A World of Music at Glasgow City Halls

THE GLASGOW SEASON 2014/2015

BOX OFFICE: 0141-353 8000 bbc.co.uk/bbcsso #bbcssothursday

‘It has been my intention to bring some of the fi nest singers, soloists and conductors to Scotland and to showcase the brilliance, fl exibility and commitment of this remarkable group of musicians.’

THE GLASGOW SEASON 2014/2015

In September 2014 it will be fi ve years since I took up the post of Chief I’m also delighted that this year I’ll be celebrating an important birthday Conductor with this wonderful . Our relationship continues in Scotland with arguably the fi nest present a conductor could ask for to blossom, and I am immensely proud of our achievements so far. It - Beethoven’s Ninth Symphony. The orchestra and I will be joined by has been my intention to bring some of the fi nest singers, soloists and a world-class line-up of soloists, and our friends the Edinburgh Festival All concerts are scheduled conductors to Scotland and to showcase the brilliance, fl exibility and Chorus, for what promises to be a very memorable occasion. I hope you to be recorded for future commitment of this remarkable group of musicians. The 2014/15 season can be there. transmission or broadcast is no exception. BBC Scottish Symphony Orchestra facebook.com/bbcsso live on BBC Radio 3. Our theme this season in Glasgow is ‘discovery’ so whether you’re a BBC Scotland twitter.com/bbcsso We open with Dmitri Shostakovich’s Tenth Symphony and will later regular subscriber to the Thursday Night Series or an occasional visitor perform his enigmatic Fifteenth, as well as the First to our wonderful home at City Halls, I’m certain you will fi nd something City Halls, Candleriggs youtube.com/bbcsso with Garrick Ohlsson; we’ll be exploring connections between the new in the evenings ahead to intrigue, delight and surprise you. And if Glasgow G1 1NQ music of Sibelius and Beethoven; and there will be a very special concert you’ve never heard the BBC Scottish Symphony Orchestra before you’re Email: [email protected] performance of Berg’s riveting music drama Wozzeck, one of the 20th in for a treat. century’s greatest operas. This is a gripping tale told through passionate, visceral music and an unforgettable experience for performers and bbc.co.uk/bbcsso audiences alike. Donald Runnicles, Chief Conductor

SHOSTAKOVICH 04 5,10,15 05 Dmitri Shostakovich was perhaps the greatest symphonist of the 20th century, often composing under immense political pressure. David Fanning salutes his achievement and introduces the three landmark symphonies in the BBC SSO’s 14/15 Season.

On 12 May 1926, a gawky, bespectacled 19 year-old took epic central group of symphonies, Nos. 4 to 10, from the the applause in the Great Hall of the Leningrad Philharmonia era of ‘high-Stalinism’. for his fi rst symphony. Nearly 46 years later, on 8 January 1972, in the Great Hall of Moscow Conservatoire, the same The pressures on Shostakovich fi rst came to a head in composer, now bloated and almost immobilised by illness, January 1936. While he was at work on the fi nale of his was wildly fêted at the fi rst performance of his fi fteenth colossal Fourth Symphony, Pravda published anonymous and last symphony. articles denouncing his opera Lady Macbeth of Mtsensk District and his ballet Bright Stream. Those broadsides were In between was a career marked by extraordinary changes a sign that permissiveness in the arts was no longer to be of fortune, in a country and a world of bewildering tolerated, and that the doctrine of Socialist Realism was extremes: advanced culture and noble aims, cheek-by- in fact an instrument of control - enforcing optimism and jowl with philistinism and mass murder. Shostakovich’s conformity, not merely recommending them. own multi-faceted temperament – precariously balancing scepticism with compassion, evasiveness with overwhelming Shostakovich was forced to reinvent himself, which he did directness, fi erce independence with equally fi erce social with a vengeance the following year with his Fifth Symphony conscience – proved to be his strongest coping strategy. (20 November), sealing his rehabilitation and scoring a But not all those characteristics were inborn. They were global as well as national triumph. From horns, nurtured by infl uences as diverse as Beethoven, Wagner, and piano brutalising the fi rst movement’s lyrical themes, to Mahler, Stravinsky and Berg, and forged in the fl ames of the full orchestra blaring out a fi nal Mahlerian apotheosis, harsh circumstance, most conspicuously at the time of the via a scherzo poised between fragility and brutality, and a

D Hunstein/Lebrecht Music & Arts Permissiveness in the arts was no longer to be tolerated, and the doctrine of Socialist Realism was now an instrument of control.

hymn-like, strings-led slow movement, Shostakovich used his experience by ghosts and ciphers (including, for the fi rst time, Shostakovich’s DSCH with fi lm music to evoke moods of resistance, suff ering and survival. As musical signature – the notes D, E fl at, C, B natural). And the way the deep as it was direct, his work struck chords with an intelligentsia beset fi nale pushes celebration into hyper-ventilation stakes Shostakovich’s by mass denunciations, deportations and state-sponsored paranoia. In claim to the title of undisputed master of musical double-speak. a masterstroke of spin he dubbed the Fifth a ‘Soviet artist’s practical 06 creative reply to just criticism’, claiming to have found that phrase in a The Tenth was a peak Shostakovich would not seek to scale again. review of the piece (but since no amount of research has uncovered The apparently conformist, programmatic Nos. 11 and 12, and the any such source, the words were more likely his own, but used with resolutely non-conformist cantata-symphonies Nos. 13 and 14, seem 07 calculated irony). poles apart in their messages. Some saw – and continue to see - covert dissidence here. For others in the Soviet intelligentsia it was precisely The position Shostakovich had by now carved out for himself as the the irreconcilable ‘doubleness’ that refl ected their inner lives through spiritual chronicler of his times was reinforced after the Nazi invasion Khrushchev’s so-called ‘Thaw’ and Brezhnev’s ‘Stagnation’. Sweet Harmony: of June 1941, with his ‘Leningrad’ Symphony, No. 7. Soon after the War, however, came a second encounter with institutionalised philistinism, in Finally, Shostakovich’s symphonic swansong, the profound, enigmatic the ‘anti-formalism’ campaign of 1948, which saw him dismissed from his Fifteenth of 1971 (7 May), looked back over a damaged life. In an teaching posts and forced to turn his hand to craven adulations of Stalin unguarded moment, the composer likened his percussion-dominated SHAKESPEARE in fi lm scores and cantatas. His symphonic impulses were temporarily fi rst movement to a toyshop at night. In fact, words failed him, and they on hold. Then, following the death of Stalin in March 1953, those still fail us if we try to rationalise the symphony’s mixture of sardonic impulses were released – again with a vengeance - in the magnifi cent humour, depression, outrage and resignation. Holding all that in AND MUSIC Tenth Symphony (25 September), a tour-de-force of Beethovenian such delicate artistic balance was a massive achievement: not only of ambition and craftsmanship. From the moment the cellos and double craftsmanship, but also of insight into the modern psyche. basses awaken the symphony from the depths, until the piccolo sings its From the songs and music performed in his plays, to opera and sad farewell, the fi rst movement is a masterpiece of patient symphonic David Fanning is Professor of Music at the University of Manchester and ballet based on his works, Shakespeare has fi red the imagination unfolding. A scherzo of pure venom is followed by another one haunted has written extensively on Shostakovich. of composers for over 400 years. Richard Bratby introduces our overview of some of the music has inspired. SHOSTAKOVICH 5,10,15 A fl ute swirls, a playbill fl utters in the breeze, and as a choir And if you happen to be a composer…aye, there’s the 25 September 2014 soars on the soundtrack, the camera pans across the roofs rub. After having that whole opening sequence to himself, Symphony No.10 of Elizabethan London. Far below, the Globe Playhouse William Walton now fi nds himself up against William bustles with life. There’s a fanfare, a band plays, and then the Shakespeare in full, ringing fl ight. Confronted with the 20 November Chorus strides on stage and – fi ve minutes into Laurence challenge of fi nding music to match some of the most Symphony No.5 Olivier’s 1944 fi lm ofHenry V – declaims the fi rst words potent, expressive and – yes – musical words in the English we’ve heard: language, Walton takes the only sensible course of action, 7 May 2015 and falls silent. O for a Muse of fi re, that would ascend

Symphony No.15 The brightest heaven of invention, It’s not that words and music are enemies: far from A kingdom for a stage, princes to act, it. Although few of the original tunes have survived, And monarchs to behold the swelling scene! Shakespeare’s plays are punctuated with songs, dances,

Photofest (copyright/Lebrecht Warner Music & Arts Bros) SWEET HARMONY: SHAKESPEARE AND MUSIC

Thursday 22 January 2015 Delius The Walk to the Paradise Garden Walton Henry V: A Shakespeare Scenario

Thursday 5 February Shostakovich King Lear (music from the fi lm)

Thursday 5 March Liszt Hamlet: symphonic poem Prokofi ev Romeo and Juliet (excerpts)

Thursday 14 May Mendelssohn A Midsummer Night’s Dream

OPENING NIGHT: SHOSTAKOVICH 10 Laurence Olivier in his fi lm adaptation of Henry V 08 THURSDAY 25 SEPTEMBER 2014, 7.30PM 09 MUSSORGSKY (c.13 MINS) Frederick Delius took things a stage further; understandably, given that A NIGHT ON THE BARE MOUNTAIN his A Village Romeo And Juliet (1901) was an opera. Because if musical SCRIABIN PIANO CONCERTO (c.29 MINS) history proves anything, it’s that you have to be supremely foolhardy (or Italian) to try and turn Shakespeare into opera. Ballet is another SHOSTAKOVICH SYMPHONY No.10 (c.53 MINS) matter: with the words stripped out altogether, Prokofi ev’sRomeo and Juliet (1935) has become one of the most enduringly successful musical BARRY DOUGLAS PIANO tuckets and marches. He fi lled Prospero’s isle with “sounds and sweet translations of Shakespeare; audiences seem barely concerned by the airs, that give delight and hurt not”, and declared that “The man that fact that Prokofi ev originally rewrote the plot to provide a happy ending. DONALD RUNNICLES CONDUCTOR hath no music in himself / Nor is not moved with concord of sweet A Village Romeo and Juliet, meanwhile, began as a German play set in Donald Runnicles (photo: John Wood) sounds / Is fi t for treasons, stratagems and spoils”. No, the problem Switzerland, taking from Shakespeare only the idea of doomed young A horn calls softly, a piano dreams in the twilight, and Scriabin’s Piano Concerto begins its enchanted is those unsurpassable words. When Shakespeare fi nds his Muse of love. But that – and the title – was enough. journey. That’s the centrepiece of the opening concert of our season: the fi nest piano concerto Fire, it’s as pointless to add music as it would be to add words to a late Rachmaninov never wrote, played by a soloist celebrated for his interpretations of the Russian Beethoven quartet. It was enough for Shostakovich, too, in his own opera Lady Macbeth piano repertoire. It’s a very diff erent world from Shostakovich’s shattering Tenth Symphony. A of Mtsensk - but then, in the USSR, words were dangerous things, and heartfelt cry for freedom written under the shadow of Stalinism, it’s still one of the 20th century’s And yet composer after composer has been drawn to his world. One way even an allusion to Shakespeare could be suffi cient. “Music oft hath most overwhelming symphonic experiences. Donald Runnicles conducts, and opens the concert around the problem was to avoid the English language altogether. The such a charm / To make bad good, and good provoke to harm”. Just as by whipping up a storm with Mussorgsky’s exciting orchestral showpiece. young Felix Mendelssohn and his family used to perform Shakespeare Mendelssohn had turned Shakespeare into a teller of German folktales, at their home in . “From our youth,” recalled his sister Fanny, “we so Shostakovich’s score helps make Grigori Kosintsev’s fi lmKing Lear Prelude: 6.45pm in the Recital Room were entwined in A Midsummer Night’s Dream and Felix particularly (1971) into a bleak satire on a failing gerontocracy. Writer and critic Richard Bratby introduces the orchestra’s 2014/15 season. made it his own. He identifi ed with all of the characters.” It’s as relevant to the Brezhnev-era USSR as Olivier’s Henry V (dedicated Post-Concert Coda (approximately 10 minutes after the main concert) Except this wasn’t quite A Midsummer Night’s Dream. It was Ein ‘to the Commandos and Airborne Troops of Great Britain’) was to Barry Douglas gives a short recital. Sommernachtstraum, in the translation by August Schlegel - thanks to the wartime United Kingdom. Whatever the time, whatever the place, whose work a generation of German artists had grown up thinking it’s as if Shakespeare has been there before us. And the universal Barry Douglas (photo: Katya Kraynova) of Shakespeare as ganz unser: “entirely ours”. Mendelssohn’s glorious language of music turns out to be a natural stage-assistant for the music certainly makes it entirely his; he even risks a couple of songs universal dramatist from Stratford. No music can supplant Shakespeare’s and choruses. Mostly, though, he adopts the same strategy as Walton, words. But for three centuries, it’s done a surprisingly good job of supplying music only when Shakespeare is silent. The supreme Romantic, translating them. Franz Liszt, conceived his symphonic poem Hamlet (1858) as an overture - to be played before the curtain has risen or a word has been spoken. Richard Bratby is a freelance writer and critic.

DVOŘÁK’S ‘NEW WORLD’ SYMPHONY 10 THURSDAY 9 OCTOBER, 7.30PM 11 A glittering masterpiece NIELSEN OVERTURE: HELIOS (c.12 MINS) for violin and orchestra MAGNUS LINDBERG VIOLIN CONCERTO (c.27 MINS) that’s less than 10 years old. DVOŘÁK SYMPHONY No.9 ‘FROM THE NEW WORLD’ (c.40 MINS) PEKKA KUUSISTO VIOLIN THOMAS DAUSGAARD CONDUCTOR MAGNUS LINDBERG’S VIOLIN CONCERTO There’s a magical connection between music and light. Nielsen felt it, and inspired by sunrises Pekka Kuusisto (photo: Kapo Kaamu) “I don’t have a political or social point to make” says the Finnish over the Aegean, his Helios Overture is a warm, glowing paean to the Greek god. Magnus Lindberg composer Magnus Lindberg. “Music is something which is about feels it too, and since its premiere in 2006 his luminous, lyrical Violin Concerto has become an emotion. It is an experience.” Over fi ve decades, Lindberg has steered instant modern classic, hailed by listeners and critics alike as the natural successor to Sibelius. his own creative course – from the Krautrock-loving ultra-modernist Pekka Kuusisto is the soloist, and his insight and inventiveness make him the ideal partner for of the 1970s to a composer who’s taken his classical inheritance in both popular BBC SSO guest conductor Thomas Dausgaard. BBC SSO regulars will know to expect hands and written some of the most distinctive and communicative freshness, fi re and a few surprises in Dausgaard’s reading of Dvořák’s much-loved symphony ‘From orchestral music of our time. the New World’. It’s certainly hard to think of another living composer who could have Prelude: 6.45pm in the Recital Room accepted a commission from New York’s Mostly Mozart festival and Thomas Dausgaard in conversation. created something that succeeds as dazzlingly as Lindberg’s Violin Concerto of 2006. There’s no agenda here, and no need for one – Post-Concert Coda (approximately 10 minutes after the main concert) Lindberg has simply written a concerto the way Mozart or Sibelius Pekka Kuusisto in recital. would have sat down and written one.

And it speaks on its own terms; atmospheric, lyrical and luminous; Thomas Dausgaard (Photo: Ulla-Carin Eckblom) unmistakably Lindberg, unmistakably itself. Listening, it seems barely possible that its epic climaxes and vast, glistening sheets of sound are actually being created by an orchestra smaller than that of Mozart’s Ha ner symphony. In more senses than one, Lindberg’s Violin Concerto is that rarest of things: a true contemporary classic.

‘WOZZECK’ IN CONCERT 12 THURSDAY 23 OCTOBER, 7.30PM 13 BERG WOZZECK (c.90 MINS) SEMI-STAGED PERFORMANCE SUNG IN GERMAN WITH ENGLISH SUPERTITLES

CAST INCLUDES: WOZZECK ROMAN TREKEL MARIE ELENA ZHIDKOVA DRUM-MAJOR THOMAS BLONDELLE CAPTAIN TOM RANDLE DOCTOR NATHAN BERG Roman Trekel BBC SINGERS THE CHORISTERS OF ST MARY’S CATHEDRAL, EDINBURGH DONALD RUNNICLES CONDUCTOR

KENNETH RICHARDSON DIRECTOR

“Wretches like us – we’ll always be cursed, in this world and the next”. Wozzeck is at the bottom of the heap – an underdog made for kicking, and a soft target for the powerful, the cynical and the cruel. And as his spirit reaches snapping point, Alban Berg’s devastating opera tells the story in some of the most searching – and searing - music of the 20th century. Wozzeck is one of those dramas that everyone needs to experience for themselves, and this semi-staged performance, with Donald Runnicles conducting some of the fi nest living interpreters of these roles, will leave you reeling. Elena Zhidkova There will be no interval in this performance. Prelude: 6.45pm in the Recital Room Douglas Jarman, author of The Music of Alban Berg, introduces Wozzeck.

There will be no coda after this concert.

JOHN ADAMS: ABSOLUTE JEST 14 THURSDAY 6 NOVEMBER, 7.30PM 15 Beethoven re-imagined by RAMEAU Adams: cheeky homage or no SUITE No.1 FROM ‘LES INDES GALANTES’ (c.12 MINS) laughing matter? You decide. JOHN ADAMS ABSOLUTE JEST FOR AND ORCHESTRA (c.22 MINS) REBEL CHAOS (FROM ‘LES ÉLÉMENS’) (c.6 MINS) ABSOLUTE JEST by JOHN ADAMS BEETHOVEN SYMPHONY No.2 (c.35 MINS) Scherzo means “a joke” - or, if you prefer, a jest. But when John Adams’s Doric String Quartet new concerto for string quartet and orchestra was premiered in the DORIC STRING QUARTET USA in 2012, some critics failed to see the funny side. “Graffi ti spray- MARKUS STENZ CONDUCTOR painted on some of Beethoven’s most profound invention” spluttered one. “Too clever for its own good” sniped another. Comedy is a serious business. Beethoven knew that when his exuberant Second Symphony cheerfully booted the classical rule-book out of the window; and John Adams certainly knew it Absolute Jest takes fragments of Beethoven’s late string quartets - when he leafed through the scherzos of Beethoven’s late string quartets and transformed them particularly their scherzos - and uses them for what Adams describes into Absolute Jest: a one-off concerto for string quartet that takes Beethoven seriously enough to as the closest he’s ever got to writing variations. From one perspective, laugh along with him. As soloists, the Doric String Quartet defi nitely get it: and guest conductor it’s the perfect tribute to the string quartet medium. From another, it’s Markus Stenz gets it too, pairing Beethoven and Adams with two riotously inventive French an act of fl agrant sacrilege against one of the most revered of classical Baroque showpieces that prove that the best jokes never get old. music’s sacred cows. But Adams sees Beethoven as a fellow-subversive: he recalls how, Prelude: 6.45pm in the Recital Room as a student in the 1960s, Beethoven’s “exuberant aggressiveness Markus Stenz in conversation. shocked and delighted me”. More recently, while writing his opera Post-Concert Coda (approximately 10 minutes after the main concert) Markus Stenz (photo: Molina Visuals) Doctor Atomic, Adams discovered that Robert Oppenheimer listened The Doric String Quartet gives a short recital. to the late quartets at Los Alamos. Absolute Jest liberates a brilliant new energy from Beethoven’s musical atoms: seriously playful and unfailingly entertaining. Be in no doubt: Adams is laughing with Beethoven, not at him. As for those critics, the joke’s on them.

THE RUNNICLES BIRTHDAY CONCERT: BEETHOVEN’S NINTH

16 THURSDAY 13 NOVEMBER, 7.30PM 17 MOZART SINFONIA CONCERTANTE, K.364 (c.32 MINS) BEETHOVEN SYMPHONY No.9 ‘CHORAL’ (c.68 MINS) LAURA SAMUEL VIOLIN SCOTT DICKINSON VIOLA ANGELA MEADE SOPRANO ELIZABETH BISHOP MEZZO-SOPRANO STUART SKELTON TENOR MARKO MIMICA BASS-BARITONE EDINBURGH FESTIVAL CHORUS CHRISTOPHER BELL CHORUS MASTER DONALD RUNNICLES CONDUCTOR

A special occasion calls for a very special concert – and from the epic tragedy of its opening to its transcendent fi nalHymn to Joy, Beethoven’s Ninth Symphony has long been classical music’s supreme act of celebration. So what better way for the BBC SSO to toast Donald Runnicles’ 60th birthday than with the work at the very centre of his beloved German Romantic tradition? First, though, two of the orchestra’s principal players begin the festivities with one of the few pieces that can truly look Beethoven in the eye: Mozart’s

Sinfonia Concertante, music of sublime grandeur and heart-rending beauty. Clockwise from top left: Marko Mimica (photo: Nikola Serventic), Elizabeth Bishop Prelude: 6.45pm in the Recital Room (photo: Sasha Vasiljev), Stuart Skelton (photo: John Wright), Donald Runnicles in conversation. Angela Meade (photo: Dario Acosta) Photo opposite: There will be no coda after this concert. Donald Runnicles (photo: John Wood)

SHOSTAKOVICH 5 BERLIOZ’S ‘SYMPHONIE FANTASTIQUE’ 18 THURSDAY 20 NOVEMBER, 7.30PM THURSDAY 4 DECEMBER, 7.30PM 19 SIBELIUS (c.19 MINS) FAURÉ PELLÉAS ET MÉLISANDE, Op.80: INCIDENTAL MUSIC (c.18 MINS) JAMES MACMILLAN PIANO CONCERTO No.3 ‘THE MYSTERIES OF LIGHT’ (c.25 MINS) SAINT-SAËNS PIANO CONCERTO No.5 ‘THE EGYPTIAN’ (c.28 MINS) SHOSTAKOVICH SYMPHONY No.5 (c.46 MINS) BERLIOZ SYMPHONIE FANTASTIQUE (c.50 MINS) PETER DONOHOE PIANO MARTYN BRABBINS CONDUCTOR JAVIER PERIANES PIANO MATTHIAS PINTSCHER CONDUCTOR Martyn Brabbins (photo: Sasha Gusov) Matthias Pintscher When words fall silent, music speaks. Even today, it’s hard to tell whether Shostakovich’s mighty Fifth Symphony tells a story of triumph, of despair, or something far more complex. But one A composer’s mind is an extraordinary place at the best of times; still, nothing in music quite matches way or another, every performance hits home: and under the direction of Martyn Brabbins it the fabulous, opium-fuelled phantasmagoria that is Hector Berlioz’s Symphonie fantastique. Fired will speak more eloquently – and passionately – than ever. James MacMillan’s deep personal faith by unrequited desire, and sweeping from pastoral love-scenes to the foot of the guillotine itself, it inspired his Third Piano Concerto, but with notes taking the place of words, everyone’s free to continues to startle and amaze. Matthias Pintscher brings a composer’s insight, and teams up with fi nd their own meaning in this fi ercely beautiful spiritual testament. Peter Donohoe begins our one of the piano’s great explorers – Javier Perianes – to give a new shine to the sparkling exotica cycle of MacMillan’s piano - a wonderfully serene contrast to the stormy Nordic drama of Saint-Saëns’ delightful, unfairly neglected ‘Egyptian’ concerto. Fauré’s Pelléas et Mélisande will of Sibelius’s En Saga. seem all the more serene by comparison - but dangerous passions smoulder beneath its exquisite melodies and shot-silk colours. Prelude: 6.45pm in the Recital Room James MacMillan discusses his three piano concertos. Prelude: 6.45pm in the Recital Room Writer and broadcaster Stephen Johnson introduces Berlioz’s Symphonie fantastique. Post-Concert Coda (approximately 10 minutes after the main concert) Peter Donohoe in the fi rst of three recitals to complement each of the MacMillan piano concertos. There will be no coda after this concert. Peter Donohoe (photo: Sussie Ahlburg) Javier Perianes (photo: Josep Molina)

WALTON’S HENRY V

20 THURSDAY 22 JANUARY 2015, 7.30PM Energy and vitality in a 21 DELIUS THE WALK TO THE PARADISE GARDEN near-forgotten piano concerto (FROM ‘A VILLAGE ROMEO AND JULIET’) (c.10 MINS)

from a British maverick. (c.29 MINS) FOULDS DYNAMIC TRIPTYCH (PIANO CONCERTO) WALTON HENRY V: DYNAMIC TRIPTYCH (c.50 MINS) A SHAKESPEARE SCENARIO by JOHN FOULDS ASHLEY WASS PIANO Imagine a composer who fuses the musical language of Holst with the ACTOR to be announced Ashley Wass (photo: Patrick Allen) ecstatic vision of Scriabin or Messiaen. Imagine a pioneer of world GLASGOW CHAMBER CHOIR music, whose choral works used to fi ll the Royal Albert Hall, yet whose THE CHORISTERS OF ST MARY’S CATHEDRAL, EDINBURGH experiments with microtones still unsettle audiences today. Now RICHARD FARNES CONDUCTOR imagine that such a composer had been wiped from our concert halls as comprehensively as if he’d never lived. “O for a Muse of fi re…” Shakespeare’s Henry V crammed the Battle of Agincourt into a tiny wooden That, incredibly, is the story of John Foulds (1880-1939). His career theatre. Four centuries later, William Walton matched that vision with a score that redefi ned British took him from suburban Manchester to Calcutta, where his early cinema. Because when a British composer’s imagination ignites, there’s no limit to the places they death from cholera consigned him to oblivion in the West (trunks can travel – whether they’re Frederick Delius, relocating Shakespeare’s romance to an Alpine idyll, full of his manuscript scores were simply eaten by termites). Between or John Foulds, fusing Indian philosophy and Jazz Age verve in his breathtaking Dynamic Triptych. its premiere in 1931 (by Edinburgh’s Reid Orchestra) and 2005, Huge in scale and volcanic in its energy, it’s arguably Britain’s greatest 20th century piano concerto, performances of Dynamic Triptych (1929) can be counted on one hand. and it has no more committed champions than Richard Farnes and Ashley Wass.

Today, that neglect seems incredible. Dynamic Triptych is a product Prelude: 6.45pm in the Recital Room of Foulds’ study of Indian thought and culture: a headlong, blindingly Film historian and BBC Radio 3 presenter Matthew Sweet discusses Shakespearian fi lm music. Richard Farnes (photo: Bill Cooper) diffi cult piano concerto, composed at a white-heat of inspiration. With a Foulds revival now gathering momentum, it’s becoming increasingly There will be no coda after this concert. clear that this former cult composer is actually one of the most original voices in 20th century British music; no work makes that case more Image above: Laurence Olivier in his fi lm adaptation of Henry V powerfully than this one. Photofest /Lebrecht Music & Arts (copyright Warner Bros)

VOLKOV CONDUCTS RUNNICLES CONDUCTS ‘THE SEASONS’ SIBELIUS 22 THURSDAY 5 FEBRUARY, 7.30PM THURSDAY 19 FEBRUARY, 7.30PM 23 SHOSTAKOVICH KING LEAR SIBELIUS FINLANDIA (c.8 MINS) (MUSIC FROM THE FILM) (c.26 MINS) BEETHOVEN VIOLIN CONCERTO (c.44 MINS) MUSSORGSKY SONGS AND DANCES OF DEATH (c.23 MINS) SIBELIUS SYMPHONY No.7 (c.24 MINS) GLAZUNOV THE SEASONS (c.36 MINS) BEETHOVEN LEONORE OVERTURE No.3 (c.14 MINS) YURI VOROBIEV BASS ILAN VOLKOV CONDUCTOR ALINA POGOSTKINA VIOLIN DONALD RUNNICLES CONDUCTOR Ilan Volkov (photo: Mark Hamilton) Alina Pogostkina (photo: Felix Broede) Shostakovich revered him, Rimsky-Korsakov was awed by his genius, and Prokofi ev owed him more than he would ever admit. But Alexander Glazunov was more than just a great teacher – and “I believe in civilisation” said , and amidst the turmoil and uncertainty of the early The Seasons is more than just the missing link between Tchaikovsky’s and Stravinsky’s ballets. It’s one 20th century, he created a fi nal symphony of monumental grandeur and elemental strength. of Imperial Russia’s forgotten treasures, glittering with colour and brimming over with hummable Sibelius’ Seventh Symphony might just be the greatest since Beethoven; what’s certain is that tunes. Ilan Volkov will charge it with all his trademark electricity, while Mariinsky Theatre veteran few composers share such a profound kinship. Alina Pogostkina fi nds the strength and calm at Yuri Vorobiev brings true St. Petersburg style to the pitch-black humour of Mussorgsky’s pungent the heart of Beethoven’s lyrical Violin Concerto, and Donald Runnicles frames symphony and songs. And Shostakovich’s King Lear off ers a bracingly Russian angle on our season-long tribute to concerto alike in two stirring hymns to freedom: two supreme masters, separated by a century Shakespeare. but both set alight by the unbreakable power of the human spirit.

Prelude: 6.45pm in the Recital Room Prelude: 6.45pm in the Recital Room Musicologists David Fanning and Michelle Assay explore Shostakovich and Shakespeare. Tim Howell, renowned Sibelius expert from the University of York, introduces tonight’s programme. Post-Concert Coda (approximately 10 minutes after the main concert) Yuri Vorobiev in a short recital of Russian songs. There will be no coda after this concert. Yuri Vorobiev (photo: Yuri Vorobiev) Donald Runnicles (photo: John Wood)

THE MACMILLAN PIANO CONCERTOS

Thursday 20 November 2014 Piano Concerto No.3 ‘The Mysteries of Light’

Thursday 5 March 2015 Piano Concerto No.1 ‘The Berserking’

Thursday 2 April Piano Concerto No.2

PROKOFIEV’S ROMEO AND JULIET 24 THURSDAY 5 MARCH, 7.30PM THE MACMILLAN 25 LISZT HAMLET: SYMPHONIC POEM (c.14 MINS) PIANO CONCERTOS JAMES MACMILLAN PIANO CONCERTO No.1 (THE BERSERKING) (c.33 MINS) This season the BBC SSO presents a complete cycle of the piano concertos by PROKOFIEV ROMEO AND JULIET: EXCERPTS (c.45 MINS) James MacMillan, performed by leading British pianist Peter Donohoe. Here, the composer introduces each of the works and the inspiration behind them. PETER DONOHOE PIANO CARLOS MIGUEL PRIETO CONDUCTOR

Carlos Miguel Prieto (photo: Benjamin Ealovega) As someone who has somewhat limited keyboard skills I’m a bit work in more conventional circumstances. Its scoring is just for strings, Music on the edge: James MacMillan got the idea for The Berserking at a football match, and astonished that I have written three piano concertos already. Perhaps it but it was infl uenced by the dance requirements of its initial commission. channelled an outburst of reckless, explosive fury into what one critic has called the greatest piece is the case that, due to my physical limitations, I can allow my imagination It is full of allusions to Scottish song and dance, and much else. of British music since Benjamin Britten. Prokofi ev’sRomeo and Juliet strips the sentimentality from to run riot, unfettered by my own technical restrictions. Admittedly, I Shakespeare’s tragedy in one of the greatest and most moving of all 20th century ballet scores. approached my First Concerto (5 March) with some trepidation back The Third Concerto (20 November) was composed specially for, And as for Hamlet – well, confronted with Shakespeare’s great psychological drama, no composer in 1989, when Musica Nova and the Scottish National Orchestra invited and premiered by, Jean-Yves Thibaudet and the Minnesota Orchestra as extrovert as Franz Liszt was ever likely to hold back. Keyboard heavyweight Peter Donohoe me to write a big piece for them and Peter Donohoe. conducted by Osmo Vänskä. I got to know Osmo well during his time as unleashes his full virtuoso powers while Carlos Miguel Prieto lavishes all his trademark fi re on a Chief Conductor of the BBC SSO, when he performed and recorded a concert of dangerous extremes. This work is entitled The Berserking for reasons I try to explain in my lot of my music. This concerto also has a subtitle - The Mysteries of Light - programme note, and was composed for the 1990 Musica Nova in which is again explained in the programme note. I suppose I have always Prelude: 6.45pm in the Recital Room Glasgow’s big year as European Capital of Culture. The premiere was in been interested in the potential of bringing about a fusion of the idea Critic and Prokofi ev biographerDavid Nice introduces the music in this evening’s programme. September, and all through that year my wife was pregnant with our fi rst of the concertante scenario with the idea of the tone poem. The fi rst child. I remember us saying “well as long as she doesn’t arrive on the 22nd and third concertos especially, along with many of my other concertos, Post-Concert Coda (approximately 10 minutes after the main concert) we’ll be alright.” Our nickname for the baby, in utero was “The Berserker” seem to paint pictures, tell stories and even fl esh out some ideas, which The second of three Coda recitals, curated by Peter Donohoe, to complement the MacMillan who turned out to be Catherine who duly arrived on the 22nd September! are extra-musical in origin. piano concertos. Peter Donohoe (photo: Sussie Ahlburg) I missed the rehearsals that day... When all is said and done, of course, the music is just music, pure and The Second Concerto (2 April) was written in 2003 for New York simple. However, the music would be a very diff erent kind of music if it City Ballet and choreographed by Christopher Wheeldon. Its birth was had not been for the very specifi c nature of its inspiration, in all three of quite unusual then, in that the music took place out of sight, in a pit, to these cases, and in three very diff erent ways. accompany dancers. It was only later that it resumed life as a concert

OSBORNE PLAYS BEETHOVEN: PIANO CONCERTO No.2 26 THURSDAY 19 MARCH, 7.30PM Soaring tunes, quiet poetry, 27 (c.9 MINS) and that indefi nable SIBELIUS KARELIA: OVERTURE Scandinavian inner glow. BEETHOVEN PIANO CONCERTO No.2 (c.31 MINS) STENHAMMAR SYMPHONY No.1 (c.53 MINS) STENHAMMAR’S SYMPHONY No.1 STEVEN OSBORNE PIANO ANDREW MANZE CONDUCTOR In , they’ve named a type of biscuit after Wilhelm Stenhammar (1871-1927). In Britain, his name is more likely to be met with a shrug. Andrew Manze’s love of Baroque music is famous, and his revelatory cycle of Vaughan Williams Steven Osborne (photo: Benjamin Ealovega) This inventive and gloriously warm-hearted composer is still hardly symphonies has been a real highlight of recent BBC SSO seasons. Tonight he devotes his artistry known outside Scandinavia – even though anyone who’s heard his two and charisma to a diff erent, very personal enthusiasm: the gloriously vibrant music of the great piano concertos, his exuberant Serenade for Orchestra or his two-and- Swedish symphonist Wilhelm Stenhammar. Imagine the energy of Sibelius combined with the a-half loveable symphonies tends to ask why we don’t hear them more freshness and melody of Grieg, and you’ll get some idea of Stenhammar’s First Symphony. It’s a often. real rediscovery, and the ideal complement to Beethoven’s most brilliant Piano Concerto, played by Steven Osborne who, in this concert, concludes his acclaimed complete cycle with us. Andrew Manze is out to change all that. He’s got family ties to Sweden, and he’s championed Stenhammar throughout his conducting career. Prelude: 6.45pm in the Recital Room This season he introduces Stenhammar’s First Symphony. It’s a relatively Andrew Manze introduces the concert and discusses Stenhammar and his music. early work, written when Stenhammar was 34 – and subsequently disowned by the modest and intensely self-critical composer as “idyllic Post-Concert Coda (approximately 10 minutes after the main concert) Bruckner”. Well, there are far worse models for a big Romantic Steven Osborne performs Feldman’s Palais de Mari. symphony! And actually, Stenhammar was being unduly harsh on himself. The First Andrew Manze (photo: John Wood) is much more than the sum of its infl uences: from opening horn-calls to majestic fi nish, it’s full of soaring tunes, quiet poetry, and that indefi nable freshness and inner glow that Stenhammar shares with Sibelius (his hero) and Grieg. Andrew Manze believes in it passionately. The best Scandinavian symphonist you’ve never heard? Don’t rule it out.

RACHMANINOV’S BRUCKNER 4 SECOND SYMPHONY 28 THURSDAY 2 APRIL, 7.30PM THURSDAY 16 APRIL, 7.30PM 29 MARK SIMPSON NEW WORK (c.10 MINS) MAHLER SONGS FROM BBC COMMISSION, WORLD PREMIERE DES KNABEN WUNDERHORN (c.36 MINS) JAMES MACMILLAN PIANO CONCERTO No.2 (c.30 MINS) BRUCKNER SYMPHONY No.4 (ROMANTIC) (c.67 MINS) RACHMANINOV SYMPHONY No.2 (c.55 MINS) ALICE COOTE MEZZO-SOPRANO PETER COLEMAN-WRIGHT BARITONE PETER DONOHOE PIANO MARK WIGGLESWORTH CONDUCTOR ANDREW LITTON CONDUCTOR

Andrew Litton (photo: Danny Turner) A horn calls in the distance; a sings a peasant song; and a solitary wanderer trudges through Alice Coote It’s hard to imagine a creative spirit more Russian than Rachmaninov – or more Scottish than James the forest. For the great Austrian song-symphonists, the words and images of German folklore MacMillan. But like any truly great artists, both composers take the local and make it universal: opened up vast new worlds of poetry and feeling. shaped them into the most Rachmaninov in the most grandly romantic of all late Romantic symphonies, MacMillan in a piano colourful (and lovable) of his nine vast symphonies whilst the young Gustav Mahler got straight concerto that began life as a ballet score, and pulls three centuries of Scottish musical history into back to the source, fi nding the strangeness and wonder that lie beneath the most outwardly a whirling, dazzling reel. Peter Donohoe leads the dance tonight, while Andrew Litton will make innocent folksongs in his endlessly imaginative Des Knaben Wunderhorn. Mark Wigglesworth the music soar – and smash a bottle of champagne on the bows of a brand-new orchestral work lets them play off each other in a concert that unites epic grandeur with the most intimate of by the young Liverpool composer Mark Simpson. emotions, and features two outstanding soloists.

Prelude: 6.45pm in the Recital Room Prelude: 6.45pm in the Recital Room introduces his new work. Mark Simpson Mark Wigglesworth in conversation. Post-Concert Coda (approximately 10 minutes after the main concert) There will be no coda after this concert. The last of Peter Donohoe’s recitals complementing the MacMillan piano concertos.

Peter Donohoe (photo: Sussie Ahlburg) Mark Wigglesworth (photo: Ben Ealovega) CLOSING NIGHT: SHOSTAKOVICH 15 A MIDSUMMER NIGHT’S DREAM 30 THURSDAY 7 MAY, 7.30PM THURSDAY 14 MAY, 7.30PM 31 JANÁČEK SINFONIETTA (c.24 MINS) BERIO RITIRATA NOTTURNA DI MADRID DI LUIGI BOCCHERINI (c.8 MINS) SHOSTAKOVICH CONCERTO FOR PIANO, (c.23 MINS) AND STRING ORCHESTRA MOZART PIANO CONCERTO No.21, K.467 (c.29 MINS)

(c.47 MINS) SHOSTAKOVICH SYMPHONY No.15 MENDELSSOHN A MIDSUMMER NIGHT’S DREAM (c.42 MINS) MARK O’KEEFFE TRUMPET (INCIDENTAL MUSIC) GARRICK OHLSSON PIANO GARRICK OHLSSON PIANO DONALD RUNNICLES CONDUCTOR Garrick Ohlsson (photo: Paul Body) KATHERINE BRODERICK SOPRANO Clara Mouriz (photo: José Manuel Bielsa) CLARA MOURIZ MEZZO-SOPRANO Some composers fade peacefully into old age: others do things rather diff erently. The 71 year-old Janáček took a massive orchestra, lined up eleven more trumpets and let fl y with his extraordinary LES SIRÈNES Sinfonietta: a huge, brassy shout of joy that has to be heard live to be truly believed. Shostakovich, ACTOR to be announced meanwhile, wrote a fi nal symphony that seems to ask as many questions as it answers – and simply MARKUS STENZ CONDUCTOR refuses to sit still and be taken seriously. Perhaps the brilliantly witty First Piano Concerto that Shostakovich wrote at the other end of his career will shed some light; but with BBC SSO guest When the light fades on a summer’s evening, something magical starts to happen. Shakespeare Garrick Ohlsson joining Donald Runnicles as soloist, entertainment, at any rate, is guaranteed. knew that, and two centuries later, a German teenager summoned up the same enchantment. Mendelssohn’s ravishing score for A Midsummer Night’s Dream is surely music’s most perfect Prelude: 6.45pm in the Recital Room homage to Shakespeare; conducted by Markus Stenz, it’s a joyous climax to our season-long tribute Writer and broadcaster Stephen Johnson introduces the concert. to the Bard. But it all starts with Luigi Boccherini and an uproarious night out in 18th century Post-Concert Coda (approximately 10 minutes after the main concert) Madrid – plus the sunlit, hugely popular 21st piano concerto by the one composer guaranteed to Garrick Ohlsson performs a selection from Shostakovich’s Preludes and Fugues. give Shakespeare a run for his money. Donald Runnicles (photo: Simon Pauly) Katherine Broderick (photo: Paul Foster-Williams) Prelude: 6.45pm in the Recital Room Tiff any Stern and Daniel Grimley from Oxford University explore the use of music in Shakespeare’s play, from the original production to the present day.

There will be no coda after this concert.

GLASGOW SEASON PLAN YOUR VISIT DIARY 14/15

Thursday 25 September 2014, 7.30pm Thursday 4 December, 7.30pm Thursday 12 March, 2.00pm OPENING NIGHT: SHOSTAKOVICH 10 BERLIOZ’S ‘SYMPHONIE FANTASTIQUE’ AFTERNOON PERFORMANCE 3 Mussorgsky A Night on the Bare Mountain Fauré Pelléas et Mélisande Programme and ticket details to be announced Scriabin Piano Concerto Saint-Saëns Piano Concerto No.5 ‘The Egyptian’ Shostakovich Symphony No.10 Berlioz Symphonie fantastique Monday 16 March, 7.30pm Barry Douglas piano Javier Perianes piano MONDAY NIGHT LIVE: Donald Runnicles conductor Matthias Pintscher conductor NIELSEN AND STENHAMMAR Andrew Manze conductor Saturday 4 October, 8.00pm Monday 8 December, 7.30pm Hear and Now: NEW ICELANDIC VOICES MONDAY NIGHT LIVE: Thursday 19 March, 7.30pm Ilan Volkov conductor BRUCH VIOLIN CONCERTO No.2 OSBORNE PLAYS BEETHOVEN: Tickets available from August 2014 Jack Liebeck violin PIANO CONCERTO No.2 Martyn Brabbins conductor Sibelius Karelia: Overture Thursday 9 October, 7.30pm Beethoven Piano Concerto No.2 DVOŘÁK’S ‘NEW WORLD’ SYMPHONY Saturday 17 January 2015, 8.00pm Stenhammar Symphony No.1 Nielsen Overture: Helios Hear and Now: HANS ABRAHAMSEN Steven Osborne piano Magnus Lindberg Violin Concerto André de Ridder conductor Andrew Manze conductor Dvořák Symphony No.9 ‘From The New World’ Tickets available from December 2014 Q: Where can I park? Q: What access facilities are available? Pekka Kuusisto violin Thursday 2 April, 7.30pm A: You can park near City Halls at a discounted rate on the night A: All entrances at City Halls are fully accessible with lifts to every Thomas Dausgaard conductor Thursday 22 January, 7.30pm RACHMANINOV’S SECOND SYMPHONY WALTON’S HENRY V Mark Simpson New Work of the performance at the multi-storey facilities at Q-Park on level of the auditorium. Wheelchairs are available on request and Thursday 23 October, 7.30pm Delius The Walk to the Paradise Garden (BBC Commission, World Premiere) Candleriggs and Albion Street. NB You will need to have your can be pre-booked via the box offi ce. Guide dogs are welcome ‘WOZZECK’ IN CONCERT Foulds Dynamic Triptych (Piano Concerto) James MacMillan Piano Concerto No.2 Berg Wozzeck Walton Henry V: A Shakespeare Scenario Rachmaninov Symphony No.2 ticket validated at the City Halls Box Offi ce on concert nights at City Halls. Wozzeck Roman Trekel Ashley Wass piano Peter Donohoe piano when you arrive at the venue. This includes parking for disabled Marie Elena Zhidkova Glasgow Chamber Choir Andrew Litton conductor Drum-Major Thomas Blondelle The Choristers of St Mary’s Cathedral, Edinburgh patrons. Other car parking facilities close to City Halls include Q: Is there an induction loop? Captain Tom Randle Richard Farnes conductor Thursday 16 April, 7.30pm the NCP Glasshouse on Glassford Street and car parks on the A: No, there is no induction loop in the City Halls auditorium. Doctor Nathan Berg BRUCKNER 4 east side of High Street, in addition to metered on-street parking However, Glasgow’s Concert Halls has an assisted infrared BBC Singers Monday 26 January, 2.00pm Mahler Songs from Des Knaben Wunderhorn The Choristers of St Mary’s Cathedral, Edinburgh DISCOVERING MUSIC Bruckner Symphony No.4 (Romantic) throughout the area. hearing system which can be used as both a stand alone hearing Donald Runnicles conductor Hans Gál Symphony No.2 Alice Coote mezzo-soprano aid or as an enhancement to an existing hearing aid. Headsets are Ticket details to be announced Peter Coleman-Wright baritone Thursday 30 October, 2.00pm Mark Wigglesworth conductor Q: What public transport runs near City Halls? available from the cloakroom for a £5 refundable deposit and can AFTERNOON PERFORMANCE 1 Thursday 29 January, 2.00pm A: City Halls is within easy walking distance of Argyle Street, be pre-booked via the box offi ce. Programme and ticket details to be announced AFTERNOON PERFORMANCE 2 Thursday 23 April, 2.00pm Programme and ticket details to be announced AFTERNOON PERFORMANCE 4 Queen Street, High Street and Central railway stations as well Thursday 6 November, 7.30pm Programme and ticket details to be announced as St. Enoch and Buchanan Street subway stations. Buchanan Q: Is food available at City Halls before the concert? JOHN ADAMS: ABSOLUTE JEST Thursday 5 February, 7.30pm Bus Station is a 15 minute walk away. Nearby bus routes include A: No, but the Merchant City and the centre of Glasgow is full of Rameau Suite No.1 from Les Indes Galantes VOLKOV CONDUCTS ‘THE SEASONS’ 1, 2, 3 May John Adams Absolute Jest Shostakovich King Lear (music from the fi lm) TECTONICS GLASGOW 2015 numbers 2, 6, 7/7A, 18, 21, 43, 60/60A, 61, 64, 75, 240, 255, 263 restaurants and bars where you can enjoy food before or after Rebel Chaos (from Les Élémens) Mussorgsky Songs and Dances of Death Details to be announced February 2015 and 267. the concert. There are also two bars in City Halls: the Candleriggs Beethoven Symphony No.2 Glazunov The Seasons Doric String Quartet Yuri Vorobiev bass Thursday 7 May, 7.30pm Bar at the opposite end of the promenade from the Recital Room Markus Stenz conductor Ilan Volkov conductor SHOSTAKOVICH 15 and the Bazaar Bar on the ground fl oor. Beat the queues by pre- Janáček Sinfonietta ordering your interval drinks. Thursday 13 November, 7.30pm Monday 9 February, 2.00pm Shostakovich Concerto for piano, trumpet RUNNICLES BIRTHDAY CONCERT: DISCOVERING MUSIC and string orchestra BEETHOVEN’S NINTH Hans Gál Cello Concerto Shostakovich Symphony No.15 Mozart Sinfonia Concertante, K.364 Raphael Wallfi sch cello Mark O’Keeff e trumpet Beethoven Symphony No.9 ‘Choral’ Ticket details to be announced Garrick Ohlsson piano Angela Meade, soprano Donald Runnicles conductor Elizabeth Bishop mezzo-soprano Thursday 19 February, 7.30pm Stuart Skelton tenor RUNNICLES CONDUCTS SIBELIUS Thursday 14 May, 7.30pm Marko Mimica bass-baritone Sibelius Finlandia CLOSING NIGHT: Edinburgh Festival Chorus Beethoven Violin Concerto A MIDSUMMER NIGHT’S DREAM Laura Samuel violin Sibelius Symphony No.7 Berio Ritirata Notturna di Madrid di Luigi Scott Dickinson viola Beethoven Leonore Overture No.3 Boccherini Donald Runnicles conductor Alina Pogostkina violin Mozart Piano Concerto No.21 Donald Runnicles conductor Mendelssohn A Midsummer Night’s Dream* Thursday 20 November, 7.30pm Garrick Ohlsson piano SHOSTAKOVICH 5 Saturday 28 February, 8.00pm Katherine Broderick soprano* A large print, text-only version of Sibelius En Saga Clara Mouriz mezzo-soprano* CITY Hear and Now: BOULEZ AT 90 HALLS James MacMillan Piano Concerto No.3 Matthias Pintscher conductor Les Sirènes* this brochure is available. For a copy Shostakovich Symphony No.5 Tickets available from January 2015 Markus Stenz conductor Peter Donohoe piano WILSON STREET please telephone: 0141-552 0909 Martyn Brabbins conductor Thursday 5 March, 7.30pm PROKOFIEV’S ROMEO AND JULIET The information in this brochure was correct at the time Liszt Hamlet: Symphonic Poem James MacMillan Piano Concerto No.1 of publishing. The BBC Scottish Symphony Orchestra Prokofi ev Romeo and Juliet (excerpts) reserves the right to amend artists and programmes for Peter Donohoe piano Carlos Miguel Prieto conductor any of the listed concerts if necessary. II I BOOK A SEASON BALCONY HOW TO BOOK IV IV IV I TICKET STALLS & TERRACES BOX OFFICE: 0141-353 8000 II III III Please fill in form and return to: III IV bbc.co.uk/bbcsso BBC SSO Subscriptions Glasgow Royal Concert Hall Box Office STAGE SEASON TICKETS: Book a Season Ticket and SAVE up to 35% 2 Sauchiehall Street Glasgow G2 3NY Please complete I II III IV FREE Why book a How to book a Single ticket prices Please mark your preferred seating Thursday 25 Sep Opening Night: Shostakovich 10 season ticket? season ticket Booking for single tickets opens: area with a cross on the plan and Thursday 9 Oct Dvořák’s ‘New World’ Symphony There are lots of good reasons to book in 1 Decide how many concerts you want to Monday 14 April 2014 the number of tickets required Thursday 23 Oct Wozzeck in Concert against your chosen dates/seating advance for the BBC SSO’s Glasgow Thursday attend (checking if you are entitled to any Thursday 6 Nov John Adams: Absolute Jest Single ticket Seating Area / Price Bands area on the form. Remember Night Season. Not only are you guaranteed a for free) and where you would like to sit. prices for Thursday I I1 I 11 IV that if you are booking 8, 11 or Thursday 13 Nov Runnicles Birthday Concert: Beethoven’s Ninth terrific year of music but you can also: Night Series 2 Calculate your discount from the grid and 15 concerts you are entitled to an Thursday 20 Nov Shostakovich 5 • Save Money by booking just 4 or more then fill in the form opposite. Stalls £24.50 £20.50 £17.50 £11.50 extra concert at no additional cost. Thursday 4 Dec Berlioz’s ‘Symphonie fantastique’ concerts - and the more you book the Please mark your FREE concert in Terraces £17.50 Thursday 22 Jan Walton’s ‘Henry V’ more you save. This year you can save up 3 Cut off and return to the Glasgow Royal the column provided. Thursday 5 Feb Volkov Conducts ‘The Seasons’ to 35% across the Glasgow Thursday Night Concert Hall Box Office using the address Balcony £24.50 £20.50 Thursday 19 Feb Runnicles Conducts Sibelius Season. provided. Please note that there is a Box North Balcony £11.50 Office charge of £1.75 per subscription Thursday 5 Mar Prokofiev’s ‘Romeo and Juliet’ South Balcony £11.50 • Get a FREE Concert when you book for transaction. Thursday 19 Mar Osborne Plays Beethoven: Piano Concerto No.2 8, 11, or 15 concerts, which means you Thursday 2 Apr Rachmaninov’s Second Symphony can DISCOVER even more music. 4 That’s it! Discounts Thursday 16 Apr Bruckner 4 For example, it’s the same price to book for Subscription booking is by post only. • £5 tickets for Students, Under 16s and Thursday 7 May Shostakovich 15 12 concerts as it is for 11, so use your free extra concert to explore a composer or a Unemployed. Students (those in full time Thursday 14 May Closing Night: Mendelssohn’s piece you don’t know! Season ticket prices education), Under 16s and the Unemployed ‘A Midsummer Night’s Dream’ are entitled to £5 tickets (subject to • Secure the seats you want in advance, Subscriptions/ Seating Area / Price Bands availability). Proof of status may be required. Concerts No. of Concerts No. of people at Standard price No. of people at Concession price Price Band Seating Area Total Price of guaranteeing you the best seats at the best Concerts price. Exclusive Season Ticket booking I I1 I 11 IV • Single Ticket Concessions. Over 60s and SSO Club members receive £2 off full price opens on Thursday 20 March 2014. £ DISCOUNT % single tickets (proof of status required). • Exchange your tickets for another concert • 50% Discount for Registered Disabled. I am a returning Season Ticket Holder and I would like to retain the (+ £2.00 venue transaction fee + postage) £ if you find you can’t attend one you’ve 15 4 Standard £83.00 £69.00 £59.00 £39.00 Disabled patrons and a companion will receive following seats from the previous season if possible booked in advance. We’ll happily swap them Conc. £78.40 £65.60 £56.00 £36.80 20 a 50% discount on any single full price ticket. Grand Total £ for a concert not on your subscription list. 5 Standard £98.00 £82.00 £70.00 £46.00 20 Please note that the Box Office requires • Groups. Bring a group of 10 and get one Conc. £91.80 £76.80 £65.60 £43.10 25 extra ticket free (that’s two free tickets for a 24 hours notice and a £1 charge applies. 6 Standard £117.60 £98.40 £84.00 £55.20 20 group of 20, etc.). For details of group booking Payment PLEASE COMPLETE IN BLOCK CAPITALS • Plan your year of concerts in one Conc. £110.10 £92.10 £78.60 £51.60 25 please call the box office on 0141-353 8000. simple booking. 7 Standard £137.20 £114.80 £98.00 £64.40 20 • School Groups. We welcome school parties to City Halls for BBC SSO concerts. If you are Title Initial(s) Surname • Expand your musical horizons. There’s Conc. £128.45 £107.45 £91.70 £60.20 25 such a wide range and mix of music in our a teacher interested in bringing a group, please 9/8 Standard £146.80 £122.80 £104.80 £68.80 25 Address Thursday Night Series that you’re bound email [email protected] Conc. £137.20 £114.80 £98.00 £64.40 30 to DISCOVER something new. • Box Office Charges. Please note that the 10 Standard £183.70 £153.70 £131.20 £86.20 25 Postcode Telephone Glasgow Concert Halls Box Office charges a Conc. £171.50 £143.50 £122.50 £80.50 30 fee of £1.50 on all telephone bookings and E-mail 12/11 Standard £188.65 £157.85 £134.75 £88.55 30 £1 on all online bookings. There will be a Conc. £174.90 £146.30 £124.85 £81.95 35 £1 charge if you wish your tickets to be [ ] I enclose a cheque made payable to Glasgow Life posted to you. 13 Standard £222.95 £186.55 £159.25 £104.65 30 [ ] I authorise you to debit my credit/debit card (PLEASE DELETE AS APPROPRIATE) Conc. £206.70 £172.90 £147.55 £96.85 35 VISA / MASTERCARD / MAESTRO 14 Standard £240.10 £200.90 £171.50 £112.70 30 City Halls Box Office Conc. £222.60 £186.20 £158.90 £104.30 35 • Opening Hours Mon – Sat, 12 noon – 6pm START DATE EXPIRY DATE ISSUE NO. 3 DIGIT SECURITY CODE 16/15 Standard £238.80 £199.80 £170.55 £112.05 35 (later on concert evenings) Conc. £220.50 £184.50 £157.50 £103.50 40 Tickets are also available from the Glasgow Season Ticket concessions are available to Royal Concert Hall Box Office. SIGNATURE Senior Citizens and SSO Club Members. DESIGN: WEARED8.COM

BBC Scottish Symphony Orchestra BBC Scotland City Halls, Candleriggs Glasgow G1 1NQ Email: [email protected] facebook.com/bbcsso twitter.com/bbcsso youtube.com/bbcsso bbc.co.uk/bbcsso

Customers’ personal details are held in accordance with the terms and conditions of the Data Protection Act 1998. If consent is given at the time of ticket purchase, this information will be passed to the BBC SSO and may be used to contact you with information about forthcoming concerts or BBC events. These details will not be passed on to any third party. If you wish to have your name removed from the orchestra’s mailing-list please E-mail: [email protected] or telephone: 0141-422 6728.