We’re having such fun planning this treasure hunt!

Quick update: this Friday (1st May), two players from the Scottish Chamber Orchestra (flautist Alison and cellist Su-a) will each hide a book at a secret location, one in Edinburgh, one in Glasgow. We’ll post clues to their location here at 3:30 on Friday afternoon. If you follow the clues correctly, you won’t just get a free book, you’ll win a pair of tickets to an SCO concert!

The concert is something special. It’s called “Bass Notes” and includes a world premiere of Concerto Op 42 ‘Sonnambulo’ for double bass and orchestra by Icelandic composer Haflidi Hallgrímsson. Dates are: Friday 8th May, 7:30pm, Glasgow City Halls and Saturday 9th May, 7:30pm, Edinburgh Queens Hall.

For interviews with composer Hallgrímsson and soloist Nicholas Bayley, read on…

Haflidi Hallgrímsson, former Principal Cellist of the SCO, talks about his working routine and inspiration.

On writing for the SCO…
“No musical organisation has provided me with so many wonderful opportunities, not only to perform as a cellist and to conduct, but also to compose. Knowing the Orchestra as well as I do removes any worries regarding performances of the composition in question.”

On inspiration and sleepwalking…
“I take titles for my compositions seriously, and a final choice can take time. “No string instrument of the orchestra is as elusive and mysterious as the double bass. By adding ‘Sonnambulo’ to the title, I have given myself an opportunity to enter the dark and mysterious world of sleep and strange dreams. My task is to compose music worthy of this instrument – which is so shy of the limelight – and to dream up interesting music, but remain at the same time ‘profoundly awake’.”

On his composing routine…
“I follow a strict routine when composing. I’m usually at my desk at 9am, but if I’m under pressure I often start much earlier. I have coffee at 11am, and then continue working until about 2pm. When I start on a new composition I have already thought a great deal about it, and usually have many musical fragments of ideas on pieces of paper. I used to have well thought out plans for a new work, but nowadays I have greater faith in my musical instincts, and work more intuitively.”

On working with paper and pencil…
“Stravinsky said once that he composed music, “Viss a rubber”. I’m no Stravinsky, but that answer could equally apply to me, as I’ve rubbed out more notes than eventually were left on the page. I never use a computer when I’m composing. I need obstacles to slow me down. A pencil and a rubber do that very well.”

On the new work for double bass…
“I find it impossible to describe the concerto that I’m now composing, as it’s still in my ‘musical womb’. When the birth takes place, I shall be as surprised as everyone else. Hopefully, pleasantly surprised.”

SCO Principal Double Bassist, Nicholas Bayley talking about life with the Orchestra and having a concerto written just for him.

On performing as a soloist with the SCO…
“The double bass is rarely heard as a solo instrument and often people expect a low, grumpy sounding growl and nothing else. But actually it can have a charming and beautiful sound if played well. When performing as a soloist I feel quite a responsibility because I’d like to be able to show people just how lovely it can sound… When I’m soloist with the SCO the only thing I have to worry about is playing my part well, because I know my colleagues always provide the perfect support for any soloist.”

On having a concerto written just for him…
“The idea for Haflidi to write a bass concerto for the SCO and its principal bassist came from Adrian Bornet (SCO Sub-principal Bassist). Haflidi had written concertos for violin, viola and cello but not the bass. Now it’s fi nally about to become a reality, I feel very privileged to be performing the world premiere – it’s an opportunity of a lifetime for me. I’ve no idea what the concerto will be like yet, but am sure I will enjoy learning and performing it. I imagine it will be full of beautiful melodic lines and will show the full range of sounds and colours that the bass is capable of producing.”

On his double bass…
“I was keen to commission a new instrument and tried many instruments from today’s leading makers. The basses by George Stoppani in Manchester were among the best I tried and so I had one made for me in 2002. When I played it for the first time I instantly loved it. It has a warm, rich and powerful sound. Ironically George isn’t so keen on making basses, as he says it gives him a sore back! A couple of years ago I had an accident and fell on it, completely damaging the front, but after George repaired it, it sounded even better than it did before.”

On favourite SCO guest artists…
“Sir Charles Mackerras is my absolute favourite conductor to work with, as he’s such a wonderful and inspiring musician and a great person for whom I have absolute respect. Every time the SCO has a project with him I feel like I’m part of something very special.”

If you like the sound of the concert, but don’t want to count on winning the treasure hunt, then you can book tickets from the venues: Glasgow Concert Halls or The Queens Hall, Edinburgh.