CARL MARIA VON WEBER

Wind ConcertosALEXANDER JANICZEK DIRECTOR

MAXIMILIANO MARTN CLARINET PETER WHELAN BASSOON ALEC FRANK-GEMMILL HORN

SCOTTISH CHAMBER ORCHESTRA

Recorded at Usher Hall, Edinburgh, UKFrom 5th 9th September 2011Produced and engineered by Philip HobbsAssistant Engineer: Robert CammidgePost-production by Julia Thomas, Finesplice, UKCover 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

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CARL MARIA VON WEBER (17861826)

Wind ConcertosClarinet Concerto No. 1 in F minor Op. 73, J. 114MAXIMILIANO MARTN CLARINET1 Allegro 7.572 Adagio ma non troppo 6.373 Rondo: Allegretto 5.50

Bassoon Concerto in F major Op. 75, J. 127PETER WHELAN BASSOON4 Allegro ma non troppo 8.335 Adagio 5.056 Rondo: Allegro 4.35

Horn Concertino in E minor Op. 45, J. 188ALEC FRANK-GEMMILL HORN7 Adagio 2.198 Andante con moto 8.559 Polacca 4.55

Concertino for Clarinet & Orchestra in C minor / E-flat major Op. 26, J. 109MAXIMILIANO MARTN CLARINETbk Adagio ma non troppo 2.42bl Andante 4.28bm Allegro 2.00TOTAL TIME: 64.31

SCOTTISH CHAMBER ORCHESTRAALEXANDER JANICZEK DIRECTOR

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It cant have been easy being the young Carl Maria von Weber. His father, FranzAnton Weber, was a violinist and bassist who had played in the famous Mannheimorchestra 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 leastthat meant that music and theatre were in the boys blood from the very start of his life.

More significantly, Franz Anton dreamt that one of his children would be a prodigylike the young Mozart, a desire only strengthened by the fact that he was the uncle ofConstanze Weber, who became Mozarts wife. Franz Anton was thus only too aware ofMozarts early successes. He took Carl Marias half-brothers Fritz and Edmund to Viennato 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 witha hip condition that made him limp throughout his life. However, he showed an earlyaptitude for music, and his father pushed him hard, encouraging him to study piano,counterpoint, bass, singing and composition. After Carl Marias mother, GenovefaBrenner (Franz Antons second wife), fell ill in 1796, the family settled temporarily inHildburghausen, where Carl Maria received his first proper musical schooling with localteacher John Peter Heuschkel. And when the family moved to Salzburg in 1797, hisfather ensured that his musical studies stepped up a gear, taking him to continue hiscounterpoint 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 hewas already making his own way in the musical world, and at 18 he was appointedconductor at the municipal theatre in Breslau.

Although maybe not quite the prodigy his father had hoped for, Carl Marianevertheless 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 Freischtz in1821 in Berlin made him the most talked-about composer of his time, and showed thathe could liberate opera from Italian influence and establish a truly German style.

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Yet he also excelled in smaller-scale instrumental music, as exemplified in the fourwind concertos on this recording. Perhaps inevitably, they often betray the profoundinfluence of Webers beloved opera, but that only adds to the pieces richness, bringinga freedom and expressivity to their melodic lines that are seldom found in contemporaryworks by other composers.

But why did Weber show such an interest in wind instruments, especially theclarinet? The start of the 19th century, when he was writing, was a pivotal time for theinstrument. It had reached a certain level of technical maturity, and a group of virtuosoplayers had grown up around it. The clarinettist Joseph Beer had established a Germanstyle 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 writefor the instrument. Mozart had already shown what the instrument was capable of inhis Clarinet Quintet and Clarinet Concerto, inspired by the playing of Anton Stadler.Weber knew these works, but it was another player who was to inspire him to write whatwould later become cornerstones of the clarinet repertoire.

Concertino for Clarinet & Orchestra in C minor / E-flat major Op. 26, J. 109In February 1811, aged 25, Weber embarked on a concert tour that he intended wouldtake 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 thecreation of his wind concertos. Armed with a letter of introduction to Maximilian Josefvon Montgelas, minister to King Maximilian I of the newly created state of Bavaria, hewas welcomed into the palace and introduced to the Queen, who requested that he puton a concert to display his musical skills.

Among the Munich court orchestras players was the clarinettist HeinrichBrmann. Born in 1784, Brmann had trained in Potsdam and served in a militaryband before he was captured by Napoleons troops in Jena. Upon his release, he hadreturned to Munich, and had later become widely known for his virtuosity on theclarinet following a concert tour that took in England, France, Italy and Russia.

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Brmann and Weber quickly became close friends during the composers stay inMunich. Seizing the opportunity offered by Brmanns presence, Weber immediatelyset to work on a piece for the proposed royal concert that would display both his ownand the clarinettists skills. The work would become the Clarinet Concertino.

The concert took place on the 5th April 1811, and Weber and Brmannperformed to a packed audience. The Concertino was a huge success with the court andthe public alike, to such an extent that the King commissioned two further clarinetconcertos from Weber (which he also wrote for Brmann), the first of which can also beheard on this recording.

Weber seems to have been intent on showing off Brmanns advanced performingtechnique in the Concertino, especially the tone colour and flexibility enabled by theten-key instrument that the clarinettist had recently started playing. Even in theclarinets second phrase, for example, theres a leap of more than two octaves designedto test the soloists control of tone colour and smoothness of phrasing.

The single-movement Concertino moves from a slow introduction in C minor toan Andante theme and variations in E-flat major, and finally a genial Allegro thatcontinues the E-flat major tonality. An emphatic C minor chord accompanied bypounding timpani launches the work, and the clarinet unexpectedly enters with aplaintive melody half-way through a phrase. Solemn horns in octaves mark thetransition to the Andantes amiable theme, and the clarinettist is soon put through hispaces in increasingly demanding and complex variations (even the first one is markedcon fuoco, literally with fire). The music suddenly dies away into a remarkable passagescored for the dark-hued combination of clarinet and divisi violas, a moment of stillnessamid the Concertinos frenetic activity. Its also an episode that mirrors similar passages,equally strikingly scored, in Webers other wind concertos. The music soon bursts backinto bright, vibrant life, though, and after a calmer section that harks back to theopenings C minor tonality, the piece heads to its brilliant conclusion with bubblingarpeggios from the soloist.

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Clarinet Concerto No. 1 in F minor Op. 73, J. 114Weber composed the first of the two clarinet concertos commissioned by KingMaximilian quickly, in April and May 1811 (he reputedly wrote the first movement, andorchestrated it, in a single day). It was first performed on 13th June 1811 in Munich,again with Heinrich Brmann, its dedicatee, as soloist.

Dont be fooled by the works high opus number, which does not reflect its date ofcomposition: 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 pieces initial performances,Brmann felt that the first movement ought to show off his abilities to greater effect, sohe inserted a short cadenza that functions like a flourish for the soloist.

Although it has contrasting themes, development, a cadenza and a form ofrecapitulation, the Concertos first movement is not strictly speaking in sonata form.Instead, the orchestra and soloist take a subject each. The cellos have the distinctivefirst subject, based around a rising and falling F minor triad, which explodes in toweringtutti chords that come as if from nowhere. Following stormy outbursts from theorchestra, 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 withembellishments from the soloist, a section featuring clarinet triplets leads to Brmannscadenza. A development section combines earlier themes, and the brief recapitulationpresents a restatement of the opening triad theme before the clarinet takes over insparkling runs and the movement subsides into a ruminative conclusion.

In the second movement, the clarinet floats an aria-like melody over gentlyrocking chords in the strings. The movements middle section is in two parts, the firsta brief but assertive C minor episode where the clarinet performs runs up and downover a wide range. The second is another of Webers dark-hued passages, combiningthe solo clarinet with a trio of horns in an exquisite chorale. A restatement of theopening 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 seemsintent on slowing down on two occasions. It reaches a temporary conclusion with a briefflourish that sends the clarinet up into its highest register, but continues in an

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introspective episode in D minor, breathless semiquavers from the soloist in a B-flatmajor passage, and joyful final bars.

Bassoon Concerto in F major Op. 75, J. 127It wasnt just Maximilian I who was impressed enough by Webers Clarinet Concertinoto ask the composer for further new pieces. A number of other instrumentalists fromthe Munich orchestra made similar requests. Weber wrote to his friend, the Germanmusic theorist Gottfried Weber (no relation):

Since I composed the Concertino for Brmann, the whole orchestra has been the verydevil about demanding concertos from me two Clarinet Concertos (of which one in Fminor is almost ready), two large arias, a Cello Concerto for Legrand, a BassoonConcerto. You see Im not doing at all badly, and very probably Ill be spending thesummer here, where Im earning so much that Ive something left over after paying mykeep 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 allthe orchestral musicians. The suggested Cello Concerto never appeared, and insteadof a Flute Concerto, the Munich flautists received a scholarly article entitled A NewDiscovery for Perfecting the Flute, providing a thorough technical appraisal of JohannNepomuk Capellers new flute design.

But the Munich bassoonist was luckier. Weber wrote his Bassoon Concerto atlightning speed, from the 14th to 17th November 1811, for the citys court bassoonistGeorg Friedrich Brandt, who had been a soloist before joining the Munich orchestra.Its first performance was on the 28th December 1811. The original printed copydescribed the work as a First Bassoon Concerto, raising the possibility that Weber wasintending further pieces for the instrument, although the ordinal disappeared fromlater editions and the work remained Webers only concerto for the instrument.

Weber the opera composer is again evident in the Bassoon Concerto. Here, itsalmost as if the soloist is playing a different role in each movement. In any case, Webershows the same sensitivity to the instruments colours and nuances as he did with the

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clarinet, and although theres a great deal of humour in the piece, any comedy comesentirely out of the music were definitely laughing with the soloist, rather than at him.

In the military-style first movement, the orchestral exposition lays out twocontrasting themes: a Beethovenian martial statement, full of dotted rhythms andrunning scales, and a more flowing, lyrical melody. Eight solemn timpani strokes heraldthe soloists entry, first in F major and then (after more timpani strokes) in a contrastingG minor. The development section focuses mainly on the march theme, with bravurapassagework from the soloist and distinctive triplet figurations. An efficientrecapitulation moves swiftly to a coda without any real cadenza for the soloist, althoughthere is plenty of sparkling solo writing in the movements final passages.

Despite its assertive dotted-rhythm opening gesture, which recalls the firstmovement, the Adagio in B-flat major showcases the bassoons lyricism, and as elsewherein Webers wind concertos its lyrical melody reminds us of the composers love of opera.As in the First Clarinet Concerto, a central episode accompanies the bassoon with justtwo horns in a glowing yet rather mysterious passage. After the briefest of cadenzas forthe soloist, the movement ends with a sense of dignity and tenderness.

The third movement is a witty, playful Rondo that allows the bassoonist to emergeas a comedian, demonstrating his skills with quick-fire passage work that takes in theextremes of the instruments range. After two contrasting episodes, a hectic coda iskicked off by an orchestral restatement of the Rondo theme.

The history of the Bassoon Concertos editions is a complicated one. Followingits 1811 premiere, Weber revised the piece slightly in 1822 when he submitted it to hispublisher Schlesinger, expanding some of the first movements orchestral tuttis andadding performance markings to the solo part. There are additional changes in an 1823set of parts, and to complicate matters still further, performances of the work nowgenerally use an 1865 edition that was heavily edited by an anonymous hand. For thisdisc, soloist Peter Whelan has reconstructed a version of the 1822 score from amanuscript in the Staatsbibliothek Berlin, which features an interesting minor-keyinflection in the opening ritornello and small yet telling changes to the dynamic andarticulation markings throughout.

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Horn Concertino in E minor Op. 45, J. 188Weber wrote his Horn Concertino as far back as 1806, when he was just 19, forC. Dautrevaux, a virtuoso horn player in the court orchestra in Carlsruhe, Silesia, andrevised the work in 1815 for his friend Sebastian Rauch in Munich. It seems that Weberdiscarded the original 1806 manuscript: we only know it exists because of a note in hishandwriting on the 1815 edition.

In several ways, the piece looks forward to the Clarinet Concertino of 1811: in itssingle-movement form; in its unusual structure that perhaps indicates Webers desireto move away from the traditional three-movement concerto format; and in its almostoperatic treatment of the solo part. It was written for a hand horn and would havepushed the soloists technique to its limits; the pieces preponderance of chromaticpitches look forward to the modern era of the valve horn. Significantly, just three yearsafter the premiere of the Concertino, Heinrich Stlzel and Friedrich Bluhmel patentedtheir horn design employing two piston valves.

The piece falls into four sections: an Adagio-Andante introduction; an Andantetheme and variations; a recitative; and a lively Polacca. It opens with ominous-soundingunison Es and Bs for the full orchestra, immediately establishing the E minor soundworld, which leads into a sorrowful horn melody in that even at this early stageexplores the extremes of the instruments range, with melodic leaps covering more thantwo octaves.

The sunnier, somewhat rustic-sounding Andante theme and variations sectionfollows after a short pause, in which the soloist plays a deceptively simple melody thatWeber puts through its paces in a series of increasingly embellished variations. The solopart 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 partagainst dramatic string chords, and the mood changes again for the stomping polaccadance in E major.

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

David Kettle, 2012

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Alexander Janiczek DIRECTORAlexander Janiczek, highly sought after as a director, soloist,guest leader and chamber musician, was born in Salzburgand studied with Helmuth Zehetmair at the SalzburgMozarteum and with Max Rostal, Nathan Milstein, RuggieroRicci and Dorothy Delay. He developed a close associationwith Sndor Vgh and the Camerata Salzburg, which he ledand directed for many years.

Alexander is an Associate Artist with the ScottishChamber Orchestra. He has led the Orchestra on toursthroughout Scotland, Europe and the USA and he continuesto be invited back as a director and soloist. He has alsodirected 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 Stravinskys Apollon musagte and Pulcinella Suite, which wasreleased on Linn. He continues to direct Camerata Salzburg and also appears withCamerata Bern, Orchestra I Pomeriggi Musicali of Milan, the Orchestra di Padova edel Veneto and the Swedish Chamber Orchestra. Alexander explores 19th-centuryperformance practice, appearing with Robert Levin and David Watkin, Sir RogerNorrington and with the Orchestre des Champs-Elyses under Philippe Herrewegheand La Chambre Philharmonique with Emmanuel Krivine.

As a chamber musician, he has also appeared with Joshua Bell, Thomas Ads,Christian Zacharias, Mitsuko Uchida, Denes Varjon and Richard Goode. Alexanderperforms with the Hebrides Ensemble on their recording of Olivier Messiaen: ChamberWorks for Linn. Lly^r Williams is now a regular duo partner of Alexanders and togetherthey have performed complete Beethoven cycles in Germany and the UK and madetheir London Wigmore Hall debut in 2011.

Much in demand at festivals across Europe, Alexander has appeared at Festivalde Saintes, Salzburger Festspiele and the Edinburgh International Festival. Alexander

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has also formed, through close musical partnership with artists who perform with asimilar musical aesthetic, his own chamber ensemble, Camerata Janiczek. In 2011, theensemble made its debut in Germany with a Mozart quintet cycle on period instruments.Alexander also works with young students in masterclasses and directing youthorchestras, and he teaches at Londons Guildhall School of Music & Drama.

Alexander Janiczek plays the Baron Oppenheim Stradivarius from 1716, which is onloan to him from the National Bank of Austria.

Maximiliano Martn CLARINETMartn was a tour de force. THE HERALD

Spanish clarinettist Maximiliano Martn has establishedhimself as one of the most exciting and charismatic musiciansof his generation.

Maximiliano was born in La Orotava (Tenerife) andstudied at the Conservatorio Superior de Msica in Tenerife,Barcelona School of Music and at the Royal College of Musicin London where he held the prestigious Wilkins-MackerrasScholarship. He graduated with distinction from the RCMand received the Frederick Thurston and Golden JubileePrizes. His teachers have included Joan Enric Lluna, Richard

Hosford and Robert Hill. Maximiliano was a prize-winner in the Howarth ClarinetCompetition of London and at the Bristol Chamber Music International Competition.

Maximiliano Martn was appointed Principal Clarinet of the Scottish ChamberOrchestra 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, EuropeanUnion Chamber Orchestra, Lundstate orkester Malm, Orquesta Sinfnica de Tenerife,KwaZulu-Natal Philharmonic Orchestra in Durban (South Africa) and MacedonianPhilharmonic under Brggen, Manze, Antonini, Swensen, McGegan, Gonzalez and

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Boico. He has enjoyed collaborations with London Winds, Hebrides Ensemble, DoricString Quartet, Edinburgh String Quartet and with artists including Maurice Bourgue,Sergio Azzolini, Pekka Kuusisto, Christian Zacharias, Jack Liebeck, Lly^r Williams, JulianMilford and Radovan Vlatkovic.

Maximiliano is a member of the London Conchord Ensemble. The group has aresidency at Champs Hill and plays regularly in the UK and abroad, including in theConcertgebouw Chamber Series, and at the Library of Congress in Washington D.C.,USA. They record regularly for Champs Hill Records (Menotti Clarinet Trio, PoulencComplete 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, Hall,Orquesta de Cadaqus, Bergen Philharmonic Orchestra, Munich Kammerorkester,Orquesta Sinfnica de Galicia, working with renowned conductors including Abbado,Haitink, Davis, Mackerras, Ticciati and Litton.

Maximiliano Martn has recorded several albums with Linn: his solo albumsFantasia and Vibraciones del Alma; the Mozart Clarinet Concerto with the ScottishChamber Orchestra; and Messiaens Quartet for the End of Time with the HebridesEnsemble. Numerous broadcasts for BBC Radio 3 have included the Nielsen ClarinetConcerto, Mozart Clarinet Quintet, Poulenc Sextet and Beethoven Quintet for Pianoand Winds.

He is one of the Artistic Directors of the Chamber Music Festival of La Villa de LaOrotava, held every year in his home town.

Maximiliano Martn is a Buffet Crampon Artist and plays with Buffet Tosca Clarinets.

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Peter Whelan BASSOONPrincipal Bassoonist with the Scottish Chamber Orchestrasince 2008, Peter Whelan was described by the PhiladelphiaEnquirer as an absolute master of fleet facility with a solidly plushtone of wondrous immediacy. He is in demand as a soloist andchamber musician and has received glowing responses fromaudiences and critics across the globe, including aGramophone Award for his recording of Vivaldi BassoonConcertos with La Serenissima in 2010.

As a concerto soloist, Peter has performed in many ofEuropes most prestigious venues, among them theMusikverein (Vienna), Lingotto (Turin), and the greatconcert halls of London including St. Johns, Smith Square

(Lufthansa Festival), and the Cadogan and Wigmore Halls. As a chamber musician Peterhas collaborated with the Belcea Quartet, London Winds, the Doric Quartet, and withTori 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 ofZelenka sonatas for Linn.

Equally at home on modern and historical instruments, Peter performs a diverserange of repertoire spanning over four centuries and has worked with many of Europesfinest symphony orchestras and directors, including the Orchestra of the Age ofEnlightenment (Sir Simon Rattle), the London Symphony Orchestra, the AustralianChamber Orchestra, the Philharmonia Orchestra, the English Baroque Soloists (SirJohn Eliot Gardiner), the Mahler Chamber Orchestra, Les Musiciens du Louvre andOper Zrich.

Peter joined the teaching faculty of the Royal Conservatoire ofScotland in 2010, and has given masterclasses at the Guildhall Schoolof Music & Drama.

Peter Whelan is a Heckel artist.

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Alec Frank-Gemmill HORNBorn in 1985, Alec Frank-Gemmill ranks among the finestof a new generation of horn players. He is recognisedinternationally for the beauty of his tone and the keen senseof musicianship he brings to performances of works by a widerange of composers.

Alec has been Principal Horn of the Scottish ChamberOrchestra since September 2009. He also appears regularlywith other ensembles as soloist, chamber musician or firsthorn. As a prize-winner of the 2011 Aeolus InternationalCompetition for Wind Instruments, he performed RichardStrauss Horn Concerto No. 2 with the Dsseldorfer Sym -phon iker. He has performed the Serenade for tenor, horn

and strings by Britten with the Konzerthausorchester Berlin and Ligetis HamburgConcerto with the Scottish Chamber Orchestra.

Alec Frank-Gemmill has a special interest in period performance. Besides playingthe classical repertoire on the valveless natural horn with the SCO, he has championedthe use of early romantic instruments, such as the piston horn and Vienna horn. He isfrequently invited to perform with the Academy of Ancient Music as well as other periodinstrument orchestras.

Contemporary music is another special interest. Alec was a member of the LucerneFestival Academy under the direction of Pierre Boulez and has a close workingpartnership with the English composer Jeremy Thurlow (whose horn trios Orion andUnbidden Visions were written especially for him). As part of the Internationale FredenerMusiktage Festival, Alec performed Ligetis Horn Trio this concert was subsequentlybroadcast on Deutschlandradio Kultur and the festival was awarded the PraetoriusMusikpreis.

As a Making Music Young Concert Artist and then a member of the Countess ofMunster Recital Scheme for two years, Alec gave numerous recitals around Britain. He

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regularly performs chamber music with groups such as the Hebrides Ensemble, AuroraOrchestra and the Fitzwilliam String Quartet.

Alec is in demand as a Guest Principal Horn with various orchestras in the UKand abroad. Besides frequent appearances with the Philharmonia and LondonPhilharmonic Orchestra, he has performed with the Deutsche Kammer philharmonieBremen and Concertgebouw Orchestra Amsterdam. Other projects have taken him tothe Staatskapelle Dresden and Mahler Chamber Orchestra. Prior to his appointmentwith the SCO, he was Principal Horn of the Tiroler Symphonieorchester in Innsbruck,Austria.

Scottish Chamber OrchestraPrincipal Conductor ROBIN TICCIATIConductor Emeritus JOSEPH SWENSENAssociate Artist RICHARD EGARRAssociate Artist ALEXANDER JANICZEKChief Executive ROY MCEWAN4 Royal Terrace, Edinburgh EH7 5ABtel: +44 (0)131 557 6800email: info@sco.org.uk web: www.sco.org.uk

The Scottish Chamber Orchestra(SCO) was formed in 1974 with acommitment to serve the Scottish community, and is amongst Scotlands foremostcultural ambassadors. One of Scotlands five National Performing Arts Companies, it isinternationally recognised amongst the finest chamber orchestras in the world.

The Orchestra performs throughout Scotland, including annual tours of theHighlands and Islands and South of Scotland, and appears regularly at the Edinburgh,East Neuk, St Magnus and Aldeburgh Festivals and the BBC Proms. Its busyinternational touring schedule, supported by the Scottish Government, has recentlyincluded many European countries as well as India and the USA.

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The Orchestra appointed Robin Ticciati to the post of Principal Conductor fromthe 2009/10 Season. Since then, Ticciati and the Orchestra have appeared together atthe Edinburgh International Festival, have toured in Italy, Germany and Spain and havereleased their first recording Berliozs Symphonie Fantastique (Linn). They have receivedconsiderable acclaim for their programming and performances together:

The Scottish Chamber Orchestra and its Principal Conductor, Robin Ticciati, havealready become one of the great partnerships in British music.DAILY TELEGRAPH

The SCO works regularly with many eminent guest conductors includingConductor Emeritus Joseph Swensen, Associate Artist Richard Egarr, Olari Elts, AndrewManze, John Storgrds, Thierry Fischer, Louis Langre, Oliver Knussen and NicholasMcGegan; regular soloist/directors include Christian Zacharias, Piotr Anderszewski andAssociate Artist Alexander Janiczek.

The SCOs long-standing relationship with its Conductor Laureate, the late SirCharles 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, includingpieces by Composer Laureate Sir Peter Maxwell Davies, Martin Suckling, Mark-AnthonyTurnage, Judith Weir, Sally Beamish, Karin Rehnqvist, Lyell Cresswell, HafliiHallgrmsson, Einojuhani Rautavaara, 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 hasattracted interest and invitations from overseas. The Orchestra broadcasts regularly andhas a discography now exceeding 150 recordings.

This album is the sixteenth in a series of recordings whichthe SCO is producing in partnership with Linn.

The Scottish Chamber Orchestra receives funding from theScottish Government.

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1st Violin Alexander Janiczek, Ruth Crouch, Lise Aferiat, Aisling ODea, 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

Oboe Robin Williams, Rosie Staniforth

Clarinet Maximiliano Martn, Lawrence Gill

Bassoon Peter Whelan, Alison Green, Fraser Gordon

Horn Alec Frank-Gemmill, Harry Johnstone, Patrick Broderick

Trumpet Peter Franks, Shaun Harrold

Timpani Ruari Donaldson

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

For even more great music visit linnrecords.com

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K Violin ConcertoMENDELSSOHN Violin ConcertoMOZART Colloredo SerenadeMOZART Divertimento & Oboe QuartetMOZART SerenadesMOZART Symphonies 38-41MOZART Symphonies 29, 31, 32, 35, 36MOZART Wind ConcertosMOZART RequiemPROKOFIEV Symphony No. 1SIBELIUS Theatre Music

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Weber Wind ConcertosClarinet Concerto No. 1 in F minor Op. 73, J. 1141 Allegro 7.572 Adagio ma non troppo 6.373 Rondo: Allegretto 5.50

Bassoon Concerto in F major Op. 75, J. 1274 Allegro ma non troppo 8.335 Adagio 5.056 Rondo: Allegro 4.35

Horn Concertino in E minor Op. 45, J. 1887 Adagio 2.198 Andante con moto 8.559 Polacca 4.55

Concertino for Clarinet & Orchestra in C minor / E-flat major Op. 26, J. 109bk Adagio ma non troppo 2.42bl Andante 4.28bm Allegro 2.00TOTAL TIME: 64.31

ALEXANDER JANICZEK DIRECTOR

MAXIMILIANO MARTN CLARINET

PETER WHELAN BASSOON

ALEC FRANK-GEMMILL HORN