F R E E

SYMPHONY No.8D V O R A K

VLTAVA from MÁ VLASTS M E T A N A

CELLO CONCERTOE L G A R

S U N 1 9 M A R 2 0 1 7 7 . 3 0 P M

R O Y A L C O N S E R V AT O I R E O F S C O T L A N D

CONDUCTOR STEPHEN BROADCELLO ALICE ALLEN

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Welcome to the third of our concerts of this 2016-17 season, back in the familiar surroundings of the Stevenson Hall. If this is your first concert with GOS, you are especially welcome and we hope that it will be the first of many. You will join a growing band of regular, loyal friends and supporters who help to make our performances very special!

It is a great pleasure for us to have Stephen Broad conducting us again, especially following his very busy year taking part in the BBC’s All Together Now Great Orchestra Challenge programme with the Stirling Orchestra. Stephen became a very familiar face on BBC television during the four episodes of the programme last September!

We have chosen pieces by two Czech composers, Dvorak and Smetana, which we’re sure you’ll like, even if you don’t already know them. We have been enjoying preparing them very much, especially those of us who went on tour to the Czech Republic last July. We had planned to play the Dvorak Symphony No 8 there, but the music promoters asked us not to – a bit like carrying coals to Newcastle! So we are delighted to be able to perform it for you tonight.

Sandwiched between these two works is the beautiful Elgar Cello Concerto, played by our talented young soloist Alice Allen – this is our first concert with Alice and we know you are in for a treat!

We hope you enjoy the concert, and that we’ll see you again here on Sunday 21 May!

Ann Westwood, President

WELCOME TO THIS THIRD CONCERT OF OUR 2016-17 SEASON

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STEPHEN BROAD

ALICE ALLEN

Stephen Broad grew up on the Isle of Mull, and was introduced to orchestral music by Radio 3 and an inspirational teacher called Kenneth Way. He later joined the Music School of Douglas Academy in Milngavie and was lucky enough to conduct the whole school in a composition of his own, aged 17. University studies at Glasgow and then Oxford seemed to allow plenty of time for more conducting, and some teaching too – including several years’ work for Community Education Strathclyde at the wonderful East Glasgow Music School.

During this time, conducting became a special passion.

Through Glasgow University Wind Band, he realised that he wanted as many people as possible to play, enjoy and care about music. Later, a two-year stint as conductor of the talented players of Oxford University Sinfonietta helped develop his conducting skills further.

Last summer Stephen conducted the Stirling Orchestra in the BBC’s All Together Now: Great Orchestra Challenge. The contest was televised in four episodes and Stirling reached the Grand Final in the Royal Albert Hall, London, where they performed excerpts from Elgar's Variations on an Original Theme (Enigma).

Alice Allen is from Aberdeenshire, studied at the Royal Northern College of Music with Hannah Roberts and recently graduated from the Royal Conservatoire of Scotland with a distinction in Master of Music Performance.

During her two years in Glasgow, Alice performed Saint-Saens’ Cello Concerto

in A minor with the RSNO and joined the BBCSSO on their tour of India, during which she also performed string quartets with Nicola Benedetti. In 2014 Alice joined the Scottish Ensemble on their Young Artist Scheme, performing across the UK including at the Wigmore Hall and was the Scottish Ensemble’s Young Associate Artist for the 2015-16 season. She has also worked with Glasgow’s Red Note Ensemble, London Concertante, and the Scottish Chamber Orchestra.

Alice is cellist in the Brodick String Quartet and is passionate about chamber music. She and duo partner Julija Sadaunykaite were the

2014 winners of the Dunbar-Gerber prize for chamber music. She has participated in masterclasses and lessons with Rohan De Saram, Ralph Kirshbaum, David Watkin, Peter Wispelwey and Emma Ferrand and has been coached by esteemed chamber musicians such as violinists Peter Cropper, Pavel Fischer and Peter Manning and clarinetist Matthew Hunt.

She is grateful to the Royal Conservatoire of Scotland and the Thomas and Margaret Rodden Trust for their generous scholarships.

Alice plays an English cello circa 1780, Preston School.

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In a parallel life, Stephen is Head of Research at the Royal Conservatoire of Scotland, with research interests in music history and education. He is especially proud of being one of the authors of What’s Going On?, the report that started the Scottish Government’s Youth Music Initiative.

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PROGRAMME

BEDRICH SMETANA (1824 – 1884)

TONE POEM VLTAVA FROM MA VLAST (MY COUNTRY)Smetana’s suite of six tone poems Ma Vlast was a key work in the development of Czech cultural and political identity in the late 19th century, when the country was part of the Austro-Hungarian empire. Ironically, Smetana was brought up German-speaking, and only learned Czech after he began to emerge as a significant figure in the developing Czech cultural life of the 1860s. The six Ma Vlast pieces describe Czech history, legend and landscape. Vltava, the second, was composed in late 1874 as Smetana suffered deafness and declining health. Once Ma Vlast was complete, integral performances became usual but uniquely, Vltava attracts performances as a freestanding concert piece. Its six sections follow the course of the River Vltava. The opening describes two streams uniting to form the river in Bohemia. The rising minor theme (actually from a 17th century Italian song La Mantovana) perfectly contrasts with the rippling figures. After a brief woodland hunting scene (trumpet and horn calls) we pass a country wedding where a polka is being danced. A contrasting slow section depicts moonlit water nymphs, trombones and tuba suggesting castle ruins by the banks. In daylight again a brief reprise of the opening material swirls us into the St John Rapids before the river flows through Prague. The martial theme from the first tone poem of the series denoting Vyšehrad Castle, which stands on a crag by the river, is introduced in the closing minutes as the Vltava flows on to join the Elbe.

EDWARD ELGAR (1857 – 1934)

VIOLONCELLO CONCERTO IN E MINOR OP. 85Adagio – Moderato Allegro molto Adagio Allegro – Moderato – Allegro, ma non troppo

Depressed by the Great War, in May 1918 the Elgars took a cottage at Brinkwells in Sussex where he composed in 1918 – 1919 his last major works: the ‘cello concerto, string quartet, violin sonata (all in E minor) and the A minor quintet for piano and strings. The chamber works were well received but the Concerto had a disastrous start through no fault of Elgar, who conducted, or his excellent soloist, Felix Salmond. (The LSO conductor, Albert Coates, allowed Elgar scant rehearsal time). The concerto nevertheless gained adherents and is now in most soloists’ repertory.

Elgar’s Cello Concerto is about half the length of either his symphonies or violin concerto. Within this newfound structural tautness and four concise movements, Elgar orchestrated with characteristic skill, never overwhelming the solo line. The soloist introduces the piece with a recitative passage which flows naturally into the main theme of the first movement, in 9/8 time; a three beat pulse which then changes for a second theme in 12/8, four beats, later switching from E minor to the major. The music then goes back through these stages giving the movement overall symmetry. The recitative returns without a break, introducing a G major scherzo in 4/4 time. After the

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wistful first movement, this in contrast is all wit and charm. The third movement is a short Adagio in the remote key of B flat. Here, the emotional core of the piece, Elgar shows in four and a half minutes how music may express something impossible by other means. The soloist plays for all but two bars and there’s perhaps an echo of B.G.N. (Basil Nevinson, a ‘cellist friend) from the Enigma Variations. Eight bars of full orchestra introduce the finale, ringing key changes from B flat (minor) back to E minor for another solo recitative before the movement gets fully under way in a brisk duple, almost march-like, rhythm. Though there are passages of jauntiness and wit, a slower section toward the end brings a reflective mood leading to an anguished reprise of music from the Adagio. The recitative from the concerto’s opening then calls soloist and orchestra together for a resolute, even defiant, close in the minor key.

I N T E R V A L

ANTONÍN DVORAK (1841 – 1904)

SYMPHONY NO. 8 IN G OP. 88Allegro con bio Adagio Allegretto grazioso Allegro ma non troppo

Dvorak’s Eighth Symphony was composed in 1889 and first performed in 1890 to mark his election to the Bohemian Academy of Science, Literature and Arts. The Prague première was followed by performances in England where Dvorak was always well-received and where this work was first published in England.

Of Dvorak’s later symphonies, the Eighth is the most distinctively Czech and genial, even at times pastoral, in mood. Though liberties are taken with traditional sonata form, the work as a whole has a real sense of unity and all sections of the orchestra have both technical challenges and wonderful tunes. Though the 'official' home key is G major the piece opens with a ’cello theme in the minor rapidly followed by a flute reply, taken up by full orchestra and then a third theme is introduced by the ‘cellos. These are the main material of the movement though it is not developed in a strict symphonic form. The slow movement shows the same alternation between minor and major, starting in C minor but with episodes, the first with solo violin, and close in the major. Significantly the third movement is not labelled a scherzo. After the reprise of the first section we have a surprise: a cheeky coda in duple time whisks the movement to a close. A trumpet fanfare introduces the finale but then there is another surprise: an abrupt switch to a quieter version of this tune on the ‘cellos. This however gives way to a brash full orchestra. Again, this movement is not structurally typical – neither quite sonata form, rondo nor theme and variations. But there is plenty of contrast, with a rather dreamlike section before a rousing close.

Alastair Whitelaw, February 2017.

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GLASGOW ORCHESTRAL SOCIETY

VIOLIN I Aaron Jamison LEADER

Sioban FraserClaire Gilson^

Morag GreigAlan Laing^

Diana McCroneKatharine MuirMeg MunckMaureen QuinnMary SinclairLaura StewartLynsey StewartMaria TahenyChris Upson^

VIOLIN IILindsay Pell *

Andrew BullBarbara De La RueMichelle DiamondDonald GibsonClaire HollingworthFiona KettlewellRhii LeakeNicky MacEwanJulie MurrayChristine PatersonKaren RatcliffeLiz SimePat Woodcock

VIOLALynne Anderson*

Stephen BarnettMartin BuchanRussel EcobRobert FeeFrances GoldmanChristine JohnstonChris LennoxSue MathersSheila Nicol

CELLOSarah Moyes*

Natalie ArandtsBen Denton-CardewAmy MacLeanDiana McNeiceNena RichesAlayne SwansonAlastair Whitelaw

DOUBLE BASSAnn Westwood*

Ari Loughlin^

Diane MackieIan McTier^

Zoe Roberts

FLUTELorna McTier*

Simon Dennis

OBOEAnne Chalmers*

Alison Simpson

COR ANGLAISAlison Simpson*

CLARINETJudith Mitchell*

Lorna Holn^

BASSOONStephanie Dancer*

Nicola Moyes

HORNGail Graham*

Jethro BrowellTom FergusonFiona Sim

TRUMPETAllan McPhee*

Fergus Duncanson

TROMBONEAngus McIntyre* Naomi Browell

BASS TROMBONEKeith Anderson*

TUBAStuart Mortimore*

TIMPANIPhilip Woodrow*

PERCUSSIONCaitlin Diver^

James EdmondDouglas Gibson^

HARPFiona Barnes^

PRESIDENT Ann Westwood

SECRETARY Claire Hollingworth

LIBRARIANS Sue Mathers Rhii Leake

FRONT OF HOUSE Rona Gibson Sandy Nicol Elliot Simpson

HONORARY FELLOWS Neil Butterworth Ruth Maguire Jim Meldrum Sally Wilson

* Section Principal ^ Guest player

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SPONSORSHIP

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G L A S G O W O R C H E S T R A L S O C I E T Y G O S . O R G . U K

WE HOPE YOU ENJOYED TONIGHT’S CONCERT AND LOOK FORWARD TO SEEING YOU AGAIN!

Our next concert......is on Sunday 21 May at 7.30pm here in the Stevenson Hall, Royal Conservatoire of Scotland. The conductor will be Robert Baxter.

Verdi: Overture, The Force of Destiny

Strauss: Four Last Songs Soprano: Maria Kozlova

Bruckner: Symphony No. 4

Tickets are already on sale from the Box Office – we look forward to seeing you then!

And we hope you will stay behind afterwards to meet the orchestra in the bar which will be open until 10pm that evening.