. It’s a great privilege that we are able to support both of these schools from which generations of Scottish musicians have benefited, and which gave me such a fabulous musical education. I feel sure there will have been future RSNO musicians in their ranks tonight!

Alistair Mackie CHIEF EXECUTIVE

in touch with the RSNO

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Royal Scottish National Orchestra

Formed in 1891, the Royal Scottish National Orchestra (RSNO) is one of Europe’s leading symphony orchestras. Awarded royal patronage by Her Late Majesty The Queen in 1977, its special status in the UK’s cultural life was cemented in 2007 when it was recognised as one of Scotland’s five National Performing Companies, supported by the Scottish Government.

Led by Music Director Thomas Søndergård, the Orchestra performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness, and appears regularly at the Edinburgh International Festival and BBC Proms. The RSNO tours internationally, most recently visiting China and Europe.

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 (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Award nominations. In recent years, the RSNO has cultivated an international reputation for world-class film, television and videogame soundtrack recording. The Orchestra has recorded for BAFTA-winning

series Silo (Apple TV) and worked with the likes of GRAMMY Award-winning composer Lorne Balfe on Life on Our Planet (Netflix). Other notable titles include Nuremberg (Sony Pictures), Now You See Me: Now You Don’t (Lionsgate), Horizon: An American Saga (Warner Bros) and Star Wars Outlaws (Ubisoft). The Orchestra records at its bespoke in-house facility in Glasgow.

The RSNO believes that music can enrich lives and aims to inspire, educate and entertain people throughout Scotland and beyond with its performances, recordings and engagement programmes. Supporting schools, families, young professionals and wider communities, the RSNO delivers high-quality initiatives for all ages and abilities. The RSNO’s engagement offering includes its singing strand, encompassing a Buggy Choir and Chorus Academy in both Dundee and Glasgow and a lunchtime Workplace Choir, which complements the well-established and highly respected RSNO Youth Choruses and RSNO Chorus. The community choruses are designed with the benefits of group singing for health and wellbeing at their core and are open to all.

FIRST VIOLIN

Maya Iwabuchi LEADER

Lena Zeliszewska ASSOCIATE LEADER

Tamás Fejes ASSISTANT LEADER

Patrick Curlett

Caroline Parry

Ursula Heidecker Allen

Elizabeth Bamping

Susannah Lowdon

Alan Manson

Liam Lynch

Veronica Marziano

Joana Rodriguez

Lorna Rough

Helena Quispe

Sharon Haslam

SECOND VIOLIN

Ricky Gore

GUEST PRINCIPAL

Jacqueline Speirs

Marion Wilson

Paul Medd

Anne Bünemann

Sophie Lang

Robin Wilson

Kirstin Drew

Colin McKee

Helena Rose

Emily Nenniger

John Robinson

VIOLA

Tom Dunn

PRINCIPAL

Felix Tanner

Lisa Rourke

Nicola McWhirter

Claire Dunn

Katherine Wren

Maria Trittinger

Francesca Hunt

Beth Woodford

Elaine Koene

On Stage

CELLO

Pei-Jee Ng PRINCIPAL

Betsy Taylor

Kennedy Leitch

Rachael Lee

Sarah Digger

Robert Anderson

Gunda Baranauskaitė

Susan Dance

DOUBLE BASS

Nikita Naumov

PRINCIPAL

Michael Rae

Moray Jones

Alexandre Cruz dos Santos

George Podkolzin

Kirsty Matheson

FLUTE

Katherine Bryan PRINCIPAL

Oliver Roberts

Janet Richardson PRINCIPAL PICCOLO

OBOE

Adrian Wilson

PRINCIPAL

Peter Dykes

Henry Clay

PRINCIPAL COR ANGLAIS

CLARINET

Timothy Orpen

PRINCIPAL

William Knight

Duncan Swindells

PRINCIPAL BASS CLARINET

BASSOON

David Hubbard

PRINCIPAL

Hugo Mak

Paolo Dutto

PRINCIPAL CONTRABASSOON

HORN

Amadea Dazeley-Gaist

PRINCIPAL

Alison Murray

Andrew McLean

David McClenaghan

Martin Murphy

TRUMPET

Jason Lewis

ASSOCIATE PRINCIPAL

Katie Bannister

TROMBONE

Dávur Juul Magnussen

PRINCIPAL

Cillian Ó Ceallacháin

Jonny Lovatt

GUEST PRINCIPAL BASS TROMBONE

TUBA

John Whitener PRINCIPAL

TIMPANI

Mark MacDonald

GUEST PRINCIPAL

PERCUSSION

Simon Lowdon

PRINCIPAL

Stuart Semple

Jonathan Herbert

Noah Chalamanda

CELESTA

Lynda Cochrane

Kristiina Poska Conductor

Acclaimed for her artistry and versatility, Kristiina Poska has served as Music Director of the Orchestre Français des Jeunes since 2025, and as Principal Guest Conductor of the Latvian National Symphony Orchestra since the 2021/22 season.

This season, Poska debuts with the Royal Liverpool Philharmonic Orchestra, Lucerne Symphony Orchestra, BBC Symphony Orchestra, Essen Philharmonic, Sinfonia Varsovia, Orquesta Sinfónica del Principado de Asturias, Cincinnati Symphony Orchestra and Baltimore Symphony Orchestra. She also returns to the Orchestre National de Metz, Orchestre de Chambre de Lausanne, Minnesota Orchestra and RSNO. As Music Director of the Orchestre Français des Jeunes, she leads two European tours, with performances at the Opéra de Dijon, BOZAR Brussels and Philharmonie de Paris, including a special concert for the Biennale des Quatuors à cordes.

Recent highlights include her debuts with the Toronto Symphony Orchestra and Colorado Symphony Orchestra in North America; Orquesta Nacional de España, Orquesta Sinfónica de

Euskadi and Orquesta Sinfónica de Bilbao in Spain; the Swedish and Norwegian Radio Symphony orchestras in Scandinavia; as well as the London Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Orchestre National de Montpellier, Lahti Symphony Orchestra, Grazer Philharmoniker, and the NHK Symphony Orchestra in Tokyo.

Equally prolific in opera, Poska’s current season features a return to Norwegian National Opera with Barrie Kosky’s production of Mozart’s The Magic Flute. Her recent operatic engagements include her debut at the Opéra de Dijon conducting Bartók’s Bluebeard’s Castle and Strauss’ Metamorphosen; a return to the Staatsoper Berlin for The Magic Flute; Mozart’s Così fan tutte at both Norwegian National Opera and the Royal Danish Theatre; Puccini’s La bohème at Opera Ballet Vlaanderen; Bizet’s Carmen at the Staatsoper Stuttgart; and Mozart’s Die Entführung aus dem Serail at the Sächsische Staatsoper Dresden.

Poska’s musical foundation was shaped at the Estonian Academy of Music and Theatre in Tallinn, where she studied choral conducting, and at Berlin’s Hochschule für Musik Hanns Eisler, where she honed her orchestral conducting skills. Her remarkable talent was recognised early through her finalist placements at the prestigious Donatella Flick LSO Competition (2010) and the Malko Competition (May 2012), where she was also awarded the Audience Prize. In April 2013 she won the esteemed German Conductors’ Prize.

Her previous appointments include Chief Conductor of the Flanders Symphony Orchestra (2019-25), Principal Conductor of Cappella Academica (2006-11), Kapellmeister at the Komische Oper Berlin (2012-16) and Music Director for Theater Basel (2019/20). With the Flanders Symphony Orchestra, Poska continues her recording of the complete Beethoven symphony cycle for the Fuga Libera label.

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Arvo Pärt (Born 1935)

Cantus in Memoriam Benjamin Britten

FIRST PERFORMANCE

Tallinn, Estonia, 7 April 1977

DURATION 6 minutes

It was in late 1976 that Arvo Pärt heard of the death of the composer Benjamin Britten, aged just 63, on the radio. It was news that profoundly shocked him. ‘Why did the date of Benjamin Britten’s death – 4 December 1976 – touch such a chord in me?’ he wrote. It had come, certainly, at a time in his musical development, ‘where I could recognise the magnitude of such a loss. Inexplicable feelings of guilt, more than that even, arose in me. I had just discovered Britten for myself. Just before his death I began to appreciate the unusual purity of his music … And besides, for a long time I had wanted to meet Britten personally – and now it would not come to that.’

These feelings of loss and connection saturate the work that he would premiere – not without much trouble from Estonia’s Soviet government – a year later in 1977. Cantus in Memoriam Benjamin Britten is one of Pärt’s earliest experiments with the musical style he called tintinnabulation, a word that takes its root from the Latin word for ‘bell’.

An outlying devotee of Arnold Schoenberg’s highly structured compositional mode of 12 note serialism, Pärt felt he had reached a musical dead-end in the early 1970s. After a decade struggling against the tightening fist of Soviet cultural restrictions, and the structures of serialism, he took a four-year hiatus from composing to find his own way forward.

It was a chance hearing of Gregorian plainchant that set Pärt, searching for musical purity and meaning, on his new course. Newly adherent to the Russian Orthodox Church, he spent the early 1970s rigorously researching medieval

and Renaissance church music. The bell, which was so much a part of Russian Orthodox liturgy and ritual, became a key focus. Pärt strived to created musical notation echoing the complex sonority of bells, albeit more as metaphor than imitation.

Cantus in Memoriam Benjamin Britten is deceptively simple. The bell gives an underlying structure to the music, a symbolic tolling for the dead. It begins in a created silence, the bell ringing thrice on the pitch of A, before each of the strings enters in turn, from the violins to the double basses, working their way slowly down the scale of A natural minor, a lament in canon. Each new instrumental introduction overlaps the previous at half the speed, with each in turn converging on a particular note in the scale – the first violins on C, the double basses on A – then repeating that note until all the other parts have reached their own place in a final loud chord. The strings weep an intensity of grief. The bell tolls continuously, its resonance heard in the silence beyond the suddenly extinguished final chord.

© Sarah Urwin Jones

Listen again to the RSNO Music from Estonia, including Cantus in Memoriam

Elena Langer (Born 1974)

The Lives of Birds

WORLD PREMIERE DURATION 21 minutes

Maybe the lives of birds are not really all that different from the lives of people … The RSNO audience already knows Elena Langer’s music from the 2024 performance of her concerto/ cantata based on Edward Lear’s The Dong with a Luminous Nose, a tale of lost love that went beyond the enjoyable nonsense and fantasy of Lear’s poem to the sad romantic tale of the poor deserted Dong behind it. In the same sort of way, The Lives of Birds may well be about more than we see and hear on the surface.

Elena and the poet Glyn Maxwell (who have worked together for over 20 years) had the idea of writing this cycle of eight poems after reading the 1952 book Birds as Individuals by the musician and naturalist Len (Gwendolen) Howard, detailing her life at a Sussex cottage observing the birds in her garden (and inside the house, too). But the poems are very different from that documentary book, providing

instead a meditation on love, time, ageing and mortality, told by a narrator who appears as a sort of immortal bird spirit, observing her fellow creatures, feeling for their joys and sorrows.

The stories are simple: the proud Ashleaf, more attached to the possessions he has won than to any other birds; the chap whose new girlfriend spent the whole time looking at her reflection in the window (then flew away), Robin who pushes his son out of the nest, a bird who dances a kind of threnody for her dead father … their lives are short – and jeopardised every instant ‘by rat and cat and fox and car’ – but not uneventful or petty.

The songs are varied musically as well as in mood, using the orchestra with great imagination to evoke emotions and events, always bathed in sounds of birdsong. The otherworldly narration of the start is invaded by the baleful ‘white cat’ of death, then Ashleaf battles a virtuosic autumn leaf-storm to secure his prize, with a calm orchestral interlude to suggest the passing years. The story of Moss, with little owl-like interjections, turns noisily catastrophic as his girlfriend flies off.

In the fourth song the clock of life ticks inexorably towards the end, and the fifth is a kind of serene continuation as the spirit watches the birds vanish off to who knows where. ‘Robin Red’ is full of chirruping birdsong, then comes the angular death-dance, with a quiet prayer in the middle. A short interlude brings back the clock, and the spirit returns with its message: ‘Be not afraid.’

© Robert Thicknesse

Commissioned by the RSNO. Generously supported by Javan Herberg KC and Jessica Boyd KC.

Elena Langer Composer

Elena Langer is a prolific composer of colourful, dramatic and often humorous music, familiar to audiences across Europe and America through her operatic, vocal and orchestral pieces. Elena’s 2016 hit for Welsh National Opera, Figaro Gets a Divorce, was described by Rupert Christiansen in the Daily Telegraph as ‘that rare thing: a modern opera that exerts an immediate emotional impact’. Her WNO follow-up, the 2018 vaudeville Rhondda Rips It Up!, was wildly popular with audiences across the UK. Her recent cantata The Dong with a Luminous Nose was warmly reviewed in The Times: ‘Langer manages to uncover the sadness of lost love lurking beneath the poem’s whimsy.’ In November 2024 the RSNO gave its Scottish premiere.

Elena studied at the Tchaikovsky Conservatoire in Moscow and at the Royal Academy of Music in London. Her works have been performed at Zurich Opera, New York’s Carnegie Hall, the Grand Theatre Geneva, Opéra National du Rhin Strasbourg, Welsh National Opera, Shakespeare’s Globe, Hong Kong Academy of Arts, the Linbury Theatre at Covent Garden, the Tokyo Theatre, London’s Royal Festival Hall and Boston Symphony Hall.

Landscape with Three People, a CD of Elena’s vocal and chamber pieces, was released by Harmonia Mundi in 2013. The titular song cycle, a setting of poems by Lee Harwood, was performed in 2022 at the Oxford International Song Festival, and in January 2026 at Another Music Festival in London.

Three new song cycles were premiered in 2025: Nice Weather for Witches, for mezzo, piano and dancers, and Two Mandelstam Songs, for tenor and piano, at the Oxford International Song Festival; and Fabulous Beasts, sung by the countertenor Hugh Cutting at London’s Wigmore Hall in December.

Elena’s new opera To Die For will be produced by the Netherlands Reisopera in April. Based on the (banned) 1928 play The Suicide by Nikolai Erdman, it is an exuberant black farce whose message is that while life may be chaotic and cruel, the alternative is almost certainly worse. To Die For will be performed at the London Coliseum in November 2026.

A new version of Elena’s comic opera Four Sisters is to be performed at Covent Garden in spring 2026. English Touring Opera is reviving her mono-opera Ariadne in the autumn.

Elena is currently working on a new violin concerto for Julian Rachlin and the Philharmonisches Staatsorchester Hamburg, to premiere in 2027.

Glyn Maxwell Poet

© Sarah Putnam

Opera, Sky Arts Awards 2016; Seven Angels (for Luke Bedford), commissioned by ROH2, 2013, and The Birds (for Edward Dudley Hughes), commissioned by The Opera Group and I Fagiolini, 2008. His other libretti include Ariadne (2002) and It’s Not You, It’s Me (2019), both for Elena Langer.

Glyn Maxwell’s recent poetry books include How The Hell Are You, The Big Calls, Pluto and Hide Now, all of which were nominated for either the Forward or T S Eliot prizes; and The Nerve, which won the Geoffrey Faber Memorial Prize in 2003. In 2014 he received the Cholmondeley Prize from the Society of Authors in recognition of his achievement in poetry, and in 1997 the E M Forster Prize from the American Academy of Arts and Letters. In 2021 he was Chair of Judges for the T S Eliot Prize.

His libretti for opera include The Lion’s Face (for Elena Langer), co-commissioned by ROH2 and The Opera Group, 2011, winner Argus Angel Award, Brighton Festival; The Firework-Maker’s Daughter (for David Bruce), co-commissioned by ROH2 and The Opera Group, 2013, nominated for Best New Opera, Olivier Awards 2014; Nothing (for David Bruce), co-commissioned by Glyndebourne and ROH, nominated for Best New

Glyn’s many plays include Liberty (Shakespeare’s Globe), The Lifeblood (Riverside Studios and Edinburgh Fringe, British Theatre Guide’s Best Play of 2004) and adaptations of Alice in Wonderland, Wind in the Willows, The Beggar’s Opera and Jekyll and Hyde (all Grosvenor Park Theatre, Chester). Also Cyrano de Bergerac (Southwark Playhouse, 2016), Babette’s Feast (Coronet, 2017), Boatmantown (Oxford Everyman, 2023) and several plays for the Phoenix Theatre Ensemble in New York City, for whom Glyn is Resident Playwright.

Glyn’s other writings include the travel book Moon Country (with Simon Armitage, 1996), the verse narrative The Sugar Mile (2005), the novel Blue Burneau (1994, shortlisted for the Whitbread First Novel Award), the popular critical guidebook On Poetry (2012) and the comic novel Drinks With Dead Poets (2016).

Glyn has taught at Amherst, Columbia, Princeton, New York University and The New School in the US, and in the UK at the universities of Warwick and Essex. He is a Fellow of the Royal Society of Literature. He is currently Head of Studies on the Poetry MA at The Poetry School at Somerset House, and writes a Substack platform called Silly Games To Save The World.

The Lives of Birds

i be not afraid

I sit so high

I see you all I sit so long my blue eyes open like the skyway noon and night and day no matter though the white cat come in time how everlasting is your heyday

be not afraid I see you born I sit so long you pass before me in your peacetime frost and fall and spring no matter though the white cat by and by how everlasting is the meantime

ii ashleaf

ashleaf his only name was ashleaf he went among a thousand leaves the autumn dead in search of one ashleaf

I go by and now I go by ashleaf

he held it proudly in his yellow beak as if among a thousand leaves the autumn dead this leaf alone is living

I go by and now I go by ashleaf

he conquered all the garden, all the world and fought among a thousand leaves the autumn dead to be the lord his only song

I go by and now I go by ashleaf

old now and all alone and old now he goes among a thousand leaves the autumn dead all he can see are ashleaves

moss was cross he lost his love his true love somehow who knows who, do I look like I do? a new love came came from nowhere knew he needed someone how though how did she know know he needed someone

who knows how, it’s a long time now all light long all darkness long peering at the window her own face peering at her face her own face in the window who knows why, I might tell you a lie! moss did not know did not know why why come at all he wondered one long day she flew away and flew away forever

who knows where, do I look like I’m there? and left behind moss with her face in the window to remember

iv the gates they go you know by rat and cat and fox and car they go they ’re born this dawn and then by hook or crook or clock they ’re gone and still I sing though you must think me mad if you think anything

but when you’re gone I’ll sing of you I’m singing now your only song

v a meadow beyond

over the trees to a meadow beyond they fly away

and I am always here to sing them on their way

mine is the final song of the night now darkness grieves

and you hear nothing but the song that still believes that over the trees to a meadow beyond they fly away

iii moss

vi red and sunset

Robin Red was a robin, Robin Red one day

Said Goodbye! to his son, the son Of Red, his name Was Sunset, there they sat on a branch And Robin cried Goodbye Sunset! Sunset sat there Peacefully

In summer with his father, Robin Red once more

Said Goodbye there Sunset, Sunset Wondered where His father meant to go, his father ’s Breast began

To turn an even redder red, Your Time has come, Sunset! Sunset learned that day that Time could come

And Sunset learned that day that time Could also go

He learned it as he flew away, though I don’t know

How far he flew, I only know

That Robin Red

Still sits there with his red-breast fading All alone

vii the dance

I dance the dance I never Danced before

In the wild wind at dawn I Dance it for

Old Ashleaf with his dead leaf Trembling there

O watching me old Ashleaf

Who long ago Felled my father here did Lay him low

In the wild wind at dawn he Knows I know

So I dance the dance I’ll never Dance again

For what can not be done nor Be undone

I dance though all is gone till He is gone

viii be not afraid [reprise]

be not afraid begin afresh live out the life you have no name for only plainsong sun and wind and rain no matter though the white cat come tomorrow everlasting was the morning

With thanks to James Dacre, who introduced us to Len Howard’s books and suggested the idea of composing a piece about birds ...

Megan Bousfield SURTITLES OPERATOR

Anna Dennis Soprano

Anna Dennis studied at the Royal Academy of Music and was the recipient of the 2023 Royal Philharmonic Society’s Singer award.

© Jet

Her opera performances include Katie Mitchell’s New Dark Age at the Royal Opera House, Purcell’s The Fairy Queen at Drottningholms Slottsteater in Stockholm, Queen of the Night in Mozart’s The Magic Flute at Opera North, Handel’s Rodelinda at the Göttingen Handel Festspiel, Mozart’s Idomeneo at Birmingham Opera Company, and roles in all three Monteverdi operas during Sir John Eliot Gardiner’s world tour of the trilogy. She recently created the title role of Violet in Tom Coult’s debut opera, premiered at the Aldeburgh Festival, and multiple roles in Sir David Pountney’s Purcell Masque of Might for Opera North.

In concert she has sung with the Scottish Chamber Orchestra, BBC Symphony Orchestra, Orchestra of St Luke’s in New York, Australian Chamber Orchestra, Birmingham Contemporary Music Group, Orquestra Gulbenkian, Les Violons du Roy, Britten Sinfonia, Akademie Alte Musik Berlin and Sinfonietta Riga. She has sung Britten’s

War Requiem at the Berlin Philharmonie and Thomas Ades’ Life Story, accompanied by the composer, at New York’s White Light Festival. Recent concert highlights have included performing Boulez’s Pli selon pli with the BBC Symphony Orchestra at the Barbican’s centenary celebration of the composer, Bach’s Mein Herze Schwimmt im Blut with Kristian Bezuidenhout in Riga, Haydn’s Jahreszeiten with the Düsseldorfer Symphoniker under Adam Fischer, and Handel’s Orlando with the Academy of Ancient Music under Laurence Cummings.

Her numerous recordings include Elena Langer’s Landscape with Three People, the GRAMMYnominated Kastalsky Requiem with the Orchestra of St Luke’s under Leonard Slatkin, two orchestral song cycles on composer Tom Coult’s debut disc Pieces that Disappear with the BBC Philharmonic Orchestra, and Handel’s Amadigi di Gaula with the Early Opera Company under Christian Curnyn.

In the 2025/26 season she sings Thomas Ades’ America (a Prophecy) with the New York Philharmonic and Mahler Chamber Orchestra, both conducted by the composer; a programme of Mozart concert arias at the Wigmore Hall; Elena Langer’s The Lives of Birds with the RSNO; the premiere of Tansy Davies’ Passion of Mary Magdalene at the Barbican and the Edinburgh International Festival; and a midsummer programme with Helsinki Baroque Orchestra at the Potsdam Festspiele.

Pyotr Ilyich Tchaikovsky (1840-1893)

Symphony No4 in F Minor Op36

FIRST PERFORMANCE

Moscow, 22 February 1878

DURATION 43 minutes

1. Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo

2. Andantino in modo di canzona

3. Scherzo: Pizzicato ostinato – Allegro

4. Finale: Allegro con fuoco

Tchaikovsky spent most of his life attempting to reconcile the scorching inspiration and confidence of his finest music with a sensitive nature overwhelmed by insecurity and anxiety. His emotional intuitiveness was to prove both a blessing and a curse, for while it helped facilitate some of the most treasurable music of the Romantic era, the lukewarm and often downright hostile reception that greeted many of his finest scores resulted in periods of creative paralysis.

During the early 1870s, Tchaikovsky established his early reputation with a string of striking orchestral scores that included his Second

(Little Russian) and Third (Polish) symphonies, First Piano Concerto, the ballet Swan Lake, and the Variations on a Rococo Theme for cello and orchestra of 1876. That same year Tchaikovsky first began exchanging letters with a wealthy widower, Nadezhda von Meck, who went on to support him financially (and emotionally) on the condition that neither of them should ever meet.

The 1,100 or so intimate letters that passed between them over the next 14 years provide a unique insight into this most artistically and emotionally vulnerable of composers. The shortterm effect was to inspire Tchaikovsky’s creative urge on an almost unprecedented scale as he fired off three volatile masterworks in quick succession – the symphonic fantasia Francesca da Rimini, the opera Eugene Onegin and the Fourth Symphony, written especially for von Meck and referred to in their correspondence as ‘our symphony’. Von Meck was beside herself with excitement: ‘To tell you what ecstasies your work sent me into would be unfitting,’ she enthused, ‘since you are accustomed to praise and admiration from those much better qualified than a creature so musically insignificant as I. It would only make you laugh.’

She was so struck by the music’s choreographic thrust and churning emotions that she asked Tchaikovsky for an explanatory note. Although such things should naturally be treated with a degree of caution, his response – reluctantly given – throws a fascinating light on his thoughtprocesses after the event:

The introduction holds the key, the essence, the primary idea of the entire symphony. It is Fate, the inescapable power that stifles peace and contentment and ensures that the sky is always clouded The second movement encapsulates another form of sadness. It is the melancholic feeling that overpowers one when one sits alone at night, exhausted by the day ’s

labours The Scherzo suggests the fleeting glimpses and indistinct shadows that drift into the imagination after one has sipped some wine and become mildly intoxicated The Finale represents some jubilant celebration. Rejoice in the happiness of others and there is still some sense in being alive.

Whether or not one chooses to take Tchaikovsky’s analysis at face value, the pervasive and at times subversive impact of the opening Fate motif is hard to ignore. Closer inspection reveals a wealth of subtle harmonic and thematic inter-relationships that owe much in essence to Tchaikovsky’s beloved Mozart. Indeed, the main structural interfaces of the first movement are as carefully signposted (by means of the ‘Fate’ motif) as any symphonic allegro by the Austrian master.

As Tchaikovsky later reflected, ‘Not one of my orchestral pieces was the result of such labour – on no other have I worked with so much love and with such devotion.’ The Fourth Symphony is dominated by a fatalistic idea which is announced at the very opening and goes on to haunt the entire work in various forms – it is subtly insinuated into the textures of the emotionally volatile slow movement and bubbly, pizzicato Scherzo, before being hoisted aloft at the climax of the Finale, crowned by a bracing coda of surging optimism.

© Julian Haylock

What was happening in 1878?

28 Jan The world’s first telephone exchange opened in New Haven, Connecticut

31 Jan Pius XI died after a 31.5-year pontificate, the longest confirmed

19 Feb The phonograph, the first ‘record player’, was patented by Thomas Edison

25 Apr Anna Sewell, the author of Black Beauty, died in Norfolk aged 58

25 May Gilbert and Sullivan’s HMS Pinafore opened at the Opera Comique in London

1 Jun John Masefield, Poet Laureate and author of the children’s novel The Box of Delights, was born in Ledbury, Herefordshire

15 Jun Eadweard Muybridge’s pioneering stop-motion still photographs demonstrated that when galloping, all four of a horse’s legs are off the ground at the same time

12 Sep Having arrived from Alexandria in Egypt on 21 Jan, Cleopatra’s Needle was erected on the Embankment in London

21 Nov The Second Anglo-Afghan War started when British forces attacked and captured Ali Masjid fort in the Khyber Pass

26 Nov Artist James McNeill Whistler was awarded a farthing in damages and half the costs in his libel case against the critic John Ruskin; he was subsequently declared bankrupt

Sir Stephen Hough Piano Sir Stephen Hough Plays

ABERDEEN THU 23 APR: 7.30pm

EDINBURGH

FRI 24 APR: 7.30pm

GLASGOW SAT 25 APR: 7.30pm

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Ravel La valse

Rachmaninov Piano Concerto No1

Vaughan Williams Symphony No2

A London Symphony

John Wilson Conductor

RSNO Benefactors, Patrons and Circle members

We are grateful to all our individual supporters for their generous philanthropy and loyalty. Your support enables the Orchestra to achieve its most ambitious goals and to continue inspiring people across Scotland both on and off the concert stage.

RSNO Benefactors

Sir Ewan and Lady Brown

Gavin and Kate Gemmell

Kat Heathcote and Iain Macneil

Ms Chris Grace Hartness

RSNO Conductors’ Circle

Ardgowan Charitable Trust

Stina Bruce Jones

Ian and Evelyn Crombie

Kenneth and Julia Greig

Shirley Murray

David and Alix Stevenson

Eric and Karen Young

Learning and Engagement Patrons

William Brown, W.S

The Dundee RSNO Circle Committee

Neil and Nicola Gordon

Professor Gillian Mead, FRSE

Nicholas and Alison Muntz

Maurice and Nicola Taylor Charitable Trust

Chair Patrons

Assistant Conductor

Celia Llácer

The Solti Foundation Chair

First Violin

Maya Iwabuchi LEADER Dunard Fund Chair

Tamás Fejes ASSISTANT LEADER

The Bill and Rosalind Gregson Chair

Ursula Heidecker Allen

The James and Iris Miller Chair

Elizabeth Bamping

The WL and Vera Heywood Chair

Alan Manson

The Hugh and Linda Bruce-Watt Chair

Liam Lynch

Ms Chris Grace Hartness Chair

Lorna Rough

The Sir Richard Dunbar Chair

Second Violin

Marion Wilson ASSOCIATE PRINCIPAL

The Nigel & Margot Russell Chair

Sophie Lang

The Ian & Evelyn Crombie Chair

Emily Nenniger

Mr Jamie & Kyle Anderson Weir

Viola

Tom Dunn PRINCIPAL

The Cathy & Keith MacGillivray Chair

Lisa Rourke SUB PRINCIPAL

The Meta Ramsay Chair

Francesca Hunt

The Rolf and Celia Thornqvist Chair

RSNO Patrons

Geoff and Mary Ball

Lady Rebecca Fraser

Don and Lois Macleod

Walter and Janet Reid Charitable Trust

George Ritchie

Stephen Sweeney

Valerie Wells

Cello

Pei-Jee Ng PRINCIPAL

Ms Chris Grace Hartness Chair

Betsy Taylor ASSOCIATE PRINCIPAL

The Maxwell Armstrong Chair

Kennedy Leitch ASSISTANT PRINCIPAL

The David and Anne Smith Chair

Rachael Lee

The Christine and Arthur Hamilton Chair

Double Bass

Nikita Naumov PRINCIPAL

The Gregor Forbes John Clark Chair

Michael Rae ASSISTANT PRINCIPAL

James Wood Bequest Fund Chair

Flute

Katherine Bryan PRINCIPAL

The David and Anne Smith 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

Clarinet

Timothy Orpen PRINCIPAL

The Shirley Murray Chair

William Knight

The Turcan Connell Chair

Horn

David McClenaghan SUB-PRINCIPAL

The Springbank Distillers Chair

Alison Murray ASSISTANT PRINCIPAL

Mr & Mrs Pierre and Alison Girard

Martin Murphy ASSISTANT PRINCIPAL

The Gordon Fraser Charitable Trust Chair

Andrew McLean

The Catherine McLagan Chair

Trumpet

Christopher Hart PRINCIPAL

Ms Chris Grace Hartness

Timpani

Paul Philbert PRINCIPAL

Ms Chris Grace Hartness

Staff

Chiko Parkinson COMMUNITY SINGING ASSISTANT

Supported by ScotRail

We are also grateful to those who give but who wish to remain anonymous.

If you would like to discuss how you can become an RSNO Patron, please contact Constance Fraser, Head of Development (Individuals and Partnerships), at constance.fraser@rsno.org.uk

RSNO Circle

Virtuoso

Ms Catherine Y Alexander

Mrs A M Bennett

Mr Alan and Mrs Carolyn Bonnyman

Dame Susan and Mr John Bruce

Stephen and Morny Carter

Francesca and Eoghan Contini

Mackie

Dr Clive Criper

Martin and Carola Gordon

Scott and Frieda Grier

Judith and David Halkerston

Iain MacNeil and Kat Heathcote

MBE

Ian and Sarah Lister

Miss A McGrory

Maureen Michie

Mr James Miller CBE

Mrs Abigail Morrison

Nicholas and Alison Muntz

Bernard and Jane Nelson

Meta Ramsay

Mr and Mrs W Semple

Gregor and Lesley Stewart

Mr Ian Taft

Claire and Mark Urquhart

Raymond and Brenda Williamson

Margaret Duffy and Peter Williamson

Symphony

Mr John Brownlie

Mr A Campbell

Dr K Chapman and Ms S Adam

Sir Sandy and Lady Crombie

Mr W G Geddes

Elizabeth Gibb

Dr Robert Gibb

Mr I Gow

Mr J D Home

Christine Lessels

Katharine M E Liston

Philip Whitely and Robert H Mackay

Hon Lord McGhie

Mrs A McQueen

Mr Iain Percival

Mr and Mrs David Robinson

Mrs Henrietta Simpson

Ian and Janet Szymanski

Dr C Cradock and Dr S Todd

Nelson and Barbara Waters

Tom and Lisa Watson

Concerto

Neil Barton

Mrs Mary Black

Miss D Blackie

Dr C M Bronte-Stewart

Dr F L Brown

Mr and Mrs Burnside

David Caldwell

Ms H Calvert

Ross Cavanagh

Myk Cichla

Terry and Joan Cole

Dr J Coleiro

Christine and Jo Danbolt

Mr P Davidson

Steven J Davis

Mr and Mrs K B Dietz

David and Sheila Ferrier

Mr C Ffoulkes

William Findlay

Mr and Mrs M Gilbert

Lord and Lady Hamilton

Mrs S Hawthorn

P Hayes

David G Henderson

Dr and Mrs P Heywood

Ms H Kay

Mr and Mrs W Kean

Nicholas Kilpatrick

Morag MacCormick

Mr and Mrs Marwick

Mr S Marwick

Mrs Sandra Maxwell

Mr and Mrs G McAllister

Mrs M McDonald

Dr A H McKee

Mr Rod McLoughlin

Morag Millar

Mrs B Morinaud

Dr and Mrs D Mowle

Mr KR and Dr CC Parish

Ms A and Miss I Reeve

Mrs E M Robertson

Sheriff Linda Ruxton

Dr and Mrs G K Simpson

Dr Norma H Smith

Mr and Mrs A Stewart

Jenny Stewart

David and Helen Strachan

Mr I Strachan

Dr G R Sutherland

Mr and Mrs J B Watson

Mr and Mrs D Weetman

Helen and Peter Wilde

David W Wren

Roderick Wylie

Sonata

Mr and Mrs G H Ainsley

Mr K Allen

Dr A D Beattie

Mrs H Benzie

Mr R Billingham

Lord and Lady Borthwick

John Bradshaw and Shiona Mackie

Mrs Bryan

Andrew Burrows

Mrs C M Campbell

Miss S M Carlyon

Amanda Carter-Fraser

Alan Clevett

Lady Coulsfield

Adam and Lesley Cumming

Mrs C Donald

J Donald and L Knifton

Mr John Duffy

Mr R M Duncan

Brigadier and Mrs C C Dunphie

Mrs E Egan

Mr R Ellis

Mr R B Erskine

Dr E Evans

Dr A Ewing

Kenneth Forbes

Mr D Fraser

Philip and Karen Gaskell

Mrs M Gibson

Mrs M Gillan

Mrs J K Gowans

Dr J and Mrs H Graham

Professor and Mrs A R Grieve

Simon and Fiona Guest

Dr P J Harper

Dr N Harrison

Mr and Mrs R J Hart

Bobby and Rhona Hogg

Mr and Mrs F Howell

Mrs A Hunter

Inez Hutchison

Professor R N Ibbett

Thomas Jakobsen Burns

Geoffrey and Elizabeth Johnston

Ms K Lang

Dr Dorothy A Lunt

Mrs Jean C Martin

Mr and Mrs J Martin

Ms S McArthur

Jean McCutcheon

Rhyse McDermid

Mr M McGarvie

Mrs S McGeachan

Dr Colin McHardy

Ms H L McLaren

Margaret McLay

Libby McLean

Mr and Mrs B Mellon

Kathryn Michael

Simon Michaelson

Mr I Mills

Mrs P Molyneaux

Kenneth M Murray

Bruce and Christine Nelson

Alastair Ogilvie

Mr and Mrs K O’Hare

Mr and Mrs K Osborne

Dr G Osbourne

Mr A Ownsworth

Mr R Parry

John Paterson

Misses J and M Penman

Mr J W Pottinger

Miss J A Raiker

Alastair Reid

Ms F Reith

Dr and Mrs D Robb

Anne Robertson

Ms A Robson

Mrs J Shanks

Mr J A Shipley

Dr M J and Mrs J A Shirreffs

Richard and Gillian Shirreffs

Ana Smith

Mrs E Smith

Mr M Smith

Dr and Mrs B Stack

Mrs Lorna Statham

Mrs R F Stewart

Mr and Mrs B Tait

Lisbeth Thoms

Dr and Mrs T Thomson

Dr Morag Ward

Dr Alex Watson

Mr W Watters

Alan Weddell

Mr and Mrs D Weetman

Mr R Young

Thank you to all our members of the Circle, including Overture members and those who wish to remain anonymous.

If you would like to discuss how you can become an RSNO Circle member, please contact Polly Lightbody, Individual Giving and Partnerships Officer, at polly.lightbody@rsno.org.uk

Charitable Trusts and Foundations

Charitable trusts and foundations have a distinguished history of supporting the RSNO, both on and off the stage. From one-off donations for specific concerts and musicians’ chairs, to multi-year funding for our community engagement initiatives, including our Schools Programme, 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

Adam Mickiewicz Institute

Alexander Moncur Charitable Trust

Alma & Leslie Wolfson Charitable Trust

Adam Mickiewicz Institute

Balgay Children’s Society

Boris Karloff Charitable Foundation

Brownlie Charitable Trust

Castansa Trust

CMS Charitable Trust

Common Humanity Arts Trust

Cookie Matheson Charitable Trust

Cruden Foundation

David and June Gordon Memorial Trust

Dunclay Charitable Trust

Educational Institute of Scotland

Ettrick Charitable Trust

Fidelio Charitable Trust

Forteviot Charitable Trust

Gannochy Trust

Gaelic Language Promotion Trust

Gordon Fraser Charitable Trust

Great Britain Sasakawa Foundation

Harbinson Charitable Trust

Hobart Charitable Trust

Hugh Fraser Foundation

James Wood Bequest Fund

Jennie S Gordon Memorial Foundation

Jean & Roger Miller’s Charitable Trust

Jimmie Cairncross Charitable Trust

John Scott Trust Fund

John Mather Trust

Jones Family Charitable Trust

JTH Charitable Trust

Leach Family Charitable Trust

Leng Charitable Trust

Lethendy Charitable Trust

Marchus Trust

McGlashan Charitable Trust

Meikle Foundation

Mickel Fund

Miss E C Hendry Charitable Trust

Miss Jean R Stirrat’s Charitable Trust

Murdoch Forrest Charitable Trust

N Smith Charitable Settlement

Nancie Massey Charitable Trust

Noel Coward Foundation

Northwood Charitable Trust

Nugee Foundation

Pear Tree Fund for Music

PF Charitable Trust

Pump House Trust

Q Charitable Trust

R J Larg Family Trust

Ronald Miller Foundation

Rowena Alison Goffin Charitable Trust

Russell Trust

Scops Arts Trust

Scott Davidson Charitable Trust

Scottish Enterprise

Solti Foundation

Souter Charitable Trust

Stanley Morrison Charitable Trust

Stevenston Charitable Trust

Sylvia Aitken Charitable Trust

Tay Charitable Trust

Thriplow Charitable Trust

Tillyloss Trust

W A Cargill Fund

W M Mann Foundation

W M Sword Charitable Trust

Walter Scott Giving Group

Wavendon Foundation

Weir 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 Niamh Kelly, Trusts and Projects Manager, at niamh.kelly@rsno.org.uk

A big Thank You to our supporters

FUNDERS

PRINCIPAL MEDIA PARTNER

CORPORATE SUPPORTERS

PRINCIPAL TRANSPORT PARTNER

BROADCAST PARTNER

PARTNERS

Adelaide Place • Age Scotland • Black Lives in Music • Charanga • Children’s Classic Concerts

Children’s Hospices Across Scotland • Classic FM • Douglas Academy • Dundee Science Centre

Dunedin Consort • Edinburgh Zoo • Education Scotland • Fanzclub • Gig Buddies • GMAC Film

Heads of Instrumental Teaching Scotland • Hebrides Ensemble Kibble • Luminate • Marine Conservation Society

MARSM • Music Education Partnership Group • ParentZone • The Pyramid at Anderston

Royal Conservatoire of Scotland • Scottish Book Trust • Scottish Chamber Orchestra

Scottish Refugee Council • Sistema Scotland • St Mary’s Music School • Tayside Healthcare Arts Trust

Trees for Life • University of Glasgow • V&A Dundee • Visible Fictions

With thanks to Mr Hedley G Wright and the Springbank Distillery for their support of the RSNO

If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Constance Fraser, Head of Development (Individuals and Partnerships), at constance.fraser@rsno.org.uk

Royal Scottish National Orchestra

PATRON

His Majesty The King

ARTISTIC TEAM

Thomas Søndergård

MUSIC DIRECTOR

Patrick Hahn

PRINCIPAL GUEST CONDUCTOR

Celia Llácer

ASSISTANT CONDUCTOR

Ellie Slorach

ENGAGEMENT CONDUCTOR

Kellen Gray

ASSOCIATE ARTIST

Neeme Järvi

CONDUCTOR LAUREATE

Alexander Lazarev

CONDUCTOR EMERITUS

Stephen Doughty DIRECTOR, RSNO CHORUS

Patrick Barrett DIRECTOR, RSNO YOUTH CHORUSES

CHIEF EXECUTIVE

Alistair Mackie

CHIEF EXECUTIVE

Dr Jane Donald

DEPUTY CHIEF EXECUTIVE

Charlotte Jennings

EXECUTIVE ASSISTANT (MATERNITY LEAVE COVER)

Nicola Kelman

EXECUTIVE ASSISTANT (MATERNITY LEAVE)

PLANNING

Tammo Schuelke

DIRECTOR OF ARTISTIC PLANNING

Xander van Vliet

ARTISTIC PLANNING MANAGER

Rachel Pullin

ARTISTIC PLANNING OFFICER

Richard Payne

HEAD OF LIBRARY SERVICES

Megan Bousfield

LIBRARY ASSISTANT

Christine Walker

CHORUS MANAGER

ORCHESTRA MANAGEMENT

Matthias Van Der Swaagh

HEAD OF ORCHESTRA MANAGEMENT

Brodie Smith

DEPUTY ORCHESTRA MANAGER

Megan Walker

ORCHESTRA AND PROJECTS OFFICER

OPERATIONS AND PRODUCTION

Craig Swindells

HEAD OF PRODUCTION

Dylan Findlay

ASSISTANT STAGE MANAGER

Ted Howie

FACILITIES MANAGER

RSNO BOARD OF DIRECTORS

Elected Directors

Gregor Stewart

CHAIR

Gail Blain

HONORARY TREASURER

Ruth Binks

Kayla-Megan Burns

Ken Hay

Kat Heathcote MBE

Don Macleod

David Robinson

John Stewart

David Strachan

Cllr Edward Thornley

NOMINATED DIRECTOR

Julia Miller

COMPANY SECRETARY

LEARNING AND ENGAGEMENT

Andrew Stevenson

DIRECTOR OF ENGAGEMENT

Anna Crawford

ENGAGEMENT DELIVERY MANAGER (MATERNITY LEAVE)

Rachel Naismith

ENGAGEMENT DELIVERY MANAGER (MATERNITY COVER)

Maisie Leddy

ENGAGEMENT PRODUCER

Chiko Parkinson

COMMUNITY CHORUS AND PARTNERSHIPS COORDINATOR SUPPORTED BY SCOTRAIL

EXTERNAL RELATIONS

Dr Jane Donald

DIRECTOR OF EXTERNAL RELATIONS

Carol Fleming

HEAD OF MARKETING

Constance Fraser

HEAD OF DEVELOPMENT (INDIVIDUALS AND PARTNERSHIPS)

Kirsten Reid

HEAD OF DEVELOPMENT (TRUSTS AND PROJECTS) (MATERNITY LEAVE)

Lisa Ballantyne

PARTNERSHIPS OFFICER

Keilidh Bradley

GRADUATE ANIMATOR

Ian Brooke

PROGRAMMES EDITOR

Fred Bruce

TRUSTS AND PROJECTS ADMINISTRATOR

Clara Cowen

MARKETING MANAGER

Seonaid Eadie

EXTERNAL RELATIONS OFFICER

Katie Kean

COMMUNICATIONS AND MARKETING OFFICER

Niamh Kelly

TRUSTS AND PROJECTS MANAGER

Player Directors

Katherine Bryan

Christopher Hart

David Hubbard

William Knight

David McClenaghan

Lorna Rough

SCHOOLS ADVISORY GROUP

Ruth Binks

Pam Black

Norman Bolton

Martin Greig

Neil Millar

Mae Murray

Polly Lightbody

INDIVIDUAL GIVING AND PARTNERSHIPS OFFICER

Graham Ramage

GRAPHIC DESIGNER

Sam Stone

INFORMATION SERVICES MANAGER

Ross Williamson

VIDEO PRODUCER (MARKETING)

AUDIO

Hedd Morfett-Jones

STUDIO MANAGER

Sam McErlean

MEDIA MANAGER AND AUDIO ENGINEER

Ahan Sengupta

TRAINEE AUDIO ENGINEER

FINANCE AND CORPORATE SERVICES

Nicola Mills

DIRECTOR OF FINANCE AND CORPORATE SERVICES

Susan Rennie

HEAD OF FINANCE

Jade Wilson

FINANCE OFFICER

Abby Dennison

FINANCE ADMINISTRATOR

Phoebe Connolly

FINANCE ASSISTANT