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HOUGH PLAYS SAINT-SAËNS Symphony Hall, Birmingham Wednesday 19 May 2021, 2.00pm & 6.30pm
Supported by
Supported by
OUR CAMPAIGN FOR MUSICAL LIFE IN THE WEST MIDLANDS Your 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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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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Piano Concerto No.4 in C minor, Op.44 Allegro 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
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 PERFORMERS Edward Gardner Conductor
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 Káa 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 Hough Piano
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 Grainyt-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 Grainyt-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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Anna Smith Philip Brett Colin Twigg Jane Wright Elizabeth Golding #
Mark Robinson #
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Julian Walters * #
Sally Morgan * #
COR ANGLAIS Rachael Pankhurst *
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Andres Yauri Emily Newman
BASS TROMBONE David Vines *
TOY PIANO James Keefe
* Supported player
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MEMBERS AND SUPPORTERS
EXCEPTIONAL SUPPORTERS The 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 Charity The late Roy Collins Dunard Fund John Osborn CBE Garfi eld Weston Foundation
Barclays The late Miss G Brant David & Sandra Burbidge John Ellerman Foundation Esmée Fairbairn Foundation The John Feeney Charitable Trust Charles Henry Foyle Trust The JABBS Foundation Alison & Jamie Justham Barry & Frances Kirkham Maurice Millward Clive & Sylvia Richards Charity
(Principal Supporter of the CBSO’s work with young people)
Jerry Sykes
The late Mr P S Day Deutsche Bank The late Elnora Ferguson The late Mrs Marjorie Hildreth Peter How The Helen Rachael Mackaness
Charitable Trust The late Blyth and Myriam Major Mrs Thelma Justham The Leverhulme Trust The LJC Fund Chris and Jane Loughran The late Martin Purdy The late Norman Thomas The late Sheri and Mrs Janet Tullah The Roger & Douglas Turner
Charitable Trust Wolfson Foundation
MAJOR DONORS We 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 Burbidge Peter How Alison & Jamie Justham (*David Vines) Barry and Frances Kirkham Chris & 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
MEMBERS Over 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 Weedon Viv & Hazel Astling (*Graham Sibley) Felonious Mongoose in memory of
Dolores (*Richard Blake)
(*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 Trust Allan & Jennifer Buckle
(*Jonathan Holland) Mrs Jayne Cadbury Jill 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 Clinic Duncan Fielden & Jan Smaczny
(*Matthew Hardy) David Gregory (*Stefano Mengoli) David Handford (*David Powell) The Andrew Harris Charitable Trust Cliff Hubbold David Knibb in memory of Lorraine
(*Jon Quirk) Valerie Lester (*Jacqueline Tyler Mbe) Paddy & Wendy Martin (*David
BaMaung) Carol Miller Patrick & Tricia McDermott
(*Helen Edgar & Rachael Pankhurst) Carole McKeown & David Low
(*Miguel Fernandes) Carol Miller Frank 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 Shaw Eleanor 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 Ward Diana & 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 the Overture, Concerto and Symphony Circles, to whom we are very grateful: Mark Goodchild Joanna Patton Mark Phillips Adam Römer Katherine Thomas
OVERTURE CIRCLE (£1,000+) Mike & Jan Adams (*Eduardo Vassallo) Katherine Aldridge in memory of Chris Michael Allen in memory of Yvonne Roger & Angela Allen Miss J L Arthur (*Julian Walters) Kiaran Asthana Mr M K Ayers Mr & Mrs S V Barber John Bartlett & Sheila Beesley
(*Mark O’Brien) Michael Bates Tim & Margaret Blackmore Christine & Neil Bonsall Mrs 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 Elias Ann Copsey John Cunningham-Dexter Julian & Lizzie Davey Anita Davies (*Jeremy Bushell) Tony Davis & Darin Qualls Jenny Dawson Dr Judith Dewsbury in memory of Tony
(*Kate Setterfi eld) Alan Faulkner Elisabeth Fisher (*Colette Overdijk) Wally Francis J Godwin Anita & Wyn Griffi ths Mary & Tony Hale In memory of Harry and Rose Jacobi Tony & Shirley Hall Keith & Mavis Hughes Lord Hunt of Kings Heath Basil Jackson Mr Michael & Mrs Elaine Jones
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Mrs T Justham in memory of David (*Michael Seal, Associate Conductor)
John and Jenny Kendall John & Lisa Kent (*Veronika Klírová) Charles and Tessa King-Farlow Beresford King-Smith in memory of
Kate (*Heather Bradshaw) Jane Lewis Richard Lewis James and Anthea Lloyd Tim Marshall (*Nikolaj Henriques) David R Mayes Obe Philip Mills Paul & Elaine Murray Ian C Norton Andrew Orchard & Alan Jones Roger and Jenny Otto in memory
of Juliet Rob Page Sir Michael and Lady Joan Perry Dr John Peterson Julie & Tony Phillips (*Elizabeth Fryer) Rosalyn & Philip Phillips Clive & Cynthia Prior Ian Richards Peter & Shirley Robinson Mark and Amanda Smith Pam and Alistair Smith William Smith Colin Squire Obe Mr M & Mrs S A Squires Brenda Sumner Tenors of the CBSO Chorus
(*Joanna Patton) Alan Titchmarsh Mbe
(*Matthew Hardy) Mr R J & Mrs M Walls Mr E M Worley cbe & Mrs A Worley DL Mike & 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 Baxter Mike Bowden Lady Cadbury Mr C J M Carrier Christine & John Carroll Tim Cherry Tim Clarke & family Professor & Mrs M H Cullen Roger and Liz Dancey Robin & Kathy Daniels John and Sue Del Mar Professor Sir David Eastwood Mr G L & Mrs D Evans Geoff & Dorothy Fearnehough Nicola Fleet-Milne Susan and John Franklin Mr R Furlong & Ms M Penlington Averil Green in memory of Terry Green Mr Doug James Dr M Kershaw Miss C Midgley Nigel & Sarah Moores Andrew & Linda Murray Magdi & Daisy Obeid Chris & Eve Parker Phillipa & Laurence Parkes
Chris and Sue Payne Professor & Mrs A Rickinson Canon Dr Terry Slater Mr A M & Mrs R J Smith Dr Barry & Mrs Marian Smith Pam Snell Ian and Ann Standing Rimma Sushanskaya Janet & Michael Taplin Roger & Jan Thornhill Roy Walton Revd T & Mrs S Ward David Wright & Rachel Parkins Paul C Wynn
and our other anonymous supporters.
SILVER PATRONS (£450+ per year) Mr & Mrs S V Barber Richard Allen & Gail Barron Mr P G Battye Paul Bond Professor Lalage Bown Roger and Lesley Cadbury Mr A D & Mrs M Campbell Sue Clodd and Mike Griffi ths David & Marian Crawford-Clarke Mrs A P Crockson Dr. Margaret Davis & Dr. John Davis Mark Devin Alistair Dow Jane Fielding & Benedict Coleman Mrs D R Greenhalgh John Gregory in memory of Janet Cliff Haresign Mr & Mrs G Jones Bob and Elizabeth Keevil Rodney and Alyson Kettel Rebecca King in loving memory of Ian Mr Peter T Marsh James & Meg Martineau Peter and Julia Maskell Dr & Mrs Bernard Mason Anthony & Barbara Newson Richard Newton Mrs A J Offi cer Liz & Keith Parkes Mr R Perkins & Miss F Hughes Dr and Mrs Plewes The Revd. Richard & Mrs Gill Postill Kath & Mike Poulter Eileen Poxton in memory of
Reg Poxton Dr & Mrs R C Repp Ray Smith Sheila & Ian Sonley Andy Street John & Dorothy Tesh Professor & Mrs J A Vale William & Janet Vincent Tony & Hilary Vines Peter Walling Julie & Simon Ward Stephen Williams John & Daphne Wilson Geoff & Moira Wyatt Mr Paul C Wynn
and our other anonymous supporters.
PATRONS (£250+ per year) Mrs Thérèse Allibon David and Lesley Arkell Val and Graham Bache Leon & Valda Bailey Andrew Barnell Mr P & Mrs S Barnes Mr & Mrs Barnfi eld Di Bass Paul Beckwith Mr I L Bednall Gareth Beedie Peter & Gill Bertinat Philip and Frances Betts Mrs Ann Billen Michael & Beryl Blood Bridget Blow cbe Anthony and Jenni Bradbury Dr Jane Flint Bridgewater & Mr Kenneth Bridgewater Mr Arthur Brooker M. L. Brown Ann Bruton Mr & Mrs J H Bulmer Mr G H & Mrs J M Butler Benedict & Katharine Cadbury Peter & Jeannie Cadman Elizabeth Ceredig Carole & Richard Chillcott Dr J & Mrs S Chitnis Peter and Jane Christopher Ann Clayden and Terry Thorpe Dr A J Cochran Dee & Paul Cocking Mrs S M Coote in memory of John D & M Coppage Luned Corser Mr Richard and Mrs Hilary Crosby Maurice & Ann Crutchlow Judith Cutler and Keith Miles Stephen & Hilary Daly Sue Dalley and Martin Willis Robert & Barbara Darlaston Wilf Davey Trevor Davis Kath Deakin Dr J Dilkes & Mr K A Chipping & family Brian & Mary Dixon Terry Dougan and Christina Lomas Mr and Mrs C J Draysey John Drury Catherine Duke Naomi & David Dyker Chris Eckersley Linda & William Edmondson Alex & Fran Elder Robert van Elst Miss E W Evans Dr D W Eyre-Walker Jill Follett and John Harris Chris Fonteyn Mbe Jack & Kathleen Foxall Susan & John Franklin Agustín Garcia-Sanz Alan and Christine Giles Professor J E Gilkison & Prof T Hocking Stephen J Gill R & J Godfrey Jill Godsall Laura Greenaway in memory of
David Richards Paul Hadley Roger & Gaye Hadley
Nigel & Lesley Hagger-Vaughan Miss A R Haigh Mr W L Hales Malcolm Harbour Phil Haywood in memory of Ann Keith R Herbert Keith Herbert & Pat Gregory Hanne Hoeck & John Rawnsley Susan Holmes in memory of Peter Valerie & David Howitt Penny Hughes David Hutchinson Henry & Liz Ibberson Mr R M E & Mrs V Irving Ken & Chris Jones Mr M N Jordan Paul Juler Mrs P Keane Mr & Mrs R Kirby Mr A D Kirkby Professor & Mrs R J Knecht Brian Langton Mrs D Larkam Jennie Lawrence in memory of Philip Emmanuel Lebaut M. E. Ling Mr J F & Mrs M J Lloyd Professor David London Geoff & Jean Mann Carmel and Anthony Mason Geoff & Jenny Mason Neil Maybury Mr A A McLintock Patro Mobsby Norah Morton Geoff Mullett P J & H I B Mulligan Mrs M M Nairn Richard & Shirley Newby Richard Newton and Katharine Francis Brian Noake Ms E Norton Obe In memory of Jack & Pam Nunn Marie & John O’Brien Mr & Mrs R T Orme S J Osborne Nigel Packer Rod Parker & Lesley Biddle Graham and Bobbie Perry David and Julia Powell Gill Powell & John Rowlatt C Predota Roger Preston Eileen & Ken Price Richard and Lynda Price John Randall Dr and Mrs K Randle Katy and David Ricks Peter & Pauline Roe David & Jayne Roper Jane and Peter Rowe Helen Rowett & David Pelteret Christopher and Marion Rowlatt Dr Gwynneth Roy Vic & Anne Russell Mrs L J Sadler Carole & Chris Sallnow Stephen Saltaire William and Eileen Saunders Margaret and Andrew Sherrey Dr & Mrs Shrank Keith Shuttleworth Elizabeth Simons
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Mr N R Skelding Ed Smith Mary Smith & Brian Gardner
in memory of John and Jen Ray Smith Matthew Somerville and Deborah Kerr Lyn Stephenson Robin and Carol Stephenson Anne Stock Mr & Mrs J B Stuffi ns J E Sutton Barbara Taylor in memory of
Michael Taylor Bryan & Virginia Turner John & Anne Turney Mrs J H Upward Clive Kerridge & Suzan van Helvert Bob & Louise Vivian Stephen Vokes & Erica Barnett Tim & Wendy Wadsworth Kit Ward Ann Warne Neil Warren Mrs M L Webb Elisabeth & Keith Wellings Mr & Mrs J West Roger & Sue Whitehouse Mr William & Mrs Rosemary Whiting Pippa Whittaker John and Pippa Wickson Richard and Mary Williams Barry and Judith Williamson John Winterbottom Ian Woollard
and our other anonymous supporters and our Friends.
CENTENARY DONORS Thank you to those who have chosen to make a gift to the CBSO in its centenary year. Katherine Aldridge Baltimore Friends of the CBSO Professor Dame Sandra Dawson Chris Morley Members of the Newport Music Coach
LEGACY DONORS We’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 Aldridge The late Terence Baum The late Elizabeth Bathurst Blencowe The late Mr Peter Walter Black Philip Bowden Allan & Jennifer Buckle The late Miss Sheila Margaret Burgess
Smith Isabel Churcher The late Colin W Clarke Mr and Mrs P Cocking The late Roy Collins David in memory of Ruth Pauline Holland Tony Davis & Darin Qualls The late Mr Peter S. Day Mark Devin Alistair Dow The late Mary Fellows Felonious Mongoose Valerie Frankland Jill Godsall
The late Colin Graham David & Lesley Harrington Tricia Harvey The late Mrs Marjorie Hildreth Mr Trevor & Mrs Linda Ingram Robin & Dee Johnson Alan Jones & Andrew Orchard Ms Lou Jones The late William Jones Peter Macklin The late Mr & Mrs F. McDermott &
Mrs C. Hall The late Myriam Josephine Major The late Joyce Middleton Philip Mills The late Peter & Moyra Monahan The late Arthur Mould The late June North Stephen Osborne Gill Powell Tony Davis & Darin Qualls The late Mrs Edith Roberts Philip Rothenberg The late Mr Andrew Roulstone The late Thomas Edward Scott Mrs C E Smith & Mr William Smith Pam Snell The late Mrs Sylvia Stirman The late Mrs Eileen Summers Miss K V Swift John Taylor Mr D M & Mrs J G Thorne John Vickers Mrs Angela & Mr John Watts Philip Wilson Alan Woodfi eld
and our other anonymous donors.
ENDOWMENT DONORS We 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 Adams Arts for All Viv & Hazel Astling The Barwell Charitable Trust In memory of Foley L Bates Bridget Blow cbe Deloitte Miss Margery Elliott Simon Fairclough Sir Dexter Hutt Irwin Mitchell Solicitors The Justham Trust Mrs Thelma Justham Barry & Frances Kirkham Linda Maguire-Brookshaw Mazars Charitable Trust Andrew Orchard & Alan Jones John Osborn Margaret Payton Roger Pemberton & Monica Pirotta David Pett Pinsent Masons Martin Purdy Peter & Sally-Ann Sinclair Jerry Sykes Alessandro & Monica Toso Patrick Verwer R 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 Foundations 29th May 1961 Charitable Trust ABO Trust’s Sirens Programme Miss Albright Grimley Charity The Andor Charitable Trust The Lord Austin Trust The John Avins Trust Backstage Trust The Rachel Baker Memorial Charity Bite Size Pieces The Boshier-Hinton Foundation British Korean Society The Charles Brotherton Trust The Edward & Dorothy Cadbury Trust Edward Cadbury Charitable Trust The George Cadbury Fund The R V J Cadbury Charitable Trust CBSO Development Trust City of Birmingham Orchestral Endowment Fund The John S Cohen Foundation The George Henry Collins Charity The Concertina Charitable Trust Baron Davenport’s Charity The D’Oyly Carte Charitable Trust Dunard Fund The W E Dunn Trust John Ellerman Foundation The Eveson Charitable Trust The John Feeney Charitable Trust George Fentham Birmingham Charity Allan and Nesta Ferguson Charitable Settlement Fidelio Charitable Trust The Garrick Charitable Trust The Golsoncott Foundation Grantham Yorke Trust The Grey Court Trust The Grimmitt Trust The Derek Hill Foundation The Joseph Hopkins and Henry James Sayer Charities John Horniman’s Children’s Trust The Irving Memorial Trust The JABBS Foundation
Lillie Johnson Charitable Trust The Kobler Trust James Langley Memorial Trust The Leverhulme Trust LG Harris Trust LJC Fund Limoges Charitable Trust The S & D Lloyd Charity The Helen Rachael Mackaness Charitable Trust The McLay Dementia Trust The James Frederick & Ethel Anne Measures Charity The Anthony and Elizabeth Mellows Charitable Trust MFPA Trust Fund for the Training of Handicapped
Children in the Arts Millichope Foundation The David Morgan Music Trust The Oakley Charitable Trust The Patrick Trust The Misses C M Pearson & M V Williams
Charitable Trust Perry Family Charitable Trust The Bernard Piggott Charitable Trust PRS Foundation’s The Open Fund for Organisations The Radcliffe Trust The Rainbow Dickinson Trust The Ratcliff Foundation Clive & Sylvia Richards Charity Rix-Thompson-Rothenberg Foundation The M K Rose Charitable Trust The Rowlands Trust RVW Trust The Saintbury Trust The E H Smith Charitable Trust F C Stokes Trust Sutton Coldfield Charitable Trust C B & H H Taylor 1984 Trust G J W Turner Trust The Roger & Douglas Turner Charitable Trust Garfield Weston Foundation The Wolfson Foundation The Alan Woodfield Charitable Trust
Supporter of Schools Concerts
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 DL Deputy Chair David Roper Elected 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 BOARD Chair 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’ COMMITTEE Chair 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
MANAGEMENT Chief Executive Stephen Maddock OBE* PA to Chief Executive Niki Longhurst*†
Head of Orchestra Management (Maternity Cover) Adrian Rutter Orchestra Manager Claire Dersley* Assistant Orchestra Manager Alan Johnson Platform Manager Peter Harris* Assistant Platform Manager Robert Howard Librarian Jack Lovell-Huckle Co-Librarian William Lucas
Head of Artistic Planning Anna Melville Planning & Tours Manager Hannah Muddiman† Project Manager Claire Greenwood† Assistant Planning Manager Maddi Belsey-Day
Director of Learning & Engagement Lucy Galliard Learning & Participation Manager Katie Lucas Community Projects Offi cer Adele Franghiadi Youth Ensembles Offi cer Rebecca Nicholas Schools Offi cer Carolyn Burton Chorus Manager Poppy Howarth Children’s & Youth Chorus Offi cer Ella McNamee Research Assistant Adam Nagel*†
Director of Marketing & Communications Gareth Beedie CRM & Insight Manager Melanie Ryan*† Publications Manager Jane Denton† Assistant Marketing Manager Harriet Green Digital Content Producer Hannah Blake-Fathers Marketing Volunteer Christine Midgley*#
Director of Development Simon Fairclough Head of Philanthropy Francesca Spickernell Membership & Appeals Manager Eve Vines† Events & Relationship Management Executive Megan Bradshaw Development Operations Offi cer Melanie Adey Development Administrator Bethan McKnight† Trust Fundraiser Fiona Fox
Director of Finance Annmarie Wallis Finance Manager Dawn Doherty Payroll Offi cer Lindsey Bhagania† Assistant Accountant Graham Irving Finance Assistant (Cost) Susan Price HR Manager Hollie Dunster CBSO Centre Manager Niki Longhurst*† Technical & Facilities Supervisor Tomoyuki Matsuo Assistant CBSO Centre Manager Peter Clarke* Receptionist Sev Kucukogullari†
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA