sign in sign up
<<
Home , Idomeneo, La finta giardiniera

SCOTTISH CHAMBER ORCHESTRA

CHRISTIAN BALDINI CONDUCTOR • ELIZABETH WATTS Mozart: Arias & Mozart: Opera Arias & Overtures CHRISTIAN BALDINI conductor ELIZABETH WATTS soprano SCOTTISH CHAMBER ORCHESTRA (1756–1791)

Le nozze di Figaro 1. ...... 4:12 8. Overture ...... 4:30 2. Giunse alfin – 9. S’altro che lacrime ...... 2:44 Deh vieni non tardar ...... 4:45 10. Overture ...... 4:40 3. Overture ...... 4:32 11. Appena mi vedon ...... 4:27 4. Quanti mi siete intorno – Padre, germani, addio! .... 4:31 Così fan tutte 12. Overture ...... 4:33 13. Ei parte – Per pietà ...... 9:28 5. Overture ...... 5:49 6. Batti, batti ...... 4:06 7. Vedrai, carino ...... 3:31

Total Running Time: 61 minutes Recorded at Usher Hall, Edinburgh, UK, 3–6 June 2013 Produced and recorded by Philip Hobbs Assistant engineering by Robert Cammidge Post-production by Julia Thomas Cover image Costume for a Fury in ‘Iphigénie en Tauride’ and several other by Jean-Baptiste Martin, colour engraving by René Gaillard Private Collection / The Stapleton Collection / Bridgeman Images Design by gmtoucari.com

All arias published by Bärenreiter-Verlag, Kassel n the first of three collaborations with the librettist Lorenzo Da Ponte, Wolfgang Amadeus Mozart composed Le nozze di Figaro in I1786. The opera – which received its premiere in Vienna on 1 May that year – is based on Beaumarchais’ play La Folle Journée (‘The crazy day’), which was itself first staged two years before and at five hours was the longest play to be staged in France in the eighteenth century. Beaumarchais’ controversial subject matter, with its undermining of the social hierarchy, caused the play to be banned in Vienna, and for the opera Emperor Joseph II insisted on the removal of all the most contentious passages; nonetheless, composer and librettist managed to accede to his demands without nullifying the social satire. From its quiet opening, the overture – unusual in Mozart for containing no musical material from the opera to follow – immediately establishes an atmosphere of stealth and intrigue. The complicated plot, with its mixture of deception, disguise and secret assignation, revolves around Count Almaviva’s designs on Susanna, his wife’s maid, who is betrothed to Figaro, his manservant. Susanna’s aria ‘Deh vieni non tardar’, with its felicitous writing for three solo woodwind, occurs in Act IV. It is night in the garden: Susanna arrives with Countess Almaviva, each wearing the other’s clothes, but moves away. Alone among the trees, she reflects on the pleasures of love, well aware that she is overheard by a jealous Figaro, who knows that a rendezvous with the Count has been planned at that very spot.

4 Idomeneo was commissioned for by Carl Theodor, Elector of Bavaria, and composed between the summer of 1780 and early 1781; it was premiered on 29 January. The is an adaptation by Giovanni Battista Varesco of the tragédie lyrique of the same name by Antoine Danchet. This is the first of Mozart’s mature operatic masterpieces, and it represents an astonishing advance in his development, not least in the wonderfully imaginative instrumentation, which was inspired by the Mannheim orchestra, among the most admired ensembles of the period. Idomeneo derives in both subject matter and musical form from French models quite separate from the Italian with which it is usually, and rather approximately, categorized. Yet after just three Munich performances, it was, like Così fan tutte, almost entirely neglected for over a hundred years, and it remained unperformed in Britain until a 1934 production in Glasgow. Though it lacks a development section, the overture is nonetheless a work of imposing stature: it signals the intensity of the drama to come, and its subdued ending is perfectly judged to enhance the anguished entrance of Ilia, whose first accompanied and aria follow directly on from the overture. The orphaned, exiled daughter of , who was vanquished in the recent , was among some captive Trojans sent ahead to the island by the victorious Cretan King Idomeneo. But Idomeneo’s son Idamante has rescued her from

5 a storm, and Ilia is torn between hatred of the King and growing love for his son. She vents her contradictory emotions in the richly expressive aria ‘Padre, germani, addio!’

Don Giovanni was Mozart and Da Ponte’s second collaboration. Following a relatively short-lived success in Vienna, where it had run for only nine performances, Figaro had created a sensation in Prague later the same year – its melodies could be heard on every street – and an overjoyed Mozart found himself immediately commissioned by the Prague National Theatre to compose Don Giovanni for the following winter season; the premiere took place on 29 October 1787. Mozart was the third major composer (after Caldara and Gluck) to base an opera on the life, sexual conquests and death of the Spanish libertine Don Juan. Dozens of playwrights, poets and novelists, including Molière, Byron, E. T. A. Hoffmann, Pushkin, Shaw and Camus, have drawn inspiration from the famous legend, and Mozart’s opera has come to be one of the most written- about and debated works in the history of music. The tantalizing theory that Giacomo Girolamo Casanova, whose literary status is under-appreciated in Britain, made a contribution to the libretto – he was living near Prague at the time when Mozart was making final revisions and Da Ponte was away in Vienna – has little evidence to support it, though it is believed that he did write an alternative version of Leporello’s escape in Act II Scene 9.

6 The overture begins in with the intensely dramatic chords later to be heard when the statue appears in response to Don Giovanni’s dinner invitation. Sudden loud–soft alternations and sinister scale-passages combine to create a menacing atmosphere, before giving way to a faster section in , music initially reminiscent of the first Allegro of the ‘Prague’ Symphony. In the development section Mozart concentrates with unusual obsession on the second subject, a robust five-note phrase with a soft but restless answer in the first violins. Ernest Newman suggested that the first phrase might be interpreted as the sternness of Fate, while the violins’ answer might represent Don Giovanni’s unconcerned flippancy. In Act I Scene 3, Zerlina, the fiancée of the peasant Masetto, appears. Immediately attracted to her, the Don dismisses Masetto and begins his latest seduction, only to be interrupted. In the following scene, Zerlina tries to win back the jealous Masetto with the aria ‘Batti, batti’. First she dares him to beat her, then, at a change from 2/4 to 6/8, she appeals to his finer instincts: ‘let us make peace’. The instrumentation of this aria, with its obbligato, is both delightful and economical. In Act II Scene 1, Zerlina finds Masetto beaten by Giovanni with the flat of his sword. He exaggerates his injuries and she reassures him in ‘Vedrai, carino’ that her love for him is the perfect remedy.

7 Returning to the opera seria genre for the first time since Idomeneo, Mozart composed La clemenza di Tito, to a libretto by Caterino Mazzolà after Metastasio, during the last months of his life, when work on Die Zauberflöte was already well advanced. The opera had been commissioned in July by a Prague impresario, Domenico Guardasoni, to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia; Mozart, who was approached only after an overworked Salieri had turned it down, was offered an excellent fee. La clemenza di Tito was successfully premiered on 6 September 1791 at the Estates Theatre in Prague, and retained its popularity for perhaps 20 years. Thereafter, however, it would be regarded – until the mid-twentieth century – as an inferior, hastily written work. Perhaps surprisingly, it was the first of Mozart’s operas to be staged in London, in 1806; it was apparently not performed in the city again until the 1950s. Only in 1969 did a revelatory production in Cologne, by the French director Jean- Pierre Ponnelle, set in train shift in appreciation. ’s 1974 staging at Covent Garden was a further landmark, banishing received opinion and revealing what can be achieved when a work has the total belief and love of director, stage designer, conductor and cast: Andrew Porter and Stanley Sadie were not the only authoritative critics to completely revise their opinion of the

8 opera. A full and lasting reinstatement of La clemenza di Tito to the repertoire ensued, and during the 1980s it was staged in more than 20 major opera houses around the world.

Strangely neglected as a concert piece, the overture to Tito is superb, its opening and drums imposingly enhancing the evocation of the Emperor Tito’s majesty and power. The initially contrapuntal development section goes on to convey, with increasing dissonance, drama, anguish and a sense of danger. The opening music returns only belatedly, after a reverse recapitulation in which the woodwind-led second subject reappears first. Servilia, sister of Tito’s patrician friend Sesto, sings ‘S’altro che lacrime’ in Act II; the aria is marked ‘Tempo di Minuetto’ and at 52 bars is among the opera’s many concise numbers. Vitellia, daughter of the deposed Emperor Vitellio, is racked with guilt and indecision because Sesto, who is in love with her, is about to be sentenced for a terrible crime he has committed on her instruction. Here Servilia gently chides Vitellia for ‘useless pity’ amounting to cruelty: her tears will not be enough to save Sesto, who awaits Tito’s judgement.

Mozart was 18 when he composed his ninth opera, La finta giardiniera, to a libretto believed to be the work of . Completed in January 1775, the opera was premiered in

9 Munich on the 13th of that month. Five years later Mozart converted it, with some necessary musical alterations, into a German entitled Die Gärtnerin aus Liebe, and until a copy of the original Italian version was rediscovered in the 1970s, the complete opera was known only in the German adaptation. The chief drawback of La finta giardiniera, a mixture of opera seria and opera buffa, is the convoluted libretto, which a less youthful Mozart would surely have improved. As Alfred Einstein commented, once Mozart had reached maturity, ‘he was no longer satisfied with dramatic nonsense’. At the opera’s opening, Marchioness Violante, having narrowly escaped being stabbed to death by her lover Count Belfiore, has assumed a new role as Sandrina, a gardener’s assistant (the eponymous ‘pretend gardener’). Subsequently, the two leading characters become deranged, and a kidnapping then stretches credibility even further. Nevertheless, musically this is one of the finest of Mozart’s early operas: the orchestration is distinctive, and there are occasional hints of the deeper characterization typical of the mature operas. The overture, which comprises an ‘Allegro molto’ bristling with energy and an ‘Andantino grazioso’, is almost a miniature symphony. The buffa maidservant Serpetta sings the aria ‘Appena mi vedon’ in Act I. In it she mercilessly provokes her admirer Nardo (Violante’s servant, also disguised as a gardener) with the inescapable truth: men everywhere find her simply irresistible.

10 Così fan tutte was the last of Mozart’s collaborations with Da Ponte. Composed during the latter half of 1789, it was first staged at the Burgtheater, Vienna, on 26 January the following year. That it received only five performances had nothing to do with public reception, but was due to the closure of the theatre for two months during the period of mourning upon the death of Emperor Joseph II in February. After five more performances that summer, however, Così was not staged again during Mozart’s lifetime. In the nineteenth century, while Le nozze di Figaro maintained its position in the repertoire, Così was considered immoral, a connoisseur’s opera, and it was generally neglected and misunderstood until as late as the mid-twentieth century. Yet it is in many ways the most remarkable of Mozart’s operas. The treatment of an apparently frivolous idea – two men depart from their loved ones then return in disguise to test their fidelity – is transcendently beautiful. The overture begins with a brief ‘Andante’ that culminates in the phrase later to be sung to the words of the title (the only music the overture has in common with the opera). This leads seamlessly into an exuberant ‘Presto’ in which three principal ideas, all piano, are introduced: chattering quavers in the violins, elegant, fluid phrases passed around the woodwind, and a serpentine theme for the violins with syncopated flutes and accompanying. (Mozart’s lightness

11 of touch in this section surely surpasses even that in the overture to Figaro.) In Act II, Fiordiligi is in love with Guglielmo but succumbing to the attentions of Ferrando, the two men having returned disguised as Albanian noblemen. In ‘Per pietà’ she sings of her conflicting feelings as she is torn between desire and conscience. © Philip Borg-Wheeler, 2015

12

Text and translations Translations by S. A. Henry w Le nozze di Figaro (Act IV: Susanna)

Recitative Giunse alfin il momento, At last the moment is near Che godrò senza affanno when carefree I shall rejoice In braccio all’idol mio! in the embrace of him I worship! Timide cure! Timid scruples, Uscite dal mio petto, be banished from my heart, A turbar non venite il mio diletto! come not to disturb my delight! Oh come par che all’amoroso foco Oh how to the fire of my love L’amenità del loco, do the beauties of this place, La terra e il ciel risponda, of heaven and earth, respond, Come la notte i furti miei seconda! how night furthers my designs!

Aria Deh vieni non tardar, o gioja bella, Come now, delay not, joyous bliss, Vieni ove amore per goder t’appella, come where love calls you to pleasure. Finchè non splende in ciel notturna face; Night’s torch shines not in heaven; Finchè l’aria è ancor bruna, e il mondo tace. the air is still dark, the earth silent. Qui mormora il ruscel, qui scherza l’aura, Here the stream murmurs, the breezes play Che col dolce sussurro il cor ristaura, and with gentle sighing refresh the heart. Qui ridono i fioretti e l’erba è fresca, Here flowers smile and the grass is cool; Ai piaceri d’amor qui tutto adesca. everything beckons to the delights of love. Vieni, ben mio, tra queste piante ascose Come, my dearest, within this hidden grove, and Ti vò la fronte incoronar di rose! I shall crown your brow with roses!

Lorenzo Da Ponte (1749–1838)

14 r Idomeneo (Act I: Ilia)

Recitative Quanti mi siete intorno How many of you surround me, Carnefici spietati? you ruthless butchers? Orsù sbranate Up and shatter Vendetta, gelosia, odio ed amore, vengeance, jealousy, hate and love, Sbranate sì quest’infelice core! shatter my unhappy heart!

Aria Padre, germani, addio! Father, brothers, farewell! Voi foste, io vi perdei. You are no more, I have lost you. Grecia, cagion tu sei; Greece, you are the cause; E un greco adorerò? and shall I now love a Greek?

D’ingrata al sangue mio, I know that I am guilty Sò che la colpa avrei; of abandoning my kin; Ma quel sembiante, oh Dei! but I cannot bring myself, Odiare ancor non sò. oh gods, to hate that face.

Giovanni Battista Varesco (1735–1805)

15 Don Giovanni (Acts I & II: Zerlina)

Aria y Batti, batti, o bel Masetto, Beat me, beat me, dear Masetto, La tua povera Zerlina; beat your poor Zerlina; Starò qui come agnellina I’ll stand here like a little lamb, Le tue botte ad aspettar. and await your blows.

Lascerò straziarmi il crine, I’ll let you pull out my hair, Lascerò cavarmi gli occhi, I’ll let you gouge my eyes out, E le care tue manine and your dear hands Lieta poi saprò baciar. shall I still happily kiss.

Ah, lo vedo, non hai core, Ah, I see he has not the heart, Pace, pace, o vita mia: let us make peace, O my true love: In contenti ed allegria in happiness and joy Notte e dì vogliam passar. let us pass our days and nights.

Aria u Vedrai, carino, se sei buonino, You will see, my dear, if you are good, Che bel rimedio ti voglio dar. the fine cure I have for you. È naturale, non dà disgusto, It’s natural, it’s not unpleasant, E lo speziale non lo sa far. and no apothecary can make it. È un certo balsamo It’s a certain balm Che porto addosso. I carry with me. Dare te’l posso I can give it to you Se’l vuoi provar. if you will try it. Saper vorresti dove mi sta? Do you want to know where I keep it? Sentilo battere, toccami qua! Then feel it beating, touch me here!

Da Ponte

16 o La clemenza di Tito (Act II: Servilia)

Aria S’altro che lacrime If but for these tears Per lui non tenti, you do nothing for him, Tutto il tuo piangere then all your crying Non gioverà. will be to no avail.

A questa inutile This useless Pietà che senti, pity that you feel, Oh quanto è simile oh, how like La crudeltà. cruelty it is.

Caterino Mazzolà (1745–1806) s La finta giardiniera (Act I: Serpetta)

Aria Appena mi vedon chi cade, chi sviene; As soon as they see me, one falls, another faints; Mi vengono appresso, nessuno li tiene, they chase me, none can restrain them, E come insensati, storditi, stonati and like fools, crazed and stunned, Così van gridando, smaniando così: thus do they cry out and rave: «Mirate che occhietti, che sguardi d’amore: ‘Behold those sweet eyes, those loving glances: Che vita, che garbo, che brio, che colore! what life, what grace, what panache, what colour! Bellina, carina, vi vo’ sempre amar.» My beauty, my dearest, I shall always love you.’ Io tutta modesta abbasso la testa In utmost modesty I lower my head Neppur gli rispondo li lascio passar. and without reply I let them pass by.

attrib. Giuseppe Petrosellini (1727–after 1797)

17 f Così fan tutte (Act II: Fiordiligi)

Recitative Ei parte…senti!…Ah no. Partir si lasci, He’s left me...listen!...Ah no. Let him go, Si tolga ai sguardi miei l’infausto oggetto that my sight be free of the hapless object Della mia debolezza…A qual cimento of my weakness…To what a pass Il barbaro mi pose!…Un premio è questo has this cruel man brought me!…This is the reward, Ben dovuto a mie colpe… and well deserved, for my sins…

In tale istante At such a time Dovea di nuovo amante how could I heed a new lover’s I sospiri ascoltar? L’altrui querele sighs? Of another’s bemoaning Dovea volger in gioco? Ah, questo core make sport? Ah, this heart A ragione condanni, o giusto amore! is rightly condemned by a just love!

Io ardo e l’ardor mio non è più effetto I burn, and my ardour is no longer the outcome Di un amor virtuoso; è smania, affanno, of a virtuous love; it is frenzy, anguish, Rimorso, pentimento, remorse, regret, Leggerezza, perfidia e tradimento! fickleness, deceit and treachery!

18 Aria Per pietà, ben mio, perdona In pity’s name, my love, forgive All’error d’un alma amante; the misdeed of a loving soul; Fra quest’ombre, e queste piante, among these shady groves, Sempre ascoso, oh dio, sarà. oh God, shall it evermore be hidden.

Svenerà quest’empia voglia My courage and constancy L’ardir mio, la mia costanza, will banish this dishonourable desire Perderà la rimembranza and wipe away a memory Che vergogna e orror mi fa. that fills me with shame and horror.

A chi mai mancò di fede And who has been betrayed Questo vano, ingrato cor! by this vain, unworthy heart? Si dovea miglior mercede, You deserved a better reward, Caro bene, al tuo candor! my dear, for your trust.

Da Ponte

19 Photograph by Josh Tulman Christian Baldini is a dynamic artist with a pure and warm sense of musicality and a ‘keen ear for detail’ (The Scotsman). He regularly conducts several international orchestras including the Münchner Rundfunkorchester, Orquesta Filarmónica de Buenos Aires, BBC Symphony Orchestra, San Francisco Symphony, Orquesta Sinfónica Nacional (Argentina), Orquestra Sinfónica do Porto (Portugal), Orquesta de Cámara de Chile and San Francisco Contemporary Music Players, as well as opera for the Aldeburgh Festival (United Kingdom), Mondavi Center Rising Stars, and the Teatro Colón (Buenos Aires). He has conducted subscription concerts with the San Francisco Symphony, at the personal invitation of Michael Tilson Thomas, sharing the podium with Thomas Adès and MTT. Equally at home in the core symphonic and operatic repertoire as in the most imaginative and daring corners of contemporary music, Baldini has presented world premieres of over 80 works, collaborating with Sir Harrison Birtwistle, Thomas Adès and Brian Ferneyhough, to name a few. When he made his debut in South Africa, Moira de Swardt stated that, ‘Passion and dedication intersect for a fabulous orchestral concert’. After he conducted the Orquestra Sinfônica do Estado de São Paulo, the Folha de S. Paulo praised this ‘charismatic young conductor’ who ‘conducted by heart Brahms’s First Symphony, lavishing his musicality and leaving sighs all over the hall and the rows of the orchestra…’

21 Baldini has been a featured composer at the Acanthes Festival in France and the Ginastera Festival in London. His compositions have been performed by orchestras and ensembles including the Orchestre National de Lorraine (France), Southbank Sinfonia (London), Münchner Rundfunkorchester (Germany), New York New Music Ensemble, Memphis Symphony Orchestra, Daegu Chamber Orchestra (South Korea), Chronophonie Ensemble (Freiburg) and the Ensemble Modern (Frankfurt). His music appears on CD on the Pretal Label, and has been broadcast on the Southwest German, Austrian and Bavarian Radios, as well as on the national classical music radio of Argentina. He has also conducted and recorded contemporary Italian music for the RAI Trade and Tactus labels. His compositions are published by Babel Scores in Paris. As a conductor, Baldini was privileged to learn from Kurt Masur, Michael Tilson Thomas, Leonard Slatkin, Peter Eötvös and Martyn Brabbins. He holds degrees from the State University of New York at Buffalo (PhD in Composition), the Pennsylvania State University (Master’s in Conducting) and the Catholic University of Argentina (Bachelor’s Degree in Conducting and Composition). While living in Buffalo, he garnered rave reviews conducting Stravinsky’sL’histoire du soldat with members of the Buffalo Philharmonic at the Kavinoky

22 Theater: ‘this piece by Stravinsky demands and rewards the listener’s attention, especially when performed with the skill and attention to detail that conductor Christian Baldini gave to it’ (Buffalo News). In 2012 Baldini made his conducting debut in Salzburg, when he was distinguished as one of three conductors out of 91 submissions worldwide for the Nestlé/ Young Conductors Award. Baldini’s work has received awards in several competitions including the top prize at the Seoul International Competition for Composers (South Korea), the Tribune of Music (UNESCO), the Ossia International Competition (Rochester, NY), the Daegu Chamber Orchestra International Competition (South Korea), and the São Paulo Orchestra International Conducting Competition (Brazil). He has been an assistant conductor with the BBC Symphony Orchestra (London), San Francisco Symphony and the Britten- Pears Orchestra (Aldeburgh), and a cover conductor with the National Symphony Orchestra (Washington, DC). After teaching and conducting at the SUNY Buffalo, Baldini became the Music Director of the UC Davis Symphony Orchestra in 2009. Since 2012, he has also served as Music Director of the 52-year-old Camellia Symphony Orchestra in Sacramento.

23 Photograph by Marco Borggreve Elizabeth Watts won the Rosenblatt Recital Song Prize at the BBC Cardiff Singer of the World Competition in 2007. In the same year she received the Outstanding Young Artist Award at the Cannes MIDEM Classique Awards and the previous year she won the Kathleen Ferrier Award. In opera, Watts performs with companies including the Royal Opera, Covent Garden, , Santa Fe Opera and , singing roles including Mozart’s Countess and Susanna in Le nozze di Figaro, Pamina in Die Zauberflöte and Zerlina in Don Giovanni, Marzelline in Beethoven’s Fidelio and Almirena in Handel’s Rinaldo. On the concert platform, she sings with both modern and period orchestras, including the London Symphony, London Philharmonic, BBC Symphony, Philharmonia, Netherlands Philharmonic and Scottish Chamber Orchestras, Akademie für Alte Musik, English Concert and Academy of Ancient Music, working with conductors Michael Tilson Thomas, Yannick Nézet-Séguin, Olari Elts, Vladimir Ashkenazy, Richard Egarr, Harry Bicket and Sakari Oramo in works such as Mahler’s Symphonies 2 and 4, Vaughan Williams’s Pastoral Symphony, the Brahms and Mozart Requiems, Bach’s Passions and Haydn’s Creation.

25 In recital, Watts performs regularly at the Wigmore Hall, London, and further afield at venues including the Concertgebouw, Amsterdam. Her critically acclaimed debut recording of Schubert Lieder for Sony was followed by an equally acclaimed disc of Bach Cantatas for and a Hyperion recording of Lieder with Roger Vignoles. Watts was a chorister at Norwich Cathedral and read archaeology at Sheffield University before studying singing at the Royal College of Music in London.

26 The world-renowned Scottish Chamber Orchestra is made up of the finest Scottish and international musicians, and brings music to the people of Scotland and beyond. As well as playing across the length and breadth of Scotland, they take their music around the world. Further afield, they are proud to be ambassadors for Scottish cultural excellence. In recent years, the orchestra has toured throughout Europe, the Far East, India and the USA. The SCO has made a significant contribution to Scottish life, not just in what it provides culturally, but in what it gives back to the community. Outside the concert hall, SCO players inspire people of all ages in schools, universities, hospitals, care homes, places of work and other community settings through the work of SCO Connect.

With its Principal Conductor Robin Ticciati, the orchestra has released four recordings: Berlioz’s Symphonie Fantastique (2012), Berlioz’s Les nuits d’été and La mort de Cléopâtre (2013), Wagner’s Siegfried Idyll (2014) and Schumann’s Symphonies (2014), all on Linn. The orchestra’s long-standing relationship with its Conductor Laureate, the late Sir , resulted in many exceptional performances and recordings, including two multi- award-winning albums for Linn of Mozart’s late symphonies.

27 Photograph by Marco Borggreve SCO Associate Artists include conductor-keyboardist Richard Egarr, director-violinist Alexander Janiczek and mezzo-soprano Karen Cargill. All perform regularly with the orchestra during the concert season, in the recording studio, on tour and in festival appearances. The SCO has strong relationships with many eminent guest conductors, including its Principal Guest Conductor Emmanuel Krivine and Conductor Emeritus Joseph Swensen, Olari Elts, John Storgårds and Oliver Knussen; regular soloist-directors include Christian Zacharias and Piotr Anderszewski. The orchestra enjoys close relationships with many leading composers and has commissioned more than 100 new works, including pieces by its Composer Laureate Sir Peter Maxwell Davies, James MacMillan, Judith Weir, Sally Beamish, Karin Rehnqvist, Hafliði Hallgrímsson, Lyell Cresswell, Mark-Anthony Turnage, Einojuhani Rautavaara, John McLeod, Rolf Martinsson, Toshio Hosokawa and Martin Suckling, who is SCO Associate Composer. The Scottish Chamber Orchestra receives funding from the Scottish Government as one of Scotland’s five National Performing Arts Companies.

29 Orchestra 1st Violin Cello Lise Aferiat David Watkin Maximiliano Martín Aisling O’Dea Su-a Lee William Stafford Lorna McLaren Donald Gillan Fiona Alexander Eric de Wit Carole Howat Peter Whelan Claire Docherty Alison Green Ben Norris Nikita Naumov Adrian Bornet Horn 2nd Violin Sue Dent Rosenna East Flute Harry Johnstone Sarah Bevan-Baker Alison Mitchell Niamh Lyons Elisabeth Dooner Rachel Smith Peter Franks Ruth Slater Shaun Harrold Gail Hernandez Rosa Robin Williams Rosie Staniforth Viola Adam Dennis Jane Atkins Brian Schiele Steve King Rebecca Wexler

30 ALSO AVAILABLE ON LINN CKD 460

Robin Ticciati Emma Bell, Karen Cargill, Scottish Chamber & Scottish Chamber Robin Ticciati Robin Ticciati Orchestra Wind Orchestra & Scottish Chamber & Scottish Chamber Soloists Schumann: Orchestra Orchestra Mozart: Divertimenti The Symphonies Handel: Operatic Arias Berlioz: Les nuits d’été & La mort de Cléopâtre

Charles Mackerras Ingrid Fliter, Jun Märkl Robin Ticciati, William Berger, & Scottish Chamber & Scottish Chamber Charles Mackerras, Carolyn Sampson, Orchestra Orchestra Joseph Swensen Nicholas McGegan Mozart: Requiem Chopin: Piano & Scottish Chamber & Scottish Chamber Concertos Orchestra Orchestra Wagner, Mozart, Mozart, Haydn, Sibelius: 40th Cimarosa: Anniversary Edition Hommage à Trois For even more great music visit linnrecords.com

Glasgow Road, Waterfoot, Eaglesham, Glasgow, G76 0EQ T: +44 (0)141 303 5027 | E: [email protected]