CARL MARIA VON WEBER

Wind Concertos
ALEXANDER JANICZEK DIRECTOR

MAXIMILIANO MARTN CLARINET PETER WHELAN BASSOON ALEC FRANK-GEMMILL HORN

SCOTTISH CHAMBER ORCHESTRA

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

CARL MARIA VON WEBER (1786 1826)

Wind Concertos
Clarinet Concerto No. 1 in F minor Op. 73, J. 114
MAXIMILIANO MARTN CLARINET

1 Allegro 7.57
2 Adagio ma non troppo 6.37
3 Rondo: Allegretto 5.50
Bassoon Concerto in F major Op. 75, J. 127
PETER WHELAN BASSOON

4 Allegro ma non troppo 8.33

5 Adagio 5.05
6 Rondo: Allegro 4.35
Horn Concertino 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 MARTN CLARINET

bk Adagio ma non troppo

bl Andante 4.28
bm Allegro 2.00

2.42

TOTAL TIME: 64.31

SCOTTISH CHAMBER ORCHESTRA

ALEXANDER JANICZEK DIRECTOR
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It cant 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 boys 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 Mozarts wife. Franz Anton was thus only too aware of
Mozarts early successes. He took Carl Marias 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 piano,
counterpoint, bass, singing and composition. After Carl Marias mother, Genovefa
Brenner (Franz Antons 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 Freischtz 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.
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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 Webers 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 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 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 orchestras players was the clarinettist Heinrich
Brmann. Born in 1784, Brmann had trained in Potsdam and served in a military
band before he was captured by Napoleons 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.
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Brmann and Weber quickly became close friends during the composers stay in
Munich. Seizing the opportunity offered by Brmanns presence, Weber immediately
set to work on a piece for the proposed royal concert that would display both his own
and the clarinettists skills. The work would become the Clarinet Concertino.
The concert took place on the 5th April 1811, and Weber and Brmann
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 Brmann), the first of which can also be
heard on this recording.
Weber seems to have been intent on showing off Brmanns 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
clarinets second phrase, for example, theres a leap of more than two octaves designed
to test the soloists 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 timpani 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 Andantes 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 Concertinos frenetic activity. Its also an episode that mirrors similar passages,
equally strikingly scored, in Webers other wind concertos. The music soon bursts back
into bright, vibrant life, though, and after a calmer section that harks back to the
openings C minor tonality, the piece heads to its brilliant conclusion with bubbling
arpeggios from the soloist.

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 Brmann, its dedicatee, as soloist.
Dont be fooled by the works 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 pieces initial performances,
Brmann felt that the first movement ought to show off his abilities to greater effect, so
he inserted a short cadenza that functions like a flourish for the soloist.
Although it has contrasting themes, development, a cadenza and a form of
recapitulation, the Concertos first movement is not strictly speaking in sonata form.
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 Brmanns
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 movements 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 Webers 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 24, which the clarinet mischievously seems
intent on slowing down on two occasions. It reaches a temporary conclusion with a brief
flourish 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-flat

major passage, and joyful final bars.

Bassoon Concerto in F major Op. 75, J. 127

It wasnt just Maximilian I who was impressed enough by Webers 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 Brmann, 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 Cello Concerto for Legrand, a Bassoon
Concerto. You see Im not doing at all badly, and very probably Ill be spending the
summer here, where Im earning so much that Ive 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 Flute Concerto, the Munich flautists received a scholarly article entitled A New
Discovery for Perfecting the Flute, providing a thorough technical appraisal of Johann
Nepomuk Capellers 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 citys 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 Webers only concerto for the instrument.
Weber the opera composer is again evident in the Bassoon Concerto. Here, its
almost as if the soloist is playing a different role in each movement. In any case, Weber
shows 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 comes
entirely 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 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 soloists 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 efficient
recapitulation moves swiftly to a coda without any real cadenza for the soloist, although
there is plenty of sparkling solo writing in the movements final passages.
Despite its assertive dotted-rhythm opening gesture, which recalls the first
movement, the Adagio in B-flat major showcases the bassoons lyricism, and as elsewhere
in 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 just
two horns in a glowing yet rather mysterious passage. After the briefest of cadenzas 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 passagework that takes in the
extremes of the instruments range. After two contrasting episodes, a hectic coda is
kicked off by an orchestral restatement of the Rondo theme.
The history of the Bassoon Concertos 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 movements 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.
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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 Webers 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 soloists technique to its limits; the pieces 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 Stlzel 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 68 that even at this early stage
explores the extremes of the instruments range, with melodic 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.

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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

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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 Sndor Vgh 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 Stravinskys Apollon musagte 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-Elyses under Philippe Herreweghe
and 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. Alexander
performs with the Hebrides Ensemble on their recording of Olivier Messiaen: Chamber
^r Williams is now a regular duo partner of Alexanders and together
Works for Linn. Lly
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
orchestras, and he teaches at Londons 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 Martn

CLARINET

Martn was a tour de force. THE HERALD

Spanish clarinettist Maximiliano Martn 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 Msica 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 Frederick Thurston 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 Martn 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, Lundstateorkester Malm, Orquesta Sinfnica de Tenerife,
KwaZulu-Natal Philharmonic Orchestra in Durban (South Africa) and Macedonian
Philharmonic under Brggen, Manze, Antonini, Swensen, McGegan, Gonzalez and
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Boico. He has enjoyed collaborations with London Winds, Hebrides Ensemble, Doric
String Quartet, Edinburgh String Quartet and with artists including Maurice Bourgue,
^r Williams, Julian
Sergio Azzolini, Pekka Kuusisto, Christian Zacharias, Jack Liebeck, Lly
Milford and Radovan Vlatkovic.
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 Clarinet Trio, 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, 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 albums
Fantasia and Vibraciones del Alma; the Mozart Clarinet Concerto with the Scottish
Chamber Orchestra; and Messiaens 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 Martn is a Buffet Crampon Artist and plays with Buffet Tosca Clarinets.

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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
Europes most prestigious venues, among them the
Musikverein (Vienna), Lingotto (Turin), and the great
concert halls of London including St. Johns, 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 Europes
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 Zrich.
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.
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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 Richard
Strauss Horn Concerto No. 2 with the Dsseldorfer Symphoniker. He has performed the Serenade for tenor, horn
and strings by Britten with the Konzerthausorchester Berlin and Ligetis 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 Ligetis 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 Kammerphilharmonie
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: info@sco.org.uk 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 Scotlands foremost
cultural ambassadors. One of Scotlands 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 Berliozs 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 Storgrds, Thierry Fischer, Louis Langre, Oliver Knussen and Nicholas
McGegan; regular soloist/directors include Christian Zacharias, Piotr Anderszewski and
Associate Artist Alexander Janiczek.
The SCOs 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, Haflii
Hallgrmsson, 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 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.
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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 Allen
Photography of Alec Frank-Gemmill, the soloists and orchestra by Chris Christodoulou

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CKD 409

ALSO AVAILABLE ON LINN

BARTK Strings, Percussion & Celeste
BEETHOVEN Piano Concertos 3, 4, 5
BERLIOZ Symphonie Fantastique
BRAHMS Violin Concerto
DVORK Violin Concerto
MENDELSSOHN Violin Concerto
MOZART Colloredo Serenade
MOZART Divertimento & Oboe Quartet
MOZART Serenades
MOZART Symphonies 38-41
MOZART Symphonies 29, 31, 32, 35, 36
v

MOZART Wind Concertos

MOZART Requiem
PROKOFIEV Symphony No. 1
SIBELIUS Theatre Music

Weber Wind Concertos

SCOTTISH CHAMBER ORCHESTRA
WEBER WIND CONCERTOS

MAXIMILIANO MARTN CLARINET

TOTAL TIME: 64.31

PETER WHELAN BASSOON

ALEC FRANK-GEMMILL HORN

C Linn Records 2012 P Linn Records 2012. Made in the EU.

Plays on all SACD and CD Players

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CKD 409

LINN RECORDS

SCOTTISH CHAMBER ORCHESTRA

WEBER WIND CONCERTOS

Clarinet Concerto No. 1 in F minor Op. 73, J. 114

1 Allegro 7.57
2 Adagio ma non troppo 6.37
3 Rondo: Allegretto 5.50
Bassoon Concerto in F major Op. 75, J. 127
4 Allegro ma non troppo 8.33
5 Adagio 5.05
6 Rondo: Allegro 4.35
Horn Concertino in E minor Op. 45, J. 188
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
bk Adagio ma non troppo 2.42
bl Andante 4.28
ALEXANDER JANICZEK DIRECTOR
bm Allegro 2.00