Events are listed by date, then city. Submit listings at least ten days before publication to morag.bruce@list.co.uk. Listings are compiled by Morag Bruce, Frances Boyson and Carol Main.
Thursday 1 7
G asgow I Music in the University: Andrew Somerville, Ailsa Reid and Claire Haslinlilnxyou l unciul} ( l‘ll\L.ll II.III. l lll\L‘l\ll} \wnuc. WI -1ll‘l_‘ I III 3pm I-rn‘ \ pulloiumuu' Io IIIL IlltIk' Ilwil'x ( on. I III/III ./.. ( mm: n; and I'ulIon‘x Si (III/\ll Sui/i I Ensemble Playing Masterclass I<S.«\.\ll). Illll Rchln'u SIII'I'I. {‘3 *IIV 3pm I‘Iw. Ilt'kuII-II \\iIh I luv \ll\ Illa“
City of London Sinfonia: Mendelssohn in Scotland Royil ("ohm-ll Il.iI|. 3 \JIIL’IIII'ILIII Slim-I. I“
xuuu " IIIpm IN [3‘ \cc IIIIII\I. [myt- ()3 Edinburgh
I Piano Recital RCIII (‘onu-u II.lII. Iliixlo Squaw. (NI 3133 I Illpm Ilt't' ('.ipli\.ilin§: _\HIIII}_‘ pmth '\IIIIIL'\\ ,Iohuxlon [It'llillllh \\IIII\\ II) (‘hopm .uul Ruwl.
I Scottish Opera: Semele l‘cxuml Ilk‘llllt'. I I 3" \lullvlll Sllt't‘l. ‘3" (MIN). (LIIIIIIII St‘nlllxh ( )pcm'x Inglil} \Ilt't'c\\llll \t'.l\HI| \‘IIIIIIIIIII'x \\ Illl llumlcl‘x ilIllHl'UlIS \clluig ol Si in. /¢ . .i llihlc ol llllIlIUll.IIll_\. Illt'.llll\ .lIlII \IL'L'IIIC\\ llljJIll\
I Curlew River Sl .\l;u_\ \ l-pm-owl (hlllullul. I’ulllit'lxloll I’qu‘. (I05 3III‘I, Spin. t'lll (£5). \luhogun} ()pcigi pruculx .i highl} ilt't'HIIIPIISIlCII pcl‘lornmncc ol Ilrillcn'x mm In; t'huu'h purulilc. ('ur/r'u RIM I. IIISPIICII II} lllk‘ .incicnl .Iilpilllt‘St‘ \oh plug. Ihc uiuxit'lunx ol Ihc lllUllilSIL'I} u-Icll lIIc \IUI') ol .1 dcluculnl molhcr Ill \mit'h ol her on| \on. 'I'hix nc“ [IIIHIIIL‘IIIIII |\ lull} \Iugt‘ll \Hlll \cI. (INIIIIIIIN .unl lighluip Iltwignul \pt'cilit‘ull} loi lllk' Ilixllut‘uxc clilliulrnl \urroumhnp.
I Yeomen of the Guard King\ ‘I'IIK‘IIIIL'. I.L‘\L'll Sll't‘k'l. 53‘) ()lIlIlI. 7.30pm. L'II LII. l’rmm. cwupc. .i chlcl and .i uiurlmgc lll llll\ cluxxu‘ (Illl‘t‘l'l .lml Sullimh lulu ol ioumnu' .lllll (ICL'L'PIIUII. \L‘l Ill IIIL' In“ t‘l’ III IIIIIIIUII I Grieg or Greig? ('il} .-\II ('chllc. \Iurkcl SIru‘I. 13.30pm. I~rcc .iI IIoor. luck \Vcl‘xlci. urilci. lu‘omlmxlcr .iuil _|Ulll'll;lll\l you lll \mrt‘h ol Ihc \omcgmn compowr‘x Scollhh t'Ullllt‘L‘llUlh .lS purl ol .\'or\\;i_\ 3Illl5 t't'lt‘l‘l'illlflllS.
Friday 18
Glasgow
I Piano Department Concert RS.-\.\ll). IIIII chlrcxx Sum. ‘33 SUV Ipiu. U» l [I I. .\ cclchruliou ol Ihc norm lrom Ihc \Iudcnh lroui Ihc tlcpurlmcnl.
I Scottish Chamber Orchestra RS.-\.\ll). IIIII chlrc“ SIrccl. 3‘3 50“ “.SIIpm. .-\n .-\mcric.in Ihcmc Lilo o\ c1 Ihc I;iIc\I Ill Ihc S('() ‘.»\II\CIIIurcr' \ciicx ’I‘hc omniprcwnl lturhcr .liluzm .iml \cl'cnc I'm/m ('nm uh». \xilh \HIth .I.IIIIC\ lilIIk‘\. .u'c nmlghcil \\l'll I\\o ol lxcx' orchmlml \ucccxxcx. 'l‘hc SUN/Ilium .\'u.\'.' I/n' (UNI/I .l/I'I'Im‘.’ lecx IlllUlilllUlh and h_\ hm llk‘IIlL‘\ Io crmIc .i colourlul l;ll‘lL‘;lll. \\IIIIC I’lml' /,/(1(( x m .\’m ling/um] l\ .m .ulwnlurom rcminixccncc gihoul Ihrcc Iotuuonx \\ llll hixloricul \igmlimncc. I’rc-concciI l;llI\ .iI (\.3(lpiii h} conductor s\mht‘\\ IIIIon; II‘L‘C III llt‘lu‘l llllltlL‘l'S,
Edinburgh
I Lunchtime Concert SI (lilcx‘ (XIIhcdrul. RU);II .\lilc. 335 “443. l3.I5pm. I‘rcc. 'I‘hc l’.ilmcr I'riniI} Iliin
\fiool Itaull fiozu \l:..uii g‘.'if~":.\ Il‘m Iullthluuu .wu..'II
I Dunedin Consort with Ludus Baroque I riv} Ill.il\ Ixul. (us; Y::.::\ I’I.i..'. NW 3"I‘l ‘ *Hpu. Huhk lllIIIlllIllg'llIJl .I‘n'lul ".‘.HlI.. Ihc \' ll..."r;.. )lmw'r‘l. l\ [‘I.‘\'III\'\I Ill IuII \plculloui In Ih.‘ II'IIIICII IluuuluM ouwil l ruler lIl.’ IIIII'JII'II ol Iohu Hull. III." .hou KKIII IM'IIIIIIII IIII' ouc lo .I {kill wrxlou ol Ill.- ‘.‘.IIIII..IlllI1I\III'I.II‘IU\L‘.I\I'Il.llI'II.‘IIIIL' I Royal Scottish National Orchestral \Ilt‘l Il.iII. l ollu.ul Ix’o.ul. .‘3\ II“ ' *Ilpui \\.lllt'l \\.'Ilci \I‘IllIlI\l\ Ih.‘ will. .ll lllk' puum. It' ol \Io/.uI\ ‘.‘.lll\l \‘.llllll_'_'. Iu\ ( [Hi/m f (um I III‘. .iIoufgxult' III-cllioqu I'\I‘\.lll‘~k' I’IHI'I‘le \‘./Il’,”/III".'. .IIIII (hi/mm; (L. mm \\ llll . I.llIIlk‘lI\l Iohu ('uxhiu):
I Edinburgh Symphony Baroque (unoupulc klik. Ro}.il \lIIr. UNIV I‘VVI " Illpui {Wit-II ll.u1IIc|\ larch pclloiuml Him I. \ l’l.’\\/I‘l.' I\ my l.ll\'\l lll .i liuc ol It'xx l.llllll|.Il mil} .homl \\Hll\\ Io by Lu klul II} llux toting: lillllI‘lHL'Il «uwullrlc. II'III'V-III'II loi Ihcu .lllI'lIlIHII Io llk'ldll .lllll llIIlllllk' III\IIIII\.llI_\ lIllUllllL'II pcilolumuu‘ \IIII‘
I Curlew River SI \I.u_\ \ l.l‘l\\l'l‘.ll (Lilht'llml. 3* I).IIIIIL‘I\IIIII I’LM'. 33* “3‘” Spin LIIIILSI Sm- Ihu I"
Saturday 1 9
(3 zlsgow
I Milngavie Choir: Carmen \IIIII;.'.i\ IL' lo\\u Il.i||. \IIIIIIJAHI'. ‘IS‘I SUSS ' illlml L.\ IUH \ t'IIllt’L‘lI [\‘IIHIIIIJIItI' oI III/cl'x lici) opcm (Imm u. \\ iIh _‘..‘ll\‘\l \HIHI\I\ Li} IoI
\\ ilxou. .Io.ih I)|IlHll. .Ioh.iIh.iu Il.l\\I\III\ .iml ( Il.lIl.IlIl | l\lt'l.
I Royal Scottish National Orchestra l<o_\.il ('ont-t-il II.lII. .7 S.iut'hich.i|| SIII‘I'I. I“ Mill“ 3 zllplu Scc I'll IS.
I BBC Radio 3: Cutting Edge Haydn 1 Billy “.1”. l iiiwml} ol (il.i\):o\\. l'iuwml} \whuc. Iill III‘I3 Spin. I-rcc. ho Iit‘kt'l icquuml, .\ Luv l'K .ippmmut'c lioui lllk' I'k'Slk'lIL'S ()uurIcl lroiu Humime \inh .i [K‘IIIIIIIMIKI' on l‘k‘llllll IIISIIIIIIIL‘IIIS ol II.l.\IIll.\ Slim; ()lldl'lt'h U/I 0-1 \l‘\ .‘I (I’ll/ 3.’ '//l( l(///\ '.
Edinburgh
I Lunchtime Concert SI (iilcy (lilhcdml. Ix’o}.il .\Ii|c. 335 0-1 I3.
I3. I 5pm. I'I'u'. (‘homl \cn lllfJ\ lroiu Ihc Hurlmon IIIlel School (‘hou liom 'Imux. I Scottish Opera: Semele luxuin IIIL‘JIIC. I “ 3‘) \lt‘lllxlill Sll’t't'l. ‘3‘) uuuo, (i,3lIlI|II. Su' Illll l“.
I Choral Classics l'xliui Hall.
I Illlllilll Road. 33S IISS. ", illpui,
Ur LII). Iilliuliuigh I{o_\.il (‘homl l’uioh [Il't‘u‘lll .i choral L‘\L‘lIl on .1 grand \t‘ulc. \\llll Ul}_‘illl|\l .Iohn Kilt‘hcn. l.;ui;_'l.u\'
,l/I \u‘ Ski/rum HI and It‘lglllon\ l/lt' SH/uull (' [w .l// Sum/x \\ III In: complcuicnlul II} .1 yolilcmporur} \Igllll lioih Ihv l.lIL'IllL'tl I-Ihhhurgh \‘oth (hon; .iml I’.ii'I} \ / llm (i/m/ \\ iIh lIIL' Irumpclx ol IIIL' Hand ol lllk' Ix’o).il \lglIIIIL'x.
I Chapterhouse Singers/St Mary’s Music School Choir and Orchestra SI .\l.u'} \ (Kilhmlml. l’.ilmcr\lon l’|.it‘c
3 :“PIN. llt'IxL'lV .Il IIIHII. L5 I\t‘llnnlt‘lllllll't‘ll Il'L‘t‘l. .IHIlll Rllllt'I'\
/\'I I/Il/I m .IIIII Il.imlcl\ mu \plcmlul Ail/wk .'/u /’m \I hung: .quII and )ouu; lllll\lt’l.lll\ Iogclhcl. \\ llll Ihc \UIL'L'S l.lI\lll:_‘ .I in! .l\ Ihc IIISIIUIIIL‘III.III\I\ plu} \Iu/Jrl‘x _\\I.’l/’/ltli.'\ \u 3“.
I Cadenza SI .Iohn‘x ('huit'h. I’iuigcx Slicclfllhqll3103‘II3, " 1llpui. t" 5H IL'SI .Icnn} Suuiciling dug-ch lIIl\ .lt‘t'lauhctl thou Ill .1 pciloi'maugc ol music It} \Iocmn. Ix’ullcr .mtl I’orlci \inh I.I\I\lllllt‘\ Irom (‘.ulcii/.i\ ucxx ('I)
\m. n I” ./o\. In .ml oI (‘hildhnc
I Edinburgh University Music Society Sinfonia le ('oIIt‘cI'I Ilull. Iii‘No Square. (fill 3433. _. illpm. {5 IUI. 'I‘houmx BuIIcr gomluclx Sllwluh‘ L‘Ilcl'gcllc lunmm/umn n 1/1 Illi‘llt /u‘. \lcntlclxonmK SI UHH/I Suzi/Ilium .md IIIHII II'I‘ ()I‘I III \ll'u'. III/It u'lluI III/(‘4! \t‘hillmx Sourqu
I Edinburgh University Renaissance Singers Rad \l.-iviori..l ( hui.h. \\.-\I \.i\;II.' It'IIJt‘t' 1“ :1 .ll «loot \luxi. Ioi l .I\l.‘l lioui lx’.~ii.u\\.:u..‘ Roms loi tlouhlc .1th Iiiplc .houx l’.il.‘\liiu.i\ Um ’I ’l .lII\I \ huh/o .Ic ( immhx‘ ‘.\.'II .n lll'.‘ l\)ll\\l.1ll \t'ISII'lI ol I) II/Ljil.‘ I I:.~.. lid} I." In \.i\il} liIo\. .u.‘ \oluc ol IIIK' Lucl} pulloiulul l‘lk'x’x'S Io lw IIU.II\I m IIII' .hoiik I.:\I .ouu'il oh hoiuc ground prior to Iouiuig.‘ lll \iiucum lIll\ I .l\lL'l I The Mary Erskine School Concert ( ilc} Ill.ll\ Kirk. Mic} Il|.Il\ I’I.i.c. NIS 3HI" " illpul Ilclt'u \IIILIIUII tomlutlx .I pioymiuuit' ol muxu pulloiuinl II} lIIk' Iuluoi \Llll‘lll I Scottish Chamber Orchestra ()uccuk lI.i|I. ('Icik SIII'L‘I. IIIIS .‘lll‘I “ zllpiu St'c I ll IS
JAM SI ('ulhlerK (‘huith g I olhmu Rmul. (HMS 3III‘I “ IIlplll LI3 It“ \‘I' Illlll\l. [mgc "3 I Yeomen of the Guard lxmyk IIII'JIIL'. I cwu Sliu‘l. *3" fillllll 3 Illpui .llllI ” zIllnu LII LI-I Scc I ll IS
H NIP”;
l /\( (INN. ‘1‘
Boarsdoh I Ben Kearsley and Ian Smith I’m-.imlcu \oilh l’.ui\h ( .IIlIILII. Ihoiu
Alexmder McCall Smith
I}. )I I Alil )HAI ll )IxI
Raul. ol? [hunch Rinnl. a I: ‘I ('I.:\\:..iI j.‘llll.ll \Iouhlc .itI
ll IPH} LS
I‘"ItltI\III‘Ig}l0II I Edinburgh Quartet lIoI\ Illllll\ hui.'l: I‘IV‘ WHIVI ‘ lIlpm {III I‘AI III." A. I.uiu.ul l Iiivihuigh (‘Illdllt‘l I‘ciloilu iiiuxx. III \l.l \\.::I. \lo.‘.uI .iull \hulwrl Io l‘zui; II.:II\IIII;_‘Iou( outril \otlclt \mwh II‘.1\l\‘\t‘ IIII I‘IIC «‘I IIIC \M‘IIIIS lg'.l\llllf_‘ \I'IIISIS. \II‘I.I\ \\.‘I\h. uho ru'u up uol loo I.:l .:\\.I\ III I ouguhIdn
lilllltllgow
I Fine Arts Brass Ensemble SI \litlmcl'x (‘huit h. Ihc kille,'.llk‘, III *IIII .\-1~131‘ ' Illpui Ur It.‘ t‘l lh‘ihxlt'ui. Ilm’ll. Ix’mxuu .uul l.llll\ .umuynl loi l‘l‘lkI I‘m“ I'IISI'IIII‘II' III I uililhgoxx \ll\ (iuiltl'x “III \llIIl\I'l\.ll_\ \mxou
l-ochwuiuoch
I Kathryn Stott I ot'lmiuuoth l’.ui\h ('hunh. (‘huith SIII'I‘I II\ kclx .iI IIINII
" Illpiu ()l|\l.lll\llll:.' I‘I.llll\l k.ilhi}h SIoII III .I “I'll mural piog'muuui' ol Ik‘huw}. I.II\I'Ill|l\ll. I\IN'\’IIIIII .llltl (‘hopilr .I\ “I'll .l\ Ihc .olouilul \ lll.l lohm .IIIII (Illl.l\lk'l.l lu .lltI ol IIIllII\ Io icluihixh Ihc Ill\lI\lI\ [LIIINII I huu h ()lIl} t'llu Io 33o. IIuI mun IHI \inI III‘II‘
SCOTTISH CHAMBER ORCHESTRA WITH ALEXANDER MCCALL SMITH: THE QUEEN WHO DIDN’T COME TO TEA Usher Hall, Edinburgh, 31 Mar; Glasgow Royal Concert Hall, 1 Apr
No, she’s definitely not going to her son’s wedding and who can be sure whether or not she will appear at the Scottish Chamber Orchestra’s tea party either. But what happens when you have invited the Queen to tea, lined up a top orchestra to play all of her favourite tunes and asked along
your friends hoping to impress?
Well, before the royal wedding shenanigans, the $00, with the help of everybody’s favourite writer, Alexander McCall Smith, had already examined what to do if the Queen decides she doesn’t really want to come play with you. Taking the form of a musical drama for families, The Queen Who Didn’t Come to Tea is a party to rival anything happening at Windsor.
The music is fairly standard orchestral repertoire that, for the most part, is reasonably familiar. Mozart’s Overture to II Seraglio, Walton’s colourful Henry V Suite, Ravel‘s Mother Goose and Britten’s Dances for Gloriana are examples. ‘Sandy McCall Smith is passionate about music and loves the SCO,’ explains the orchestra’s creative director Stephen Deazley. ‘What we’ve charged him to do is to devise an orchestral drama. Like all of his work it is funny and quirky and will speak to adults and children alike.’
The second event in the orchestra’s new Young Adventurer series, The Queen Who Didn’t Come to Tea is part of the SCO’s strategy to develop a new type of orchestral programming that challenges audiences as well as providing the thrill of a live orchestra on stage. Yes, it is drama, but the most important thing is the orchestra and they are very much centre stage. And at £25 for two adults and two kids, does it really matter if there is an occupied throne beside them or not? (Carol Main)
' 't' 2‘51? 7/)". THE LIST 91