Wind ConDIRcECTOeR rtos ALEXANDER JANICZEK

MAXIMILIANO MARTÍN · PETER WHELAN · ALEC FRANK-GEMMILL SCOTTISH CHAMBER Recorded at Usher Hall, Edinburgh, UK From 5th – 9th September 2011 Produced and engineered by Philip Hobbs Assistant Engineer: Robert Cammidge Post-production by Julia Thomas, Finesplice, UK Cover image: The Ninth Wave by I. Aivazovsky / akg-images / RIA Novosti

This recording was made possible with support from the SCO Sir Charles Mackerras Fund

2 CARL MARIA VON WEBER (178 6–1826) Wind Clarinet No. 1 in F minor Op. 73, J. 114 MAXIMILIANO MARTÍN CLARINET 1 Allegro 7.57 2 Adagio ma non troppo 6.37 3 : Allegretto 5.50 in Op. 75, J. 127 PETER WHELAN BASSOON 4 Allegro ma non troppo 8.33 5 Adagio 5.05 6 Rondo: Allegro 4.35 Horn in E minor Op. 45, J. 188 ALEC FRANK-GEMMILL HORN 7 Adagio 2.19 8 Andante con moto 8.55 9 Polacca 4.55 Concertino for Clarinet & Orchestra in C minor / E-flat major Op. 26, J. 109 MAXIMILIANO MARTÍN CLARINET bk Adagio ma non troppo 2.42 bl Andante 4.28 bm Allegro 2.00 TOTAL TIME: 64.31 SCOTTISH CHAMBER ORCHESTRA ALEXANDER JANICZEK DIRECTOR 3 It can’t have been easy being the young Carl Maria von Weber. His father, Franz Anton Weber, was a violinist and bassist who had played in the famous Mannheim orchestra that had so influenced Mozart. The older man ran a travelling theatre group, and he took the young Carl Maria on tour from the age of just six months. But at least that meant that music and theatre were in the boy’s blood from the very start of his life. More significantly, Franz Anton dreamt that one of his children would be a prodigy like the young Mozart, a desire only strengthened by the fact that he was the uncle of Constanze Weber, who became Mozart’s wife. Franz Anton was thus only too aware of Mozart’s early successes. He took Carl Maria’s half-brothers Fritz and Edmund to Vienna to study with Haydn, but neither turned out to be the child genius he hoped for. Carl Maria seemed an unlikely candidate for the role. He was a sickly child with a hip condition that made him limp throughout his life. However, he showed an early aptitude for music, and his father pushed him hard, encouraging him to study , counterpoint, bass, singing and composition. After Carl Maria’s mother, Genovefa Brenner (Franz Anton’s second wife), fell ill in 1796, the family settled temporarily in Hildburghausen, where Carl Maria received his first proper musical schooling with local teacher John Peter Heuschkel. And when the family moved to Salzburg in 1797, his father ensured that his musical studies stepped up a gear, taking him to continue his counterpoint studies with Michael Haydn. It was that same year, aged just 12, that Carl Maria had his first pieces published – a set of six short fughettas dedicated to his half-brother Edmund. By the age of 17 he was already making his own way in the musical world, and at 18 he was appointed conductor at the municipal theatre in Breslau. Although maybe not quite the prodigy his father had hoped for, Carl Maria nevertheless achieved enormous success in a number of areas: as a conductor, a critic, a pianist, and, most notably, as an opera composer. The premiere of Der Freischütz in 1821 in Berlin made him the most talked-about composer of his time, and showed that he could liberate opera from Italian influence and establish a truly German style.

4 Yet he also excelled in smaller-scale instrumental music, as exemplified in the four wind concertos on this recording. Perhaps inevitably, they often betray the profound influence of Weber’s beloved opera, but that only adds to the pieces’ richness, bringing a freedom and expressivity to their melodic lines that are seldom found in contemporary works by other composers. But why did Weber show such an interest in wind instruments, especially the clarinet? The start of the 19th century, when he was writing, was a pivotal time for the instrument. It had reached a certain level of technical maturity, and a group of virtuoso players had grown up around it. The clarinettist Joseph Beer had established a German style of playing that was soft, rich and full in tone, in contrast to the more piercing, brilliant French style, and he and his students had inspired several composers to write for the instrument. Mozart had already shown what the instrument was capable of in his and , inspired by the playing of . Weber knew these works, but it was another player who was to inspire him to write what would later become cornerstones of the clarinet repertoire.

Concertino for Clarinet & Orchestra in C minor / E-flat major Op. 26, J. 109 In February 1811, aged 25, Weber embarked on a concert tour that he intended would take him to Munich, Prague, Dresden, Berlin, Copenhagen and St Petersburg. In fact, he stopped in Munich, his first port of call, whose court would prove critical in the creation of his wind concertos. Armed with a letter of introduction to Maximilian Josef von Montgelas, minister to King Maximilian I of the newly created state of Bavaria, he was welcomed into the palace and introduced to the Queen, who requested that he put on a concert to display his musical skills. Among the Munich court orchestra’s players was the clarinettist Heinrich Bärmann. Born in 1784, Bärmann had trained in Potsdam and served in a military band before he was captured by Napoleon’s troops in Jena. Upon his release, he had returned to Munich, and had later become widely known for his virtuosity on the clarinet following a concert tour that took in England, France, Italy and Russia.

5 Bärmann and Weber quickly became close friends during the composer’s stay in Munich. Seizing the opportunity offered by Bärmann’s presence, Weber immediately set to work on a piece for the proposed royal concert that would display both his own and the clarinettist’s skills. The work would become the Clarinet Concertino. The concert took place on the 5th April 1811, and Weber and Bärmann performed to a packed audience. The Concertino was a huge success with the court and the public alike, to such an extent that the King commissioned two further clarinet concertos from Weber (which he also wrote for Bärmann), the first of which can also be heard on this recording. Weber seems to have been intent on showing off Bärmann’s advanced performing technique in the Concertino, especially the tone colour and flexibility enabled by the ten-key instrument that the clarinettist had recently started playing. Even in the clarinet’s second phrase, for example, there’s a leap of more than two octaves designed to test the soloist’s control of tone colour and smoothness of phrasing. The single-movement Concertino moves from a slow introduction in C minor to an Andante theme and variations in E-flat major, and finally a genial Allegro that continues the E-flat major tonality. An emphatic C minor chord accompanied by pounding launches the work, and the clarinet unexpectedly enters with a plaintive melody half-way through a phrase. Solemn horns in octaves mark the transition to the Andante ’s amiable theme, and the clarinettist is soon put through his paces in increasingly demanding and complex variations (even the first one is marked con fuoco , literally ‘with fire’). The music suddenly dies away into a remarkable passage scored for the dark-hued combination of clarinet and divisi violas, a moment of stillness amid the Concertino’s frenetic activity. It’s also an episode that mirrors similar passages, equally strikingly scored, in Weber’s other wind concertos. The music soon bursts back into bright, vibrant life, though, and after a calmer section that harks back to the opening’s C minor tonality, the piece heads to its brilliant conclusion with bubbling from the soloist.

6 Clarinet Concerto No. 1 in F minor Op. 73, J. 114 Weber composed the first of the two clarinet concertos commissioned by King Maximilian quickly, in April and May 1811 (he reputedly wrote the first movement, and orchestrated it, in a single day). It was first performed on 13th June 1811 in Munich, again with Heinrich Bärmann, its dedicatee, as soloist. Don’t be fooled by the work’s high opus number, which does not reflect its date of composition: Weber only gave the score to his Berlin publisher Schlesinger in 1822, who added it to the end of his list of works. After the piece’s initial performances, Bärmann felt that the first movement ought to show off his abilities to greater effect, so he inserted a short that functions like a flourish for the soloist. Although it has contrasting themes, development, a cadenza and a form of recapitulation, the Concerto’s first movement is not strictly speaking in . Instead, the orchestra and soloist take a subject each. The cellos have the distinctive first subject, based around a rising and falling F minor triad, which explodes in towering tutti chords that come as if from nowhere. Following stormy outbursts from the orchestra, the soloist enters with a poignant second theme marked con duolo (‘sorrowfully’). After a return of the opening theme, this time in D-flat major and with embellishments from the soloist, a section featuring clarinet triplets leads to Bärmann’s cadenza. A development section combines earlier themes, and the brief recapitulation presents a restatement of the opening triad theme before the clarinet takes over in sparkling runs and the movement subsides into a ruminative conclusion. In the second movement, the clarinet floats an aria-like melody over gently rocking chords in the strings. The movement’s middle section is in two parts, the first a brief but assertive C minor episode where the clarinet performs runs up and down over a wide range. The second is another of Weber’s dark-hued passages, combining the solo clarinet with a trio of horns in an exquisite chorale. A restatement of the opening melody and a brief reminiscence of the horn chorale end the movement. The finale is a jaunty, dance-like rondo in , which the clarinet mischievously seems intent on slowing down on two occasions. It rea24ches a temporary conclusion with a brief flourish that sends the clarinet up into its highest register, but continues in an 7 introspective episode in D minor, breathless semiquavers from the soloist in a B-flat major passage, and joyful final bars.

Bassoon Concerto in F major Op. 75, J. 127 It wasn’t just Maximilian I who was impressed enough by Weber’s Clarinet Concertino to ask the composer for further new pieces. A number of other instrumentalists from the Munich orchestra made similar requests. Weber wrote to his friend, the German music theorist Gottfried Weber (no relation): ‘Since I composed the Concertino for Bärmann, the whole orchestra has been the very devil about demanding concertos from me … two Clarinet Concertos (of which one in F minor is almost ready), two large arias, a for Legrand, a Bassoon Concerto. You see I’m not doing at all badly, and very probably I’ll be spending the summer here, where I’m earning so much that I’ve something left over after paying my keep … Besides, the orchestra and everybody would like to see me appointed Kapellmeister.’ That appointment never took place, and neither did Weber meet the demands of all the orchestral musicians. The suggested Cello Concerto never appeared, and instead of a Concerto, the Munich flautists received a scholarly article entitled A New Discovery for Perfecting the Flute , providing a thorough technical appraisal of Johann Nepomuk Capeller’s new flute design. But the Munich bassoonist was luckier. Weber wrote his Bassoon Concerto at lightning speed, from the 14th to 17th November 1811, for the city’s court bassoonist Georg Friedrich Brandt, who had been a soloist before joining the Munich orchestra. Its first performance was on the 28th December 1811. The original printed copy described the work as a First Bassoon Concerto, raising the possibility that Weber was intending further pieces for the instrument, although the ordinal disappeared from later editions and the work remained Weber’s only concerto for the instrument. Weber the opera composer is again evident in the Bassoon Concerto. Here, it’s almost as if the soloist is playing a different role in each movement. In any case, Weber shows the same sensitivity to the instrument’s colours and nuances as he did with the

8 clarinet, and although there’s a great deal of humour in the piece, any comedy comes entirely out of the music – we’re definitely laughing with the soloist, rather than at him. In the military-style first movement, the orchestral exposition lays out two contrasting themes: a Beethovenian martial statement, full of dotted rhythms and running scales, and a more flowing, lyrical melody. Eight solemn timpani strokes herald the soloist’s entry, first in F major and then (after more timpani strokes) in a contrasting G minor. The development section focuses mainly on the march theme, with bravura passagework from the soloist and distinctive triplet figurations. An e fficient recapitulation moves swiftly to a coda without any real cadenza for the soloist, although there is plenty of sparkling solo writing in the movement’s final passages. Despite its assertive dotted-rhythm opening gesture, which recalls the first movement, the Adagio in B-flat major showcases the bassoon’s lyricism, and as elsewhere in Weber’s wind concertos its lyrical melody reminds us of the composer’s love of opera. As in the First Clarinet Concerto, a central episode accompanies the bassoon with just two horns in a glowing yet rather mysterious passage. After the briefest of for the soloist, the movement ends with a sense of dignity and tenderness. The third movement is a witty, playful Rondo that allows the bassoonist to emerge as a comedian, demonstrating his skills with quick-fire passage work that takes in the extremes of the instrument’s range. After two contrasting episodes, a hectic coda is kicked off by an orchestral restatement of the Rondo theme. The history of the Bassoon Concerto’s editions is a complicated one. Following its 1811 premiere, Weber revised the piece slightly in 1822 when he submitted it to his publisher Schlesinger, expanding some of the first movement’s orchestral tuttis and adding performance markings to the solo part. There are additional changes in an 1823 set of parts, and to complicate matters still further, performances of the work now generally use an 1865 edition that was heavily edited by an anonymous hand. For this disc, soloist Peter Whelan has reconstructed a version of the 1822 score from a manuscript in the Staatsbibliothek Berlin, which features an interesting minor-key inflection in the opening ritornello and small yet telling changes to the dynamic and articulation markings throughout. 9 Horn Concertino in E minor Op. 45, J. 188 Weber wrote his Horn Concertino as far back as 1806, when he was just 19, for C. Dautrevaux, a virtuoso horn player in the court orchestra in Carlsruhe, Silesia, and revised the work in 1815 for his friend Sebastian Rauch in Munich. It seems that Weber discarded the original 1806 manuscript: we only know it exists because of a note in his handwriting on the 1815 edition. In several ways, the piece looks forward to the Clarinet Concertino of 1811: in its single-movement form; in its unusual structure that perhaps indicates Weber’s desire to move away from the traditional three-movement concerto format; and in its almost operatic treatment of the solo part. It was written for a hand horn and would have pushed the soloist’s technique to its limits; the piece’s preponderance of chromatic pitches look forward to the modern era of the valve horn. Significantly, just three years after the premiere of the Concertino, Heinrich Stölzel and Friedrich Bluhmel patented their horn design employing two piston valves. The piece falls into four sections: an Adagio-Andante introduction; an Andante theme and variations; a recitative; and a lively Polacca . It opens with ominous-sounding unison Es and Bs for the full orchestra, immediately establishing the E minor sound world, which leads into a sorrowful horn melody in that even at this early stage explores the extremes of the instrument’s range, with me68lodic leaps covering more than two octaves. The sunnier, somewhat rustic-sounding Andante theme and variations section follows after a short pause, in which the soloist plays a deceptively simple melody that Weber puts through its paces in a series of increasingly embellished variations. The solo part suddenly bursts into life in the second variation, full of cascading triplet arpeggios, setting the scene for lively activity in the later variations. The recitative section contrasts a vocally inflected, remarkably agile solo horn part against dramatic string chords, and the mood changes again for the stomping polacca dance in E major.

10 In an 1847 version of the Horn Concertino, transcribed for piano duet, the solo line is heavily ornamented. Soloist Alec Frank-Gemmill has used this as the basis for his own embellishments of the horn part. He also plays his own version of the cadenza between the recitative and Polacca (which Weber marks ‘ a piacere ’). This combines the multiphonic chords requested in the score (which require the soloist to sing at the same time as playing) with memories of melodies heard earlier in the piece.

© David Kettle, 2012

11 Alexander Janiczek DIRECTOR Alexander Janiczek, highly sought after as a director, soloist, guest leader and chamber musician, was born in Salzburg and studied with Helmuth Zehetmair at the Salzburg Mozarteum and with Max Rostal, Nathan Milstein, Ruggiero Ricci and Dorothy Delay. He developed a close association with Sándor Végh and the Camerata Salzburg, which he led and directed for many years. Alexander is an Associate Artist with the Scottish Chamber Orchestra. He has led the Orchestra on tours throughout Scotland, Europe and the USA and he continues to be invited back as a director and soloist. He has also directed the SCO in the highly acclaimed series of Mozart Serenades for Linn. As a Guest Director he records with the Chamber Orchestra of Europe, directing them in a recording of Stravinsky’s Apollon musagète and Pulcinella Suite , which was released on Linn. He continues to direct Camerata Salzburg and also appears with Camerata Bern, Orchestra I Pomeriggi Musicali of Milan, the Orchestra di Padova e del Veneto and the Swedish Chamber Orchestra. Alexander explores 19th-century performance practice, appearing with Robert Levin and David Watkin, Sir Roger Norrington and with the Orchestre des Champs-Elysées under Philippe Herreweghe and La Chambre Philharmonique with Emmanuel Krivine. As a chamber musician, he has also appeared with Joshua Bell, Thomas Adès, Christian Zacharias, Mitsuko Uchida, Denes Varjon and Richard Goode. Alexander performs with the Hebrides Ensemble on their recording of Olivier Messiaen: Chamber Works for Linn. Ll ^yr Williams is now a regular duo partner of Alexander’s and together they have performed complete Beethoven cycles in Germany and the UK and made their London Wigmore Hall debut in 2011. Much in demand at festivals across Europe, Alexander has appeared at Festival de Saintes, Salzburger Festspiele and the Edinburgh International Festival. Alexander 12 has also formed, through close musical partnership with artists who perform with a similar musical aesthetic, his own chamber ensemble, Camerata Janiczek. In 2011, the ensemble made its debut in Germany with a Mozart quintet cycle on period instruments. Alexander also works with young students in masterclasses and directing youth , and he teaches at London’s Guildhall School of Music & Drama. Alexander Janiczek plays the ‘Baron Oppenheim’ Stradivarius from 1716, which is on loan to him from the National Bank of Austria.

Maximiliano Martín CLARINET

‘Martín was a tour de force.’ THE HERALD Spanish clarinettist Maximiliano Martín has established himself as one of the most exciting and charismatic musicians of his generation. Maximiliano was born in La Orotava (Tenerife) and studied at the Conservatorio Superior de Música in Tenerife, Barcelona School of Music and at the Royal College of Music in London where he held the prestigious Wilkins-Mackerras Scholarship. He graduated with distinction from the RCM and received the and Golden Jubilee Prizes. His teachers have included Joan Enric Lluna, Richard Hosford and Robert Hill. Maximiliano was a prize-winner in the Howarth Clarinet Competition of London and at the Bristol Chamber Music International Competition. Maximiliano Martín was appointed Principal Clarinet of the Scottish Chamber Orchestra in 2002, and won the Young Artists Platform Competition in the same year. He has performed all the major concertos with orchestras including the SCO, European Union Chamber Orchestra, Lundstate orkester Malmö, Orquesta Sinfónica de Tenerife, KwaZulu-Natal Philharmonic Orchestra in Durban (South Africa) and Macedonian Philharmonic under Brüggen, Manze, Antonini, Swensen, McGegan, Gonzalez and 13 Boico. He has enjoyed collaborations with London Winds, Hebrides Ensemble, Doric , Edinburgh String Quartet and with artists including Maurice Bourgue, Sergio Azzolini, Pekka Kuusisto, Christian Zacharias, Jack Liebeck, Ll ^yr Williams, Julian Milford and Radovan Vlatkovi c‘. Maximiliano is a member of the London Conchord Ensemble. The group has a residency at Champs Hill and plays regularly in the UK and abroad, including in the Concertgebouw Chamber Series, and at the Library of Congress in Washington D.C., USA. They record regularly for Champs Hill Records (Menotti , Poulenc Complete Chamber Music ) and Orchid Classics (Glinka Trio Pathetique ). He has performed in the most prestigious concert halls and international festivals (Vienna, Lucerne, Salzburg, Amsterdam, Rome, Berlin, Cologne, Miami, Madrid, Istanbul, Zurich and Paris) with orchestras such the London Symphony Orchestra, Chamber Orchestra of Europe, City of Birmingham Symphony Orchestra, Hallé, Orquesta de Cadaqués, Bergen Philharmonic Orchestra, Munich Kammerorkester, Orquesta Sinfónica de Galicia, working with renowned conductors including Abbado, Haitink, Davis, Mackerras, Ticciati and Litton. Maximiliano Martín has recorded several albums with Linn: his solo albums Fantasia and Vibraciones del Alma ; the Mozart Clarinet Concerto with the Scottish Chamber Orchestra; and Messiaen’s Quartet for the End of Time with the Hebrides Ensemble. Numerous broadcasts for BBC Radio 3 have included the Nielsen Clarinet Concerto, Mozart Clarinet Quintet, Poulenc Sextet and Beethoven Quintet for Piano and Winds. He is one of the Artistic Directors of the Chamber Music Festival of La Villa de La Orotava, held every year in his home town. Maximiliano Martín is a Buffet Crampon Artist and plays with Buffet Tosca .

14 Peter Whelan BASSOON Principal Bassoonist with the Scottish Chamber Orchestra since 2008, Peter Whelan was described by the Philadelphia Enquirer as ‘ an absolute master of fleet facility with a solidly plush tone of wondrous immediacy ’. He is in demand as a soloist and chamber musician and has received glowing responses from audiences and critics across the globe, including a Gramophone Award for his recording of Vivaldi Bassoon Concertos with La Serenissima in 2010. As a concerto soloist, Peter has performed in many of Europe’s most prestigious venues, among them the Musikverein (Vienna), Lingotto (Turin), and the great concert halls of London including St. John’s, Smith Square (Lufthansa Festival), and the Cadogan and Wigmore Halls. As a chamber musician Peter has collaborated with the Belcea Quartet, London Winds, the Doric Quartet, and with Tori Amos on her album Night of Hunters recorded for Deutsche Grammophon in 2011. Peter is also a director of Ensemble Marsyas, with whom he recorded a collection of Zelenka sonatas for Linn. Equally at home on modern and historical instruments, Peter performs a diverse range of repertoire spanning over four centuries and has worked with many of Europe’s finest symphony orchestras and directors, including the Orchestra of the Age of Enlightenment (Sir Simon Rattle), the London Symphony Orchestra, the Australian Chamber Orchestra, the Philharmonia Orchestra, the English Baroque Soloists (Sir John Eliot Gardiner), the Mahler Chamber Orchestra, Les Musiciens du Louvre and Oper Zürich. Peter joined the teaching faculty of the Royal Conservatoire of Scotland in 2010, and has given masterclasses at the Guildhall School of Music & Drama. Peter Whelan is a Heckel artist.

15 Alec Frank-Gemmill HORN Born in 1985, Alec Frank-Gemmill ranks among the finest of a new generation of horn players. He is recognised internationally for the beauty of his tone and the keen sense of musicianship he brings to performances of works by a wide range of composers. Alec has been Principal Horn of the Scottish Chamber Orchestra since September 2009. He also appears regularly with other ensembles as soloist, chamber musician or first horn. As a prize-winner of the 2011 Aeolus International Competition for Wind Instruments, he performed ’ Horn Concerto No. 2 with the Düsseldorfer Sym - phon iker. He has performed the Serenade for tenor, horn and strings by Britten with the Konzerthausorchester Berlin and Ligeti’s Hamburg Concerto with the Scottish Chamber Orchestra. Alec Frank-Gemmill has a special interest in period performance. Besides playing the classical repertoire on the valveless natural horn with the SCO, he has championed the use of early romantic instruments, such as the piston horn and Vienna horn. He is frequently invited to perform with the Academy of Ancient Music as well as other period instrument orchestras. Contemporary music is another special interest. Alec was a member of the Lucerne Festival Academy under the direction of Pierre Boulez and has a close working partnership with the English composer Jeremy Thurlow (whose horn trios Orion and Unbidden Visions were written especially for him). As part of the Internationale Fredener Musiktage Festival, Alec performed Ligeti’s Horn Trio – this concert was subsequently broadcast on Deutschlandradio Kultur and the festival was awarded the Praetorius Musikpreis. As a Making Music Young Concert Artist and then a member of the Countess of Munster Recital Scheme for two years, Alec gave numerous recitals around Britain. He

16 regularly performs chamber music with groups such as the Hebrides Ensemble, Aurora Orchestra and the Fitzwilliam String Quartet. Alec is in demand as a Guest Principal Horn with various orchestras in the UK and abroad. Besides frequent appearances with the Philharmonia and London Philharmonic Orchestra, he has performed with the Deutsche Kammer philharmonie Bremen and Concertgebouw Orchestra Amsterdam. Other projects have taken him to the Staatskapelle Dresden and Mahler Chamber Orchestra. Prior to his appointment with the SCO, he was Principal Horn of the Tiroler Symphonieorchester in Innsbruck, Austria.

Scottish Chamber Orchestra

Principal Conductor ROBIN TICCIATI Conductor Emeritus JOSEPH SWENSEN Associate Artist RICHARD EGARR Associate Artist ALEXANDER JANICZEK Chief Executive ROY MCEWAN 4 Royal Terrace, Edinburgh EH7 5AB tel: +44 (0)131 557 6800 email: [email protected] web: www.sco.org.uk The Scottish Chamber Orchestra (SCO) was formed in 1974 with a commitment to serve the Scottish community, and is amongst Scotland’s foremost cultural ambassadors. One of Scotland’s five National Performing Arts Companies, it is internationally recognised amongst the finest chamber orchestras in the world. The Orchestra performs throughout Scotland, including annual tours of the Highlands and Islands and South of Scotland, and appears regularly at the Edinburgh, East Neuk, St Magnus and Aldeburgh Festivals and the BBC Proms. Its busy international touring schedule, supported by the Scottish Government, has recently included many European countries as well as India and the USA.

17 The Orchestra appointed Robin Ticciati to the post of Principal Conductor from the 2009/10 Season. Since then, Ticciati and the Orchestra have appeared together at the Edinburgh International Festival, have toured in Italy, Germany and Spain and have released their first recording – Berlioz’s Symphonie Fantastique (Linn). They have received considerable acclaim for their programming and performances together: ‘The Scottish Chamber Orchestra and its Principal Conductor, Robin Ticciati, have already become one of the great partnerships in British music.’ DAILY TELEGRAPH The SCO works regularly with many eminent guest conductors including Conductor Emeritus Joseph Swensen, Associate Artist Richard Egarr, Olari Elts, Andrew Manze, John Storgårds, Thierry Fischer, Louis Langrée, Oliver Knussen and Nicholas McGegan; regular soloist/directors include Christian Zacharias, Piotr Anderszewski and Associate Artist Alexander Janiczek. The SCO’s long-standing relationship with its Conductor Laureate, the late Sir Charles Mackerras, resulted in many exceptional performances and recordings, including two multi award-winning discs of Mozart symphonies (Linn). The Orchestra has commissioned more than a hundred new works, including pieces by Composer Laureate Sir Peter Maxwell Davies, Martin Suckling, Mark-Anthony Turnage, Judith Weir, Sally Beamish, Karin Rehnqvist, Lyell Cresswell, Hafliði Hallgrímsson, , Stuart MacRae and the late Edward Harper. The SCO has led the way in music education with a unique programme of projects. SCO Connect provides workshops for children and adults across Scotland and has attracted interest and invitations from overseas. The Orchestra broadcasts regularly and has a discography now exceeding 150 recordings. This album is the sixteenth in a series of recordings which the SCO is producing in partnership with Linn.

The Scottish Chamber Orchestra receives funding from the Scottish Government. 18 1st Violin Alexander Janiczek, Ruth Crouch, Lise Aferiat, Aisling O’Dea, Lorna McLaren, Fiona Alexander, Sijie Chen, Tristan Gurney 2nd Violin Rosenna East, Liza Johnson, Niamh Lyons, Sarah Bevan-Baker, Claire Docherty, Ruth Slater Viola Jane Atkins, Simon Rawson, Brian Schiele, Steve King Cello David Watkin, Su-a Lee, Donald Gillan, Eric de Wit Bass Nikita Naumov, Adrian Bornet Flute Juliette Bausor, Elisabeth Dooner Robin Williams, Rosie Staniforth Clarinet Maximiliano Martín, Lawrence Gill Bassoon Peter Whelan, Alison Green, Fraser Gordon Horn Alec Frank-Gemmill, Harry Johnstone, Patrick Broderick Peter Franks, Shaun Harrold Timpani Ruari Donaldson

Photography of Alexander Janiczek by Colin Jackson, Peter Whelan by David Barbour, Maximiliano Martín by Patrick Allen Photography of Alec Frank-Gemmill, the soloists and orchestra by Chris Christodoulou

For even more great music visit linnrecords.com

Linn, Glasgow Road, Waterfoot, Eaglesham, Glasgow, G76 0EQ t: +44 (0)141 303 5027 e: [email protected] 19 CKD 409 6 3

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