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Royal Scottish National Orchestra Noltingk, Jacqueline Susan (2017) The Scottish orchestras and new music, 1945-2015. PhD thesis. http://theses.gla.ac.uk/8727/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] The Scottish Orchestras and New Music, 1945-2015 Jacqueline Susan Noltingk Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow December 2017 © Jacqueline Noltingk 2017 2 ABSTRACT This dissertation critically examines the presentation of new music in live concerts by three Scottish orchestras. It considers what they have commissioned, what performed, the context in which the music has been programmed, and who was involved. The orchestras are the three which are established on a permanent basis and give regular subscription series in Scotland: the BBC Scottish Symphony, Royal Scottish National, and Scottish Chamber Orchestras. The study contributes to the debate around classical music programming of new music, taking these orchestras as examples. It asks how in practice some of those responsible for programming in the period from 1945 to 2015 have reconciled conflicting expectations and desires. On the one hand there is a vast heritage, an 'imaginary museum', of old music, and it is this which most audiences want to hear. On the other hand, living composers continue to write and some audiences want to hear their music performed. This is music which speaks of and to our own times. The dissertation asks about some of the factors which have influenced programmers' decisions and how those programmers have presented new music to the public — alongside the old, in special events, or in another way. It considers the advantages and disadvantages of each type of programming. Underlying these questions is the changing status in the west of western classical music. Even if it is not dying, as some commentators have stated, it is but one among many musics, with a relatively small market share. Given that situation, are orchestras, which are heavily dependent on public and/or private funding, still relevant to contemporary society? And if so, is part of their role to reflect aspects of that society by playing new music? 3 Table of Contents ABSTRACT.....................................................................................2 Acknowledgments and thanks.............................................................10 AUTHOR'S DECLARATION...................................................................11 Names, Titles, Spellings and Abbreviations.............................................12 Orchestras................................................................................12 Personal titles............................................................................12 Composers................................................................................13 Titles of works...........................................................................13 Musicians' names.........................................................................13 Organisations.............................................................................13 Abbreviations.............................................................................14 PART I.........................................................................................16 Chapter 1: Introduction....................................................................16 Definitions and usage: classical music, new music, Scottish composers, and commissions...........................................................................17 The problem..............................................................................19 Research questions......................................................................23 The importance of orchestras, and my interest in them and new music.......24 Orchestras as promoters and performers............................................27 Dissertation Plan.........................................................................29 4 Chapter 2: Literature review.............................................................31 The musical museum, canon, repertoire, music and contemporary culture, and programming........................................................................32 Orchestras in general, and specific orchestras.....................................38 Live music, cultural value and audiences............................................41 Theoretical conceptualisations of concert life.....................................45 Economics of orchestral performance................................................47 Cultural policies underlying public subsidies........................................50 The BBC...................................................................................53 The economics of composition, and commissioning...............................57 Conclusion................................................................................59 Chapter 3: Methodology...................................................................60 Choice of period.........................................................................62 Choice of orchestras....................................................................62 Choice of case studies..................................................................63 Data: Sources for information on repertoire........................................64 Other information from archives......................................................67 Interviews and Conversations..........................................................68 Table 1: Respondents in conversations, interviews, and email exchanges..72 Possible alternative approaches.......................................................73 Conclusion................................................................................73 PART II........................................................................................74 Chapter 4: The Institutional Framework................................................74 5 Introduction: A Commission............................................................75 The Institutions..........................................................................78 Institutions connected to orchestras..............................................79 Central government..................................................................79 Local governments...................................................................81 Institutions supporting composers.................................................84 Other aspects of the music world..................................................88 Conclusion................................................................................98 PART III.......................................................................................99 Preface: The three orchestras............................................................99 Table 2: Core strengths of the orchestras in 2015.............................102 Terminology..........................................................................103 Chapter 5: Royal Scottish National Orchestra........................................104 Section 1: From foundation to 1945.................................................105 Section 2: 1945-1950..................................................................106 Section 3: 1950-1959..................................................................109 Section 4: The Gibson Years, 1959-1984............................................112 Table 3: Performances of new music by Scottish composers, 1959-1984, excluding MV and MN...............................................................116 SNO Commissions under Gibson...................................................118 Section 5: Case study 1, Musica Viva in Glasgow..................................119 Table 4: Musica Viva programmes................................................120 Case study 1A: Gruppen...........................................................123 6 Musica Viva: Conclusion............................................................126 Section 6: Alexander Gibson's contribution: conclusion..........................128 Section 7a: Case Study 2, Musica Nova.............................................129 1971...................................................................................130 1973...................................................................................132 1976...................................................................................133 1979...................................................................................134 1981...................................................................................136 1984...................................................................................137 1987...................................................................................139 1990...................................................................................141
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