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HOUGH PLAYS SAINT-SAËNSSymphony Hall, Birmingham Wednesday 19 May 2021, 2.00pm & 6.30pm

Supported by

Supported by

OUR CAMPAIGN FOR MUSICAL LIFE IN THE WEST MIDLANDSYour support of the CBSO’s The Sound of the Future campaign will raise £12.5m over five years to:

Accelerate our recovery from the Covid-19 crisis so that we can get back to enriching people’s lives through music as quickly as possible

Renew the way we work for our second century, opening up the power of music to an even broader cross-section of society whilst securing our tradition of artistic excellence.

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Edward Gardner – Conductor

Stephen Hough – Piano

Saint-Saëns Piano Concerto No.4 25’

Mazzoli Violent, Violent Sea 9’

Debussy La Mer 23’

OK, so we’ve got a summer of staycations ahead – but today we’re off to the Mediterranean without even leaving Symphony Hall! Former CBSO Principal Guest Conductor Edward Gardner is always a welcome visitor here in Birmingham, and he’s our tour guide on a voyage that takes us to the sun-kissed seascapes of Claude Debussy’s La Mer (you’d never guess that he composed it in Eastbourne). As for Stephen Hough – well, the man whom critics have called “our greatest living pianist” is another old friend of the CBSO. Today he brings energy, elegance and genius-level insight to Saint-Saëns’ passionate Fourth Piano Concerto – you’ll wonder why we don’t hear it more often.

You are welcome to view the online programme on your mobile device, but please ensure that your sound is turned off and that you are mindful of other members of the audience. Any noise (such as whispering) can be very distracting – the acoustics of the Hall will highlight any such sound. If you use a hearing aid in conjunction with our infra-red hearing enhancement system, please make sure you have collected a receiver unit and that your hearing aid is switched to the ‘T’ position, with the volume level appropriately adjusted.

Audiences are welcome to take photographs before and after the concert, and during breaks in the music for applause. If you would like to take photos at these points please ensure you do not use a flash, and avoid disturbing other members of the audience around you. Please note that taking photographs or filming the concert while the orchestra is playing is not permitted as it is distracting both for other audience members and for the musicians on stage.

Keeping you safe: Please ensure that you are following all of the covid-safe measures that are in place, including: arriving at the time indicated on your ticket, wearing a face covering whilst in the building (exemption excluded), keeping a social distance from other audience members and staff, following signage and/or guidance from staff, and using the hand sanitising stations provided. Thank you.

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Camille Saint-Saëns (1835-1921)

Piano Concerto No.4 in C minor, Op.44Allegro moderato – Andante

Allegro vivace – Andante – Allegro

Having only recently been horrified by his Danse macabre and having long hated his Third Piano Concerto, the Parisian public must have been more than a little apprehensive about what they would hear when Saint-Saëns gave the first performance of his Piano Concerto No.4 in C minor at the Concerts Colonne in October 1875. But no concerto begins less sensationally. Without so much as a preliminary flourish from either the piano or the orchestra, the first violins enter quietly and almost hesitantly with a theme of modestly classical character and the piano just as quietly repeats it in slightly varied rhythms and harmonies. What is going on here?

In fact, as anyone who recognised the kinship between the theme of this Allegro moderato and that of the last movement of Mozart’s Piano Concerto in C minor might already have guessed, a theme and variations is going on here. However, although the variations proceed in a classically regular cycle of eight-bar phrases, shared evenly at first between soloist and orchestra, the piano figuration becomes ever more extravagant, more Lisztian than Mozartian, and the harmonies more chromatic.

Just at the point where the variation structure seems to be breaking down, activity ceases and the tempo changes to Andante for what is, in effect, a slow movement in A flat major. Beginning with one of those prophetic passages one sometimes finds in Saint-Saëns, in spite of his alleged conservatism, an atmospheric episode that could almost have been written by Rachmaninov precedes the entry of the main theme on woodwind. If this chorale-like melody is not simple enough to grasp on first hearing, it should certainly be familiar by the end of a movement designed specifically – though by no means unpoetically and not without the introduction of a seductive secondary theme on the piano – to fix it firmly in the memory.

The Allegro vivace in C minor, which follows the Andante after a short pause while the strings remove their mutes, is the scherzo section of the work. Brilliantly written and neatly constructed in three parts, with a middle section that gallops away on one note, the scherzo is not so self-contained as to exclude frequent references back to the theme of the opening Allegro moderato. Another Andante intervenes,

mainly to recall the secondary theme of the previous Andante but also to issue a reminder, just once, of the chorale melody from that same section. Then, on a change of tempo to Allegro and after a brief fanfare on horns and trumpets, the peroration begins. Set proudly in C major, it is based, inevitably, on the chorale theme, which is repeated in a variety of orchestral and piano colours, alternated with some not very interesting subsidiary material, and elevated as far as it will go before a sparkling coda finishes it off.

The verdict of the apprehensive Parisian public was that, while they didn’t like it quite as much as the Second Piano Concerto in G minor, the Concerto in C minor was a very acceptable if eccentric addition to the repertoire.

Programme note © Gerald Larner

Missy Mazzoli (b.1980)

Violent, Violent Sea

Violent, Violent Sea was commissioned by the Barlow Endowment and the League of Composers Chamber Orchestra, and was premiered at Miller Theater in New York City in June 2011.

This work began with more of an emotional impression than a precise musical idea. My early notes for the piece look something like this:

LOUD BUT SLOW. LIGHT BUT DARK. VIBRAPHONE. HOW TO DO THIS?

To my relief I eventually did figure out “how to do this.” The work evolved significantly from these early sketches but my idea of creating a loud, dense work with conflicting light and dark sides remained intact. The result is a ten-minute piece with a deceptively sparkling exterior and dark, slow-moving chords at its core. These chords grind against each other, dissolve into glissandos and crescendo into surprising dissonances under the glistening patina of vibraphone and marimba. This work is dedicated to Sheila Mazzoli, who loves the sea more than anyone.

Programme note © Missy Mazzoli

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Claude Debussy (1862–1918)

La Mer

De l’aube à midi sur la mer

Jeux de vagues

Dialogue du vent et de la mer

Debussy completed the orchestration of La Mer at Eastbourne in 1905. He had started the work two years earlier while on holiday at Bichain in Burgundy, which is about as far from the sea as one can get in France. But, as the composer explained, he had “an endless store of memories of the sea and, to my mind, they are worth more than the reality, whose beauty weighs down thought too heavily.” Besides, La Mer is not just an exercise in observation. Declared enemy of the symphony though the composer was, Debussy’s “three symphonic sketches” are at least as symphonic as picturesque. At the same time, while the imagery is clearly inspired by the movement of the sea and the changing light, it is more often a case of generalised atmosphere than specific detail.

Certainly, no one listening to the first movement, “From Dawn to Midday on the Sea”, could seriously claim, as Erik Satie so wittily did, to have “a particular liking for the little bit at a quarter to eleven”. It is safe to assume only that the movement opens in darkness and ends under the bright sun of midday – and that those two events correspond to the slow introduction, where several of the main thematic features begin to take shape, and the expansive coda, where the most important of them emerges in full glory. The intervening structure is divided into two parts, one a little quicker than the other. The first floats in on rippling violins and violas and more deeply undulating cellos. They bring with them a variety of themes which are to be combined in a brief but extraordinary climax of conflicting rhythms. The second surges forward on a handsomely harmonised entry of eight cellos and, after its central climax, recalls on cor anglais and muted trumpet a theme first heard on those same instruments in the slow introduction. This theme, it turns out, when it appears in chorale form on four horns in the coda, is the theme intended from the start to carry the sunrise message of the whole movement.

The central scherzo, “Games of Waves,” is so flexibly constructed that it seems to proceed on spontaneous impulse and so resourcefully scored that it seems to reflect every chance change of wind, current or light. Broadly, however, it is in three parts, the first of which presents an apparently infinite variety of thematic ideas – a dance on the cor anglais, a quicker flight of trills and triplet figures on the violins, a kind of bolero with its melodic line carried by cor anglais again under a rhythmic ostinato on flutes and clarinets. These are developed in the middle section, where another new theme makes its entry in the form of a trumpet call to urge the movement towards its climax. Debussy’s melodic invention is still not exhausted: in what might otherwise be called a recapitulation second violins and cellos introduce a waltz that rises through the strings in ever increasing animation before the wind drops and leaves the sea comparatively becalmed.

There is little calm in the last movement, which opens with the low rumble of an approaching storm on cellos and basses and a gust of wind on woodwind. As well as its descriptive function, however, the “Dialogue of the Wind and the Sea” has a long-term structural duty to perform. Within a few bars it recalls two motifs from the beginning of the work, including the muted trumpet theme which was converted to the midday horn chorale at the end of the first movement.

The main theme of this third movement, which is shaped as a rondo, is the chromatic melody on woodwind that seems to be running before a swift but capricious wind. The first episode recalls the trumpet theme, but at the bottom of the pitch range this time on bassoons and pizzicato cellos and basses, without relaxing the pressure until a distant echo of the chorale version of the same theme is heard on four horns. The chorale appears once more towards the end of the movement where – intoned by the whole of the brass section in counterpoint with the wind-swept rondo theme on woodwind – it fulfils its long-destined function of tying the whole work, symphony and seascape, indivisibly together.

Programme note © Gerald Larner

Here I am again with my old friend the Sea. It is still unfathomable and beautiful. It is one of the things in nature that really put you in your place. The trouble is, no one has enough respect for the Sea… It shouldn’t be allowed, those bodies disfigured by everyday life soaking themselves in it: but, really, all those arms, those legs moving in such ridiculous rhythms, it’s enough to make the fish weep. In the Sea there should be nothing but Sirens. But how can we expect those admirable creatures to come back to waters frequented by such bad company?

Debussy to Jacques Durand, Le Puys, near Dieppe, 8 August 1906

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THE PERFORMERSEdward GardnerConductor

Chief Conductor of the Bergen Philharmonic since October 2015, Edward Gardner has led the orchestra on multiple international tours, including performances in Berlin, Munich and Amsterdam, and at the BBC

Proms and Edinburgh International Festival. Edward was recently appointed Principal Conductor Designate of the London Philharmonic Orchestra, with his tenure starting in September 2021.

In demand as a guest conductor, the previous two seasons saw Edward debut with the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic, Wiener Symphoniker and the Royal Opera House in a new production of Káťa Kabanová ; while returns included engagements with the Gewandhausorchester Leipzig, Philharmonia Orchestra, Orchestra del Teatro alla Scala di Milano and Royal Opera House (Werther).

The 2020/21 season saw Edward open the London Philharmonic Orchestra’s season in a series of streamed concerts. Highlights with the Bergen Philharmonic included a celebration of Beethoven’s 250th anniversary with a two-week festival. Guest conducting highlights, and projects that will be rearranged due to COVID-19, include performances with the Symphonieorchester des Bayerischen Rundfunks, Orchestre Philharmonique de Radio France, Cleveland Orchestra, Chicago and Montreal Symphony Orchestras, Deutsches Symphonie-Orchester Berlin and Finnish Radio Symphony Orchestra.

He also continues his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010-16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms.

Music Director of English National Opera for ten years (2006-15), Edward has an ongoing relationship with New York’s Metropolitan Opera where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with the Juilliard School of Music, and with the Royal Academy of Music who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of The Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Stephen HoughPiano

Named by The Economist as one of Twenty Living Polymaths, Stephen Hough combines a distinguished career as a pianist with those of composer and writer. He was the first classical performer to be awarded a MacArthur Fellowship and was made a Commander of the Order of the British Empire (cbe) in the New Year’s Honours 2014.

In June 2020, Stephen reopened Wigmore Hall, performing the UK’s first live classical music concert in a major venue since the nationwide lockdown in March. Later that summer he made his 29th appearance at the BBC Proms performing Beethoven’s Piano Concerto No.2 with BBC Scottish Symphony Orchestra. Currently scheduled concerts in 2020/21 include concerto performances with the Philharmonia, London Philharmonic, Royal Liverpool Philharmonic, Royal Philharmonic, Bournemouth Symphony, Seoul Philharmonic and Sydney Symphony orchestras.

Stephen is a regular guest at festivals such as Salzburg, Mostly Mozart, Edinburgh, La Roque-d’Anthéron and Aldeburgh. Recent highlights include performances with the New York Philharmonic, the London Philharmonic Orchestra, Wiener Symphoniker, Cleveland Orchestra, Minnesota Orchestra, and the Finnish Radio, Tokyo, Toronto, Singapore and Iceland symphony orchestras.

Stephen’s discography of over 60 CDs has garnered international awards including the Diapason d’Or de l’Année, several Grammy nominations, and eight Gramophone Awards. Recent releases include Beethoven’s complete piano concertos (with the Finnish Radio Symphony Orchestra under Hannu Lintu), ‘The Final Piano Pieces’ of Brahms, ‘Vida Breve’ and solo piano works by Debussy. His award-winning iPad app The Liszt Sonata was released by Touch Press in 2013.

As a composer Stephen is writing the commissioned work for the 2022 Van Cliburn International Piano Competition, to be performed by 30 competitors in 2022. His String Quartet No.1 will be premiered by the Takács Quartet in December 2021. He has been commissioned by Wigmore Hall, Musée du Louvre, London’s National Gallery, Westminster Abbey, Westminster Cathedral, the Genesis Foundation, Gilmore International Keyboard Festival, the Walter W. Naumburg Foundation, the Cliburn Foundation, Orquesta Sinfónica de Euskadi and the Berlin Philharmonic Wind Quintet. His music is published by Josef Weinberger Ltd.

As an author, his collection of essays Rough Ideas: Reflections on Music and More, published by Faber & Faber in 2019, won the 2020 Royal Philharmonic Society Awards’ Storytelling category and was named one of Financial Times’ Book of the Year 2019. His first novel, The Final Retreat, was published by Sylph Editions in 2018. He has been published widely and is an Honorary Bencher of the Middle Temple, an Honorary Member of the Royal Philharmonic Society, a 2019-22 Visiting Fellow at Lady Margaret Hall, Oxford, a Visiting Professor at the Royal Academy of Music, the International Chair of Piano Studies at the Royal Northern College of Music, and is on the faculty of The Juilliard School in New York.

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CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Under the baton of its Music Director Mirga Gražinytė-Tyla, the City of Birmingham Symphony Orchestra (CBSO) is the fl agship of musical life in Birmingham and the West Midlands, and one of the world’s great orchestras.

Based in Symphony Hall, Birmingham, in a normal year the orchestra performs over 150 concerts each year in Birmingham, the UK and around the world, playing music that ranges from classics to contemporary, fi lm music and even symphonic disco. With a far-reaching community programme and a family of choruses and ensembles, it is involved in every aspect of music-making in the Midlands. But at its centre is a team of 75 superb professional musicians, and a 100-year tradition of making the world’s greatest music in the heart of Birmingham.

That local tradition started with the orchestra’s very fi rst symphonic concert in 1920 – conducted by Sir Edward Elgar. Ever since then, through war, recessions, social change and civic renewal, the CBSO has been proud to be Birmingham’s orchestra. Under principal conductors including Adrian Boult, George Weldon, Andrzej Panufnik and Louis Frémaux, the CBSO won an artistic reputation that spread far beyond the Midlands. But it was when it discovered the young British conductor Simon Rattle in 1980 that the CBSO became internationally famous – and showed how the arts can help give a new sense of direction to a whole city.

Home and Away

Rattle’s successors Sakari Oramo (1998-2008) and Andris Nelsons (2008-15) helped cement that global reputation, and continued to build on the CBSO’s tradition of fl ying the fl ag for Birmingham. As the only professional symphony orchestra based between Bournemouth and Manchester, the orchestra tours regularly in Britain – and much further afi eld. The CBSO has travelled to Japan and the United Arab Emirates in previous seasons, and in December 2016 made its debut tour of China. And its recordings continue to win acclaim. In 2008, the CBSO’s recording of Saint-Saëns’ complete piano concertos was named Best Classical Recording of the last 30 years by Gramophone.

Now, under the dynamic leadership of Mirga Gražinytė-Tyla, Associate Conductor Michael Seal and Assistant Conductor Jaume Santonja Espinós, the CBSO continues to do what it does best – playing great music for the people of Birmingham and the Midlands.

Meet the Family

The CBSO Chorus – a symphonic choir made up of “amateur professionals”, trained by Simon Halsey cbe – is famous in its own right. The CBSO Children’s Chorus and Youth Chorus showcase singers as young as six. Through its unauditioned community choir – CBSO SO Vocal in Selly Oak – the CBSO shares its know-how and passion for music with communities throughout the city. The CBSO Youth Orchestra gives that same opportunity to young instrumentalists aged 14-21, off ering high-level training to the next generation of orchestral musicians alongside top international conductors and soloists.

These groups are sometimes called the “CBSO family” – over 650 amateur musicians of all ages and backgrounds, who work alongside the orchestra to make and share great music. But the CBSO’s tradition of serving the community goes much further. Its Learning and Participation programme touches tens of thousands of lives a year, ranging from workshops in nurseries to projects that energise whole neighbourhoods. And everyone’s welcome at CBSO Centre on Berkley Street. As well as being a friendly, stylish performance venue for the lunchtime concert series Centre Stage and contemporary jazz concerts by Jazzlines, the CBSO’s rehearsal base is home to Birmingham Contemporary Music Group and Ex Cathedra. Having recently enjoyed it’s 100th birthday, the CBSO, more than ever, remains the beating heart of musical life in the UK’s Second City.

© Ben Ealovega

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VIOLIN IZsolt-Tihamér VisontayJonathan Martindale *

#

Anna SmithPhilip BrettColin TwiggJane Wright Elizabeth Golding #

Mark Robinson #

Colette Overdijk *Ruth Lawrence *

#

Julia Åberg *Stefano Mengoli *Katharine Gittings

VIOLIN IIPeter Campbell-Kelly *Kate Suthers*Moritz Pfister Catherine Arlidge *

#

Amy Jones * #

Charlotte Skinner *Bryony Morrison *Georgia Hannant *Heather Bradshaw *

#

Timothy BirchallGabriel Dyker *

#

VIOLAChris Yates *

#

Adam Romer * #

Angela Swanson #

David BaMaung *Catherine Bower *Michael Jenkinson *

#

Jessica Tickle *Amy Thomas #

Elizabeth Fryer * #

Helen Roberts

CELLOEduardo Vassallo *

#

Sarah BergerDavid Powell *

#

Kate Setterfield * #

Miguel Fernandes *Jacqueline Tyler *

#

Catherine Ardagh-Walter * #

Helen Edgar * #

DOUBLE BASSAnthony Alcock *Julian Atkinson *

#

Damián Rubido GonzálezMark Goodchild *#

Julian Walters * #

Sally Morgan * #

FLUTEMarie-Christine Zupancic *

#

Japheth Law

PICCOLOElizabeth May

OBOEJuliana Koch Emmet Byrne *

COR ANGLAISRachael Pankhurst *

CLARINETOliver Janes *Joanna Patton *

#

BASS CLARINETMark O’Brien * BASSOONNikolaj Henriques *

Andres Yauri Emily Newman

CONTRABASSOONMargaret Cookhorn *

HORNElspeth Dutch *

#

Jonathan MaloneyMark Phillips *

#

Jeremy Bushell *Martin Wright #

TRUMPETJonathan Holland *

#

Richard Blake *Jonathan Sheppard

CORNETJonathan Quirk *

#

Martin Rockall

TROMBONERichard Watkin * Anthony Howe *#

BASS TROMBONEDavid Vines *

#

TUBAGraham Sibley *

#

TIMPANIMatthew Hardy *

PERCUSSIONAdrian Spillett *

Andrew Herbert *Toby Kearney *

HARPKatherine Thomas *Stephanie Beck

TOY PIANO James Keefe

# Recipient of the CBSO Long Service Award

* Supported player

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

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MEMBERS AND SUPPORTERS

EXCEPTIONAL SUPPORTERSThe following individuals, trusts and companies have nurtured the CBSO’s world-class excellence and broad community reach by off ering exceptional philanthropic support to the CBSO and the CBSO Development Trust’s private endowment fund over time, either by making major gift s, by leaving a legacy or through sustained annual giving.

City of Birmingham Orchestral Endowment Fund

Rachel Baker Memorial CharityThe late Roy CollinsDunard FundJohn Osborn CBEGarfi eld Weston Foundation

BarclaysThe late Miss G BrantDavid & Sandra BurbidgeJohn Ellerman FoundationEsmée Fairbairn FoundationThe John Feeney Charitable TrustCharles Henry Foyle TrustThe JABBS FoundationAlison & Jamie JusthamBarry & Frances KirkhamMaurice MillwardClive & Sylvia Richards Charity

(Principal Supporter of the CBSO’s work with young people)

Jerry Sykes

The late Mr P S DayDeutsche BankThe late Elnora FergusonThe late Mrs Marjorie HildrethPeter HowThe Helen Rachael Mackaness

Charitable TrustThe late Blyth and Myriam MajorMrs Thelma JusthamThe Leverhulme TrustThe LJC FundChris and Jane LoughranThe late Martin PurdyThe late Norman ThomasThe late Sheri and Mrs Janet TullahThe Roger & Douglas Turner

Charitable TrustWolfson Foundation

MAJOR DONORSWe are grateful to the following supporters for their major gift s this year.

£100,000+John Osborn in support of the Osborn

Music Directorship

£50,000+David and Sandra BurbidgePeter HowAlison & Jamie Justham (*David Vines)Barry and Frances KirkhamChris & Jane Loughran

(*Jonathan Martindale)Maurice Millward (*Chris Yates)Clive & Sylvia Richards Charity(Principal Supporter of the CBSO’s work

with young people)Jerry Sykes in support of keynote

concert programming(*Catherine Ardagh-Walter)

£25,000+Sir Dominic and Lady Cadbury

MEMBERSOver 1,500 members contribute annually to ensure the orchestra’s vital work both on and off the concert platform can happen. Thank you to each and every one of you.

BENEFACTORS (£10,000+)Lady Alexander of WeedonViv & Hazel Astling (*Graham Sibley)Felonious Mongoose in memory of

Dolores (*Richard Blake)

SYMPHONY CIRCLE (£5,000+)John Cole & Jennie Howe

(*Peter Campbell-Kelly)Gill & Jonathan Evans

(*Charlotte Skinner)Len Hughes & Jacquie Blake

(*Anthony Alcock)Sue & Graeme Sloan

and our other anonymous supporters.

CONCERTO CIRCLE (£2,500+)The Barwell Charitable TrustAllan & Jennifer Buckle

(*Jonathan Holland)Mrs Jayne CadburyJill S Cadbury (*Julia Åberg)Isabel, Peter and Christopher in loving

memory of Ernest Churcher(*Elspeth Dutch)

Charlie & Louise Craddock (*Kirsty Lovie)

Mike & Tina Detheridge (*Andrew Herbert)

The ENT ClinicDuncan Fielden & Jan Smaczny

(*Matthew Hardy)David Gregory (*Stefano Mengoli)David Handford (*David Powell)The Andrew Harris Charitable TrustCliff HubboldDavid Knibb in memory of Lorraine

(*Jon Quirk)Valerie Lester (*Jacqueline Tyler Mbe)Paddy & Wendy Martin (*David

BaMaung)Carol MillerPatrick & Tricia McDermott

(*Helen Edgar & Rachael Pankhurst)Carole McKeown & David Low

(*Miguel Fernandes)Carol MillerFrank North (*Kate Suthers)Angela O’Farrell & Michael Lynes

(*Toby Kearney)John Osborn (*Gabriel Dyker)Dianne Page (*Catherine Arlidge Mbe)Gerard Paris (*Amy Marshall)Simon & Margaret Payton

(*Julian Atkinson)Robert Perkin

Graham Russell & Gloria Bates (*Ruth Lawrence)

Gillian ShawEleanor Sinton (*Adrian Spillett)Mr D P Spencer (*Oliver Janes)Lesley Thomson (*Jessica Tickle)Basil & Patricia Turner

(*Marie-Christine Zupancic)Howard & Judy Vero (*Richard Watkin)Michael WardDiana & Peter Wardley (*Oliver Janes)Robert Wilson (*Emmet Byrne)John Yelland Obe & Anna

(*Catherine Bower)

and our other anonymous supporters.

The following players are supported by anonymous members of theOverture, Concerto and Symphony Circles, to whom we are very grateful:Mark GoodchildJoanna PattonMark PhillipsAdam RömerKatherine Thomas

OVERTURE CIRCLE (£1,000+)Mike & Jan Adams (*Eduardo Vassallo)Katherine Aldridge in memory of ChrisMichael Allen in memory of YvonneRoger & Angela AllenMiss J L Arthur (*Julian Walters)Kiaran AsthanaMr M K AyersMr & Mrs S V BarberJohn Bartlett & Sheila Beesley

(*Mark O’Brien)Michael BatesTim & Margaret BlackmoreChristine & Neil BonsallMrs Jennifer Brooks in memory of David

(*Julia Åberg)Helen Chamberlain in memory of Allan

Chamberlain (*Sally Morgan)Gay & Trevor Clarke (*Bryony Morrison)Dr Anthony Cook & Ms Susan EliasAnn CopseyJohn Cunningham-DexterJulian & Lizzie DaveyAnita Davies (*Jeremy Bushell)Tony Davis & Darin QuallsJenny DawsonDr Judith Dewsbury in memory of Tony

(*Kate Setterfi eld)Alan FaulknerElisabeth Fisher (*Colette Overdijk)Wally FrancisJ GodwinAnita & Wyn Griffi thsMary & Tony HaleIn memory of Harry and Rose JacobiTony & Shirley HallKeith & Mavis HughesLord Hunt of Kings HeathBasil JacksonMr Michael & Mrs Elaine Jones

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Mrs T Justham in memory of David (*Michael Seal, Associate Conductor)

John and Jenny KendallJohn & Lisa Kent (*Veronika Klírová)Charles and Tessa King-FarlowBeresford King-Smith in memory of

Kate (*Heather Bradshaw)Jane LewisRichard LewisJames and Anthea LloydTim Marshall (*Nikolaj Henriques)David R Mayes ObePhilip MillsPaul & Elaine MurrayIan C NortonAndrew Orchard & Alan JonesRoger and Jenny Otto in memory

of JulietRob PageSir Michael and Lady Joan PerryDr John PetersonJulie & Tony Phillips (*Elizabeth Fryer)Rosalyn & Philip PhillipsClive & Cynthia PriorIan RichardsPeter & Shirley RobinsonMark and Amanda SmithPam and Alistair SmithWilliam SmithColin Squire ObeMr M & Mrs S A SquiresBrenda SumnerTenors of the CBSO Chorus

(*Joanna Patton)Alan Titchmarsh Mbe

(*Matthew Hardy)Mr R J & Mrs M WallsMr E M Worley cbe & Mrs A Worley DLMike & Jane Yeomans in memory of

Jack Field (*Michael Jenkinson)Richard and Emma Yorke

and our other anonymous supporters.

GOLD PATRONS(£650+ per year)Peter & Jane BaxterMike BowdenLady CadburyMr C J M CarrierChristine & John CarrollTim CherryTim Clarke & familyProfessor & Mrs M H CullenRoger and Liz DanceyRobin & Kathy DanielsJohn and Sue Del MarProfessor Sir David EastwoodMr G L & Mrs D EvansGeoff & Dorothy FearnehoughNicola Fleet-MilneSusan and John FranklinMr R Furlong & Ms M PenlingtonAveril Green in memory of Terry GreenMr Doug JamesDr M KershawMiss C MidgleyNigel & Sarah MooresAndrew & Linda MurrayMagdi & Daisy ObeidChris & Eve ParkerPhillipa & Laurence Parkes

Chris and Sue PayneProfessor & Mrs A RickinsonCanon Dr Terry SlaterMr A M & Mrs R J SmithDr Barry & Mrs Marian SmithPam SnellIan and Ann StandingRimma SushanskayaJanet & Michael TaplinRoger & Jan ThornhillRoy WaltonRevd T & Mrs S WardDavid Wright & Rachel ParkinsPaul C Wynn

and our other anonymous supporters.

SILVER PATRONS(£450+ per year)Mr & Mrs S V BarberRichard Allen & Gail BarronMr P G BattyePaul BondProfessor Lalage BownRoger and Lesley CadburyMr A D & Mrs M CampbellSue Clodd and Mike Griffi thsDavid & Marian Crawford-ClarkeMrs A P CrocksonDr. Margaret Davis & Dr. John DavisMark DevinAlistair DowJane Fielding & Benedict ColemanMrs D R GreenhalghJohn Gregory in memory of JanetCliff HaresignMr & Mrs G JonesBob and Elizabeth KeevilRodney and Alyson KettelRebecca King in loving memory of IanMr Peter T MarshJames & Meg MartineauPeter and Julia MaskellDr & Mrs Bernard MasonAnthony & Barbara NewsonRichard NewtonMrs A J Offi cerLiz & Keith ParkesMr R Perkins & Miss F HughesDr and Mrs PlewesThe Revd. Richard & Mrs Gill PostillKath & Mike PoulterEileen Poxton in memory of

Reg PoxtonDr & Mrs R C ReppRay SmithSheila & Ian SonleyAndy StreetJohn & Dorothy TeshProfessor & Mrs J A ValeWilliam & Janet VincentTony & Hilary VinesPeter WallingJulie & Simon WardStephen WilliamsJohn & Daphne WilsonGeoff & Moira WyattMr Paul C Wynn

and our other anonymous supporters.

PATRONS (£250+ per year)Mrs Thérèse AllibonDavid and Lesley ArkellVal and Graham BacheLeon & Valda BaileyAndrew BarnellMr P & Mrs S BarnesMr & Mrs Barnfi eldDi BassPaul BeckwithMr I L BednallGareth BeediePeter & Gill BertinatPhilip and Frances BettsMrs Ann BillenMichael & Beryl BloodBridget Blow cbeAnthony and Jenni BradburyDr Jane Flint Bridgewater& Mr Kenneth BridgewaterMr Arthur BrookerM. L. BrownAnn BrutonMr & Mrs J H BulmerMr G H & Mrs J M ButlerBenedict & Katharine CadburyPeter & Jeannie CadmanElizabeth CeredigCarole & Richard ChillcottDr J & Mrs S ChitnisPeter and Jane ChristopherAnn Clayden and Terry ThorpeDr A J CochranDee & Paul CockingMrs S M Coote in memory of JohnD & M CoppageLuned CorserMr Richard and Mrs Hilary CrosbyMaurice & Ann CrutchlowJudith Cutler and Keith MilesStephen & Hilary DalySue Dalley and Martin WillisRobert & Barbara DarlastonWilf DaveyTrevor DavisKath DeakinDr J Dilkes & Mr K A Chipping & familyBrian & Mary DixonTerry Dougan and Christina LomasMr and Mrs C J DrayseyJohn DruryCatherine DukeNaomi & David DykerChris EckersleyLinda & William EdmondsonAlex & Fran ElderRobert van ElstMiss E W EvansDr D W Eyre-WalkerJill Follett and John HarrisChris Fonteyn MbeJack & Kathleen FoxallSusan & John FranklinAgustín Garcia-SanzAlan and Christine GilesProfessor J E Gilkison & Prof T HockingStephen J GillR & J GodfreyJill GodsallLaura Greenaway in memory of

David RichardsPaul HadleyRoger & Gaye Hadley

Nigel & Lesley Hagger-VaughanMiss A R HaighMr W L HalesMalcolm HarbourPhil Haywood in memory of AnnKeith R HerbertKeith Herbert & Pat GregoryHanne Hoeck & John RawnsleySusan Holmes in memory of PeterValerie & David HowittPenny HughesDavid HutchinsonHenry & Liz IbbersonMr R M E & Mrs V IrvingKen & Chris JonesMr M N JordanPaul JulerMrs P KeaneMr & Mrs R KirbyMr A D KirkbyProfessor & Mrs R J KnechtBrian LangtonMrs D LarkamJennie Lawrence in memory of PhilipEmmanuel LebautM. E. LingMr J F & Mrs M J LloydProfessor David LondonGeoff & Jean MannCarmel and Anthony MasonGeoff & Jenny MasonNeil MayburyMr A A McLintockPatro MobsbyNorah MortonGeoff MullettP J & H I B MulliganMrs M M NairnRichard & Shirley NewbyRichard Newton and Katharine FrancisBrian NoakeMs E Norton ObeIn memory of Jack & Pam NunnMarie & John O’BrienMr & Mrs R T OrmeS J OsborneNigel PackerRod Parker & Lesley BiddleGraham and Bobbie PerryDavid and Julia PowellGill Powell & John RowlattC PredotaRoger PrestonEileen & Ken PriceRichard and Lynda PriceJohn RandallDr and Mrs K RandleKaty and David RicksPeter & Pauline RoeDavid & Jayne RoperJane and Peter RoweHelen Rowett & David PelteretChristopher and Marion RowlattDr Gwynneth RoyVic & Anne RussellMrs L J SadlerCarole & Chris SallnowStephen SaltaireWilliam and Eileen SaundersMargaret and Andrew SherreyDr & Mrs ShrankKeith ShuttleworthElizabeth Simons

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Mr N R SkeldingEd SmithMary Smith & Brian Gardner

in memory of John and JenRay SmithMatthew Somerville and Deborah KerrLyn StephensonRobin and Carol StephensonAnne StockMr & Mrs J B Stuffi nsJ E SuttonBarbara Taylor in memory of

Michael TaylorBryan & Virginia TurnerJohn & Anne TurneyMrs J H UpwardClive Kerridge & Suzan van HelvertBob & Louise VivianStephen Vokes & Erica BarnettTim & Wendy WadsworthKit WardAnn WarneNeil WarrenMrs M L WebbElisabeth & Keith WellingsMr & Mrs J WestRoger & Sue WhitehouseMr William & Mrs Rosemary WhitingPippa WhittakerJohn and Pippa WicksonRichard and Mary WilliamsBarry and Judith WilliamsonJohn WinterbottomIan Woollard

and our other anonymous supportersand our Friends.

CENTENARY DONORS Thank you to those who have chosen to make a gift to the CBSO in its centenary year.Katherine AldridgeBaltimore Friends of the CBSOProfessor Dame Sandra DawsonChris MorleyMembers of the Newport Music Coach

LEGACY DONORSWe’re incredibly grateful to the following individuals who have chosen to remember the CBSO in their will, passing on the baton for music-lovers of the future.In memory of Chris AldridgeThe late Terence BaumThe late Elizabeth Bathurst BlencoweThe late Mr Peter Walter BlackPhilip BowdenAllan & Jennifer BuckleThe late Miss Sheila Margaret Burgess

SmithIsabel ChurcherThe late Colin W ClarkeMr and Mrs P CockingThe late Roy CollinsDavid in memory of Ruth Pauline HollandTony Davis & Darin QuallsThe late Mr Peter S. DayMark DevinAlistair DowThe late Mary FellowsFelonious MongooseValerie FranklandJill Godsall

The late Colin GrahamDavid & Lesley HarringtonTricia HarveyThe late Mrs Marjorie HildrethMr Trevor & Mrs Linda IngramRobin & Dee JohnsonAlan Jones & Andrew OrchardMs Lou JonesThe late William JonesPeter MacklinThe late Mr & Mrs F. McDermott &

Mrs C. HallThe late Myriam Josephine MajorThe late Joyce MiddletonPhilip MillsThe late Peter & Moyra MonahanThe late Arthur MouldThe late June NorthStephen OsborneGill PowellTony Davis & Darin QuallsThe late Mrs Edith RobertsPhilip RothenbergThe late Mr Andrew RoulstoneThe late Thomas Edward ScottMrs C E Smith & Mr William SmithPam SnellThe late Mrs Sylvia StirmanThe late Mrs Eileen SummersMiss K V Swift John TaylorMr D M & Mrs J G ThorneJohn VickersMrs Angela & Mr John WattsPhilip WilsonAlan Woodfi eld

and our other anonymous donors.

ENDOWMENT DONORSWe are grateful to all those who have given to the CBSO Development Trust’s private endowment fund, thus enabling the orchestra to become more self-suffi cient for the long term.Mike & Jan AdamsArts for AllViv & Hazel AstlingThe Barwell Charitable TrustIn memory of Foley L BatesBridget Blow cbeDeloitteMiss Margery ElliottSimon FaircloughSir Dexter HuttIrwin Mitchell SolicitorsThe Justham TrustMrs Thelma JusthamBarry & Frances KirkhamLinda Maguire-BrookshawMazars Charitable TrustAndrew Orchard & Alan JonesJohn OsbornMargaret PaytonRoger Pemberton & Monica PirottaDavid PettPinsent MasonsMartin PurdyPeter & Sally-Ann SinclairJerry SykesAlessandro & Monica TosoPatrick VerwerR C & F M Young Trust

* Player supporter

Credits correct as of 17 May 2021

For more information and to join us as a member, please visit cbso.co.uk/membership. Your support will help us continue our work whilst you enjoy a range of exclusive benefi ts …

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Corporate Partners

Trusts and Foundations29th May 1961 Charitable TrustABO Trust’s Sirens ProgrammeMiss Albright Grimley CharityThe Andor Charitable TrustThe Lord Austin TrustThe John Avins TrustBackstage TrustThe Rachel Baker Memorial CharityBite Size PiecesThe Boshier-Hinton FoundationBritish Korean SocietyThe Charles Brotherton TrustThe Edward & Dorothy Cadbury TrustEdward Cadbury Charitable TrustThe George Cadbury FundThe R V J Cadbury Charitable TrustCBSO Development TrustCity of Birmingham Orchestral Endowment FundThe John S Cohen FoundationThe George Henry Collins CharityThe Concertina Charitable TrustBaron Davenport’s CharityThe D’Oyly Carte Charitable TrustDunard FundThe W E Dunn TrustJohn Ellerman FoundationThe Eveson Charitable TrustThe John Feeney Charitable TrustGeorge Fentham Birmingham CharityAllan and Nesta Ferguson Charitable SettlementFidelio Charitable TrustThe Garrick Charitable TrustThe Golsoncott FoundationGrantham Yorke TrustThe Grey Court TrustThe Grimmitt TrustThe Derek Hill FoundationThe Joseph Hopkins and Henry James Sayer CharitiesJohn Horniman’s Children’s TrustThe Irving Memorial TrustThe JABBS Foundation

Lillie Johnson Charitable TrustThe Kobler TrustJames Langley Memorial TrustThe Leverhulme TrustLG Harris TrustLJC FundLimoges Charitable TrustThe S & D Lloyd CharityThe Helen Rachael Mackaness Charitable TrustThe McLay Dementia TrustThe James Frederick & Ethel Anne Measures CharityThe Anthony and Elizabeth Mellows Charitable TrustMFPA Trust Fund for the Training of Handicapped

Children in the ArtsMillichope FoundationThe David Morgan Music TrustThe Oakley Charitable TrustThe Patrick TrustThe Misses C M Pearson & M V Williams

Charitable TrustPerry Family Charitable TrustThe Bernard Piggott Charitable TrustPRS Foundation’s The Open Fund for OrganisationsThe Radcliffe TrustThe Rainbow Dickinson TrustThe Ratcliff FoundationClive & Sylvia Richards CharityRix-Thompson-Rothenberg FoundationThe M K Rose Charitable TrustThe Rowlands TrustRVW TrustThe Saintbury TrustThe E H Smith Charitable TrustF C Stokes TrustSutton Coldfield Charitable TrustC B & H H Taylor 1984 TrustG J W Turner TrustThe Roger & Douglas Turner Charitable TrustGarfield Weston FoundationThe Wolfson FoundationThe Alan Woodfield Charitable Trust

Supporter of Schoolsʼ Concerts

Public Funders

www.prsformusicfoundation.com

G lobe f l ow

Partners in Orchestral Development

William King Ltd

THANK YOU The support we receive from thousands of individual donors, public funders, businesses and private foundations allows us to present extraordinary performances and to create exciting activities in schools and communities. Your support makes such a diff erence and is much appreciated.

For more information on how your organisation can engage with the CBSO, please contact Simon Fairclough, CBSO Director of Development, on 0121 616 6500 or sfairclough@cbso.co.uk

Thank you also to our Major Donors, Benefactors, Circles Members, Patrons and Friends for their generous support.

Education Partners

In-kind supporters

Funders

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BOARD Chair David Burbidge cbe DLDeputy Chair David RoperElected Trustees Tony Davis Jane Fielding Susan Foster Joe Godwin Emily Ingram Sundash Jassi Chris Loughran Lucy Williams

Birmingham City Council Nominated Trustees Cllr Sir Albert Bore Cllr Alex Yip

Player Nominated Trustees Elspeth Dutch Helen Edgar

Additional Player Representative Margaret Cookhorn

Hon Secretary to the Trustees Mark Devin

CBSO DEVELOPMENT TRUST Chair Chris Loughran DL

Trustees Charles Barwell Obe Gordon Campbell Wally Francis John Osborn cbe David Pett

Hon Secretary to the Trustees John Bartlett

CAMPAIGN BOARDChair David Burbidge cbe, DL Susan Foster Peter How Jamie Justham Her Honour Frances Kirkham cbe Chris Loughran DL John Osborn cbe

Honorary Medical Advisors:

Dr Rod MacRorie. Association of Medical Advisors to British Orchestras/BAPAM

Professor Sir Keith Porter. Consultant, University Hospitals Birmingham

PLAYERS’ COMMITTEEChair Jo Patton Vice Chair Mark Phillips Richard Watkin Andy Herbert Kirsty Lovie Colette Overdijk Heather Bradshaw Matthew Hardy* Recipients of the CBSO Long Service Award † Part-time employee # Volunteer

MANAGEMENTChief Executive Stephen Maddock OBE*PA to Chief Executive Niki Longhurst*†

Head of Orchestra Management (Maternity Cover) Adrian RutterOrchestra Manager Claire Dersley*Assistant Orchestra Manager Alan JohnsonPlatform Manager Peter Harris*Assistant Platform Manager Robert HowardLibrarian Jack Lovell-HuckleCo-Librarian William Lucas

Head of Artistic Planning Anna MelvillePlanning & Tours Manager Hannah Muddiman†Project Manager Claire Greenwood†Assistant Planning Manager Maddi Belsey-Day

Director of Learning & Engagement Lucy GalliardLearning & Participation Manager Katie LucasCommunity Projects Offi cer Adele FranghiadiYouth Ensembles Offi cer Rebecca NicholasSchools Offi cer Carolyn Burton Chorus Manager Poppy HowarthChildren’s & Youth Chorus Offi cer Ella McNameeResearch Assistant Adam Nagel*†

Director of Marketing & Communications Gareth Beedie CRM & Insight Manager Melanie Ryan*†Publications Manager Jane Denton†Assistant Marketing Manager Harriet GreenDigital Content Producer Hannah Blake-FathersMarketing Volunteer Christine Midgley*#

Director of Development Simon FaircloughHead of Philanthropy Francesca SpickernellMembership & Appeals Manager Eve Vines†Events & Relationship Management Executive Megan BradshawDevelopment Operations Offi cer Melanie AdeyDevelopment Administrator Bethan McKnight†Trust Fundraiser Fiona Fox

Director of Finance Annmarie WallisFinance Manager Dawn DohertyPayroll Offi cer Lindsey Bhagania†Assistant Accountant Graham IrvingFinance Assistant (Cost) Susan PriceHR Manager Hollie DunsterCBSO Centre Manager Niki Longhurst*†Technical & Facilities Supervisor Tomoyuki MatsuoAssistant CBSO Centre Manager Peter Clarke*Receptionist Sev Kucukogullari†

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA