Sun 22 Nov,15:00
The Queen's Hall, Edinburgh
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Performance Details

20/21 Season subscriptions and single ticket sales update: given the current situation we have decided to delay subscriptions and single ticket sales for now until there is more certainty about how and when concerts might be able to go ahead. We will update our website fully as soon as possible. Thank you. 

Serenade No 11 in E-flat K375 (25’)
Overflow (10’)
Symphony No 7 (36’)

SCO Wind Soloists
RCS Wind Students

It’s always a real pleasure to see the musicians of the Orchestra play alongside their counterparts from the Royal Conservatoire of Scotland at these two annual afternoon concerts in Glasgow and Edinburgh. We begin with the irresistible charms and elegance of Mozart’s sublime Serenade No 11.

Excitingly, we then present a new work by our Associate Composer Anna Clyne. Marking Scotland’s Year of Coasts and Waters, Overflow is inspired by Emily Dickinson’s poem By The Sea. As the title suggests, it will reflect on the concept of the word overflow in multiple senses – in water, nature, emotion and abundance – both positively and negatively. It will also be shaped by climate change, and the way in which the tiniest motion can create massive waves.

Speaking of making waves, there can be little doubt that the arrival in 1813 of Beethoven’s Seventh Symphony did exactly that. With its stirring melodies, pulsating rhythms and an exuberant finale, it’s no surprise that this masterpiece is as popular now as ever.

*Please note that the Mozart Serenade will only be played in Edinburgh

Digital editions of the programmes are now available for sale for £2 from These can be purchased and read online or downloaded the morning of the first concert of the week. We will then make these available free of charge the following Monday. 
Traditional printed programmes will still be on sale at the venue for £3.

SCO Wind Soloists


Scogroup002 biography block

"You'd be hard-put finding better wind ensemble playing. That these are colleagues, who sit next to each other day-in, day-out was evident in every sinuous interchange, every synchronised breath, every well-meshed articulation and intuitively balanced chord. As individuals, they play with the forthrightness of orchestral principals; as a group, they share nuances as instinctive chamber musicians". The Guardian