25 YEARS

Sunday 10 March 2013 7.30pm bcmg.org.uk Sound Investment Tonight’s programme

Since 1992, BCMG has premiered more than Sunday 10 March 2013, 7.30pm 65 new works with the help of a wide range of CBSO Centre, Birmingham Share in individuals through Sound Investment.

Sound Unit shares in each commission Conductor: music’s are priced at £150 and your donation can Baritone: Leigh Melrose * start from £15 per month. Thanks to match Mezzo-soprano: Lucy Schaufer ~ future funding from Arts Council England through our Catalyst award, we currently have three Special Offers available, including the chance to get your very first Sound Unit half Charles Ives Ruth Crawford Seeger Go to: price, for £75. Set for Theatre Orchestra Piano Study in Mixed Accents bcmg.org.uk/ Join Sound Investment now and share the Carl Ruggles Ruth Crawford Seeger soundinvestment excitement of bringing alive new pieces of Vox Clamans in Deserto ~ Three Songs ~ music from the leading composers of our time. call: Henry Cowell John Cage 0121 616 6523 By becoming a Sound Investor you can: 26 Simultaneous Mosaics The Wonderful Widow of or email: • attend rehearsals and premieres Eighteen Springs ~ • meet composers and performers Elliott Carter [email protected] • have your name listed in a new work’s Double Trio Joanna Lee score (UK premiere) Every Inch Of Many Effigies – Invest now in a new song by Gerald Barry, Six Courthouse Songs * and Crowd Out by David Lang, both to be Interval (BCMG/SaM Apprentice Composer-in- premiered in 2014. Residence / world premiere) Thank you to those Sound Investors who have taken advantage of our Catalyst special offers Charles Ives so far! General William Booth Enters into Heaven *

Tonight’s concert is followed by a late-night, 35-minute Thumb ensemble performance starting at approximately 9.45pm. See page 22 for the four-page late-night programme.

3 Find out more about SaM’s Embedded programme: was as free as Ives’ was constrained – and yet BCMG/SaM’s www.soundandmusic.org/projects/embedded The American from the mid-1920s through the mid-1930s they formed an unlikely but immensely powerful duo, Apprentice We are pleased to announce that Shiori Experimentalists hell-bent on bringing to public attention the new, Usui has been appointed as BCMG/SaM distinctly American, music that was emerging in Composer-in- Apprentice Composer-in-Residence for 2013. the immediate post-World War I period. One of the principal media through which that music reached Residency – Charles Ives was born in 1874, while John Cage its audience was Cowell’s serial publication New died as recently as 1992; they never met (though Music Quarterly. The first issue, the full score of an introduction they did correspond, albeit briefly, in the late 1940s). Ruggles’s orchestral work Men and Mountains, Yet despite the apparent discontinuities these facts appeared in October 1927. Ives, who had already Sound and Music’s vision is to create a world where suggest, there exists a surprisingly strong link not been signed up by Cowell as a subscriber to New new music and sound prospers, transforming lives, just between Ives and Cage, but also between them Music, was so impressed that he immediately Now in its fifth year, the Apprentice Composer-in- challenging expectations and celebrating the work and Carl Ruggles, Henry Cowell, and Ruth Crawford took out another 25 subscriptions, and went on to Residence programme is a joint initiative between of its creators. SaM’s work includes composer and Seeger. (Parenthetically, Elliott Carter also has ties to become the de facto sponsor of the Quarterly for Birmingham Contemporary Music Group and artist support and development, partnerships with this group, but that’s another story.) over a decade. Sound and Music (SaM) as part of SaM’s Embedded a range of organisations, live events and audience As is well known, Charles Ives spent his Cowell, Ruggles, and Seeger had been artist development programme, funded by The development, touring, information and advice, working life in insurance: although he had studied friends since the late 1910s; indeed, Cowell later Leverhulme Trust. network building, and education. SaM champions music while at Yale University (1894-98) under reminisced about how ‘My visits to Ruggles were Embedded residencies offer composers the new music and the work of British composers and the distinguished New England School composer a weekly event for many years. I arrived the first opportunity to immerse themselves in the life of an artists, and seeks to ensure that they are at the Horatio Parker, the impecunious example set by thing in the morning. We looked at new chords, organisation, working closely with players, staff and heart of cultural life and enjoyed by many. his father, George Ives, seems to have convinced argued over where to include this note or that and audiences and collaborating for the development of Charles that ‘if [a man] has a nice wife and some fought over the best way to continue one melodic significant new work. Workshops and one-to-one nice children, how can he let [them] starve on his line or another.’ Carl Ruggles’ musical language time with players offer composers the opportunity dissonances.’ Accordingly, Ives’ compositions – not least as found in Vox Clamans in Deserto to develop their artistic practice. were mostly written, often in great haste yet (1923) – was heavily chromatic, and owed a good BCMG/SaM Apprentice Composer-in- paradoxically over long stretches of time, at deal to the technique of dissonant counterpoint Residence for 2012, Joanna Lee has seized the The Leverhulme Trust was established in 1925 evenings and weekends, and during holiday that Cowell and Seeger had been developing from opportunity to get involved in all aspects of our under the Will of the first Viscount Leverhulme. periods. However, after a major health scare in roughly 1915 onwards. Dissonant counterpoint work: attending rehearsals and concerts, working It is one of the largest all-subject providers of the late 1910s placed him on prolonged sick leave, was first described in print by Cowell in his 1930 closely with BCMG musicians, composers and research funding in the UK, distributing funds Ives decided to ‘clean house,’ self-publishing book New Musical Resources; Seeger’s much more conductors, participating in Learning work and of some £60 million every year. For further both the Second ‘Concord’ Piano Sonata and its expansive treatise on the subject is included in meeting with the team. She has especially valued information about the schemes that the associated book Essays Before a Sonata in 1921, his Studies in Musicology II: 1929-1979. Among the mentorship and support of Oliver Knussen Leverhulme Trust fund: www.leverhulme.ac.uk / and the volume of 114 Songs the following year. the subsequent exponents of the technique was throughout the project. www.twitter.com/LeverhulmeTrust Among those into whose hands these publications Ruth Crawford, who moved to New York in In her words ‘working with BCMG’s players eventually fell was Henry Cowell. 1929 – explicitly on Cowell’s recommendation – to and hearing my music performed by the ensemble Cowell was more than a generation younger study with Seeger. Her remarkable Piano Study and conducted by [mentor] Oliver Knussen in the than Ives, and different from him in almost every in Mixed Accents (1930) was an early exercise workshops and concerts has been a key highlight; way, having been brought up as a West Coast in what she and Seeger termed dissonation, while to have such brilliant musicians bring a score to life bohemian rather than as an East Coast WASP. the slightly later Three Songs represent its most so accurately and superbly, and to feel part of the Cowell’s musical studies, such as they were, had developed phase, in which (to quote Seeger) we find BCMG team has been such a privilege.’ taken place at the University of California, Berkeley, ‘a polyphony in which there is no relation between in roughly 1914-16, with Charles Seeger (the father the parts except mere proximity in time-space, of folk singers Pete, Peggy and Mike, and husband beginning and ending, within hearing of each other, – from 1932 – of Ruth Crawford). Cowell’s spirit at more or less the same time.’ Significantly, though,

4 5 Seeger also notes that ‘from an artistic point of performed on the body, rather than the keyboard, of view, a high degree of organization is necessary,’ the piano). Vox Clamans Double Trio the implication being that in order to achieve a Sadly, the momentum of the Cowell-Ives (2011) fully dissonated texture, there needed to be at a promotional machine was abruptly halted in 1936, in Deserto compositional level some equivalent of what was when Cowell was consigned to San Quentin prison (1923) later to be termed integral serialism. on a morals charge. After his release, in 1940, things Elliott Carter (1908 - 2012) Both the Piano Study in Mixed Accents and were never the same either personally – Ives and the Three Songs came to be published in New his wife kept something of a respectable distance Carl Ruggles (1876-1971) Brass instruments, especially the trumpet and Music Quarterly; so too were Charles Ives’ Set from Henry Cowell, even after the latter’s trombone, recently interested me for use in for Theatre Orchestra and his song General marriage – or professionally. Indeed, Cowell’s Parting at Morning chamber music because of their ability to play William Booth Enters into Heaven, the latter compositions – which before 1936 had often Robert Browning softly and use different kinds of mutes. Combining being included in Eighteen [recte Nineteen] Songs explored the furthest reaches of experimentalism – them with solo strings fascinated me so I wrote by Charles Ives, volume 9, number 2, of October became increasingly motivated from the late 1930s Round the cape of a sudden came the sea, the Double Trio. This work was composed for the 1935 (albeit in the original version for voice and onwards by his interests in world musics, stylistic And the sun look’d over the mountain’s rim: opening of the Montreal Museum of Fine Arts’ piano; the orchestration was undertaken by another hybridity, and cross-cultural synthesis. Accordingly, And straight was a path of gold for him, Bourgie Concert Hall in September of 2011. The member of the Ives-Cowell gang, John J. Becker). the late piece 26 Simultaneous Mosaics has And the need of a world of men for me. piece is dedicated to Pierre Bourgie. In addition, the three movement Set for Theatre been characterised by one commentator as an Elliott Carter Orchestra – ‘In the Cage,’ ‘In the Inn’ and ‘In the example of Cowell in effect becoming ‘a follower Night’ – was given its first complete performance of his own followers’ in that while it advances Son of Mine in 1932 by the Pan American Chamber Orchestra, further the principles of elastic and variable form C.H. Meltzer as part of a New York concert organised by Cowell, that Cowell had pioneered in the 1930s, by 1963 and financially subsidised by Ives. a number of composers (including several of Son of mine my soul is of its pain, Just as Cowell and Crawford had studied Cowell’s own students) had developed their own The joy of living has passed me by. with Seeger, so did John Cage study with mobile forms. Notwithstanding this potential Dark clouds have dimm’d the glow of the sky. Cowell; indeed, Cowell later recalled Cage having weakness, however, 26 Simultaneous Mosaics can specifically studied dissonant counterpoint with be marvellously entertaining in its spontaneous Son of mine the lonely night draweth nigh. him ‘for a season’ in the early 1930s, though there juxtaposition of musical fragments. O could I only live in my dream again, is no independent corroboration of this assertion. © David Nicholls Know the joy I’d sought in vain. What is known is that Cage, around 1934, moved Ah, were you near me even itself I’d defy. from California to New York, to study on Cowell’s David Nicholls is Professor of Music at the advice with Adolph Weiss, in order that he might University of Southampton, and has written widely be appropriately prepared for subsequent study, on the music of the American experimentalists. A Clear Midnight back in California, with Schoenberg. During Walt Whitman his time in New York, Cage also took several of Cowell’s classes at the New School for Social This is thy house O Soul, thy free flight into the Research, which must have acted as a curious wordless, counterpoint to his formal lessons with Weiss Away from books, away from art, the day erased, (and later Schoenberg). Certainly, by the time of the lesson done, The Wonderful Widow of Eighteen Springs Thee full by force emerging, silent, gazing, (1942) Cage had fully assimilated the polarised pondering the themes thou lovest best. approaches of his two principal teachers in a Night, sleep, Death and the stars. marvellous miniature that mixes Schoenbergian discipline (in its severely restricted gamut of melodic pitches) with Cowellian freedom (by virtue of its accompaniment being percussively

6 7 Three Songs Prayers of Steel The Wonderful Every Inch Of Many Lay me on an anvil; O God. (1930-32) Beat me and hammer me into a crowbar. Widow of Eighteen Effigies – Six Let me pry loose old walls. Ruth Crawford Seeger (1901-53) Let me lift and loosen old foundations. Springs Courthouse Songs Texts by Carl Sandburg (1942) (2013) Lay me on an anvil, O God. Rat Riddles Beat me and hammer me into a steel spike. Drive me into the girders that hold a John Cage (1912-92) Joanna Lee (b. 1982) There was a gray rat looked at me with skyscraper together. green eyes out of a rathole. Take red-hot rivets and fasten me into the The text is extracted from a passage (on page 556) Every Inch Of Many Effigies – Six Courthouse central girders. of James Joyce’s Finnegans Wake. Songs is a political satire piece that places two “Hello, rat,” I said, Let me be the great nail holding a skyscraper notorious leaders on trial in a ‘waxwork museum of “Is there any chance for me through blue nights night by silentsailing night. . . suspect ideologies’; the structure is shaped around to get on to the language of the rats?” into white stars. Isobel. . . courtroom proceedings. wildwoods’ eyes and primarose hair, And the green eyes blinked at me, quietly, i) Opening Statement blinked from a gray rat’s rathole. In Tall Grass all the woods so wild, in mauves of ii) The Cross-Examination of moss and daphnedews, George ‘Dubya’ Bush “Come again,” I said, Bees and a honeycomb in the dried head of how all so still she lay neath of the iii) The Defence of Margaret Thatcher: “Slip me a couple of riddles; a horse in a pasture corner – whitethorn, child of tree, George Square Death Party there must be riddles among the rats.” a skull in the tall grass and a buzz like some losthappy leaf, iv) Summary of Facts and a buzz of the like blowing flower stilled, v) Deliberation (instrumental) And the green eyes blinked at me, yellow honey-hunters. as fain would she anon, vi) Verdict and whisper came from the grey rathole: for soon again ‘twil be, “Who do you think you are and why is a rat? And I ask no better a winding sheet win me, woo me, wed me, The text uses direct quotations from politicians Where did you sleep last night and why do (over the earth and under the sun). ah weary me! as well as texts written specifically for the piece you sneeze on Tuesdays? deeply, by writer Alan McKendrick. Thus, we see George And why is the grave of a rat no deeper Let the bees go honey-hunting with yellow Now evencalm lay sleeping; night ‘Dubya’ Bush crossed-examined by the ensemble, than the grave of a man?” blur of wings Isobel set to a selection of ‘Bushisms’ – verbal blunders in the dome of my head, in the Sister Isobel made by Bush during public speaking. There is also And the tail of a green-eyed rat rumbling, singing arch of my skull. Saintette Isobel a stilted aria in which Margaret Thatcher defends whipped and was gone at a gray rathole. madame Isa her actions in context of a real-life party planned in Let there be wings and yellow dust and the Veuve La belle George Square, Glasgow to celebrate her death, the drone of dreams of honey – ensemble here representing the indignant rallying who loses and remembers? – who masses of the Great British Public. We also see an keeps and forgets? instrumental movement journeying through the deliberations of the jury and a Summary of Facts In a blue sheen of moon over the bones and outlining the politicians’ most infamous events. under the hanging honeycomb Joanna Lee the bees come home and the bees sleep.

8 9 i) Opening Statement might know. to come up with an answer, but it hasn’t yet… I It would seem those I used to work for by Alan McKendrick don’t want to sound like I have made no mistakes. Have a party planned for me. The gentleman first. Then the lady. I’m confident I have… you just put me under the Scene – It’s how both would have wanted it. spot here, and maybe I’m not as quick on my feet as In unsunlit George Square, Glasgow the late-night rain-tapped corridors of a very You’ll see. I should be in coming up with one.” they will gather in their tens of thousands modern institute and revel on occasion of my death; A technologically marvellous well-kempt knacker’s Trial now. Questions after. Let’s go. “I promise you I’ll listen to what has been said here, this bacchanal, hard-planned for years now yard even though I wasn’t [really] here.” may I say you are welcome to it. where creeds, credos and tenets ii) The Cross Examination of When it comes. Get lovingly refurbished into sculptural George ‘Dubya’ Bush iii) The Defence of Margaret Thatcher: entertainments by George W. Bush (selection of Bushisms) George Square Death Party Make me your new Guy Fawkes, for the select. by Alan McKendrick battered Judy, Aunt Sally, So Mr President, if you’re going to win a second Perform your very vilest on every inch of many Behold, please, term you’re going to need to convince us you are It would seem those I used to work for effigies. the waxwork museum of ideologies. steering the country back to prosperity. What do have a party planned for me Feed your mean and drunken bonfires this thin you propose? the impulse for which comes from no place inflammatory gruel. The sundry trapped-in-aspic consciousnesses generous Do your worst. of the progenitors of history’s greatest messes “There’s time for politics…and I…that’s an absurd nor festive. I require no defence. Shall stand tonight in rigorous trial for your delight insinuation.” (and dismay) Their sputtering indignation For as George Square steams in ritual as each pleads its ardent justification. “I know what I believe. [So] I will continue to roils like wracked church bells through my ears you all forget your true position, Each may plead as much as it likes – articulate what I believe and what I believe – I It’s musical for a few hours palsied song-and-dancing You be the judge. believe what I believe is right.” I’d judge so – in this granite ice-rink of the soul. “I’m the commander – see, I don’t need to explain… a roundly pleasing sound Enter, please, why I say things. That’s the interesting thing about But morning light will redeliver the courthouse for suspect ideologies. being president.” My every so-called crime they clamour, the real and bigger picture – “You’ve misunderestimated me there.” clamour to detail – that I am possessed of progeny, Now these exhibits don’t look human, I concede; “See, in my line of work you got to keep repeating supposed ‘crimes’ who are possessed of all of you. you’d be correct – things over and over and over again for the truth to against milk, nor scarcely even geometric; sink in, to kind of catapult the propaganda.” against mines iv) Summary of Facts you’d be correct – and by George W. Bush (quotes) most look in fact like something “I couldn’t imagine somebody like Osama bin Argentine mothers’ sons dropped from out a helicopter, Laden understanding the joy of Hanukkah.” “These weapons of mass destruction have got to be dragged nine miles very very fast underwater “I would say the best moment of all in my Each and every somewhere!” then forced to run a sack race at the Somme. As the [warmongering] office was when I caught a 7.5 I both acknowledge and submit “These acts of mass murder…” sack. pound largemouth bass in my lake.” As deeds far far far better done than not “The axis of evil”. NOT PRETTY. “I’ll be long gone before some smart person ever “One of the hardest parts of my job is to connect I’m not going to tell you you wouldn’t enjoy this figures out what happened inside this Oval Office.” These strutting, blunt and thwarted Iraq to the War on Terror.” experience more blindfolded, Your Honours. ambulant complaint machines “For every fatal shooting, there were roughly three YOU WOULD. “I will not withdraw, even if Laura and Barney [the each with its sour singe-mark of frustration half- non-fatal ones. And, folks, this is unacceptable in dog] are the only ones supporting me.” passing for a face – America.” But listen to the lilting sounds they make. That’s Ageing and embittered bus-riders all. “[Katrina]…I didn’t anticipate the breach of the right, they sing. What was your biggest mistake? Demagogues, levees.” Various ideologies shriek like kettles at night for “I wish you’d have given me this question ahead of ideologues, “Goodbye from the world’s biggest polluter.” your delight. time so I could plan for it… I’m sure something will the self-appointed vocalists of the so-called Let me turn on a pair of rogues that I think you pop into my head… with all the pressure of trying ‘national mood’.

10 11 By Margaret Thatcher & Arthur Scargill Which says liver Knussen Jesus came from out the court house door, Margaret Thatcher quotes: our children shall have lives which make Bacon’s General William Stretched his hands above the passing poor. screaming popes look affable Booth saw not, but led his queer ones “The sick man of Europe.” Which says Booth Enters into Round and round… “Strike fever.” The right way to run a railroad is no hat and all Yet! in an instant all that blear review “The rule of the law must prevail the rule of the cattle Heaven Marched on spotless, clad in raiment new. mob.” (1913) “To cure the British disease with socialism was like Which says The lame were straightened, withered limbs trying to cure leukaemia with leeches.” that ectoplasmic generality uncurled, “We had to fight the enemy without in the should form the full extent and breadth of ALL good Charles Ives (1874-1954) And blind eyes opened on a new, sweet world. Falklands. We always have to be aware of the citizens’ vocabularies. (Are you washed in the blood of the Lamb?) enemy within, which is much more difficult to fight General William Booth Enters Into Heaven and more dangerous to liberty.” Listen, please. by Vachel Lindsay “The lady’s not for turning.” To this court’s solution to incorrigible disease. Booth led boldly with his big bass drum Arthur Scargill quotes: This Be The Verdict. (Are you washed in the blood of the Lamb?) Hallelujah! “You will look back at this struggle – you will look Politics requires energy, The Saints smiled gravely and they said, “He’s back with pride in your eyes.” and energy invariably come.” “We’ve had riot shields, we’ve had riot gear…our veers to comedy (Washed in the blood of the Lamb, the blood of the people, we’ve had people hit…and kicked to the When You Don’t. Know. What. You Are. Doing. Lamb.) ground.” This is clever of you. Walking lepers followed rank on rank, vi) Verdict And makes you easy to laugh at. Lurching bravos from the ditches dank by Alan McKendrick Drabs from the alleyways, drug fiends pale The verdict is Minds still passion ridden, soul flowers frail: Forth You should no longer be laughed at. Vermin eaten saints with mouldy breath, from charm-free schools they shamble, engaged in The verdict is Unwashed legions with the ways of Death fumbling rape You should no longer be laughed at. (Are you washed in the blood of the Lamb?) of all decent ideals while blithely trouncing satire at The verdict is its own game. You should no longer be laughed at. Ev’ry slum had sent its half a score Elocutionary lies perch upon their porcelain teeth The round world over (Booth had groaned for more). Like scented squashed and tippexed turds atop Though the beatings will continue until morale Ev’ry banner that the wide world flies well-fornicated phone wire. improves Bloomed with glory and transcendent dyes, Big voiced lasses made their banjos bang, (NOT PRETTY) Trial done. Charges answered? Verdict : NO. Tranced, fanatical they shrieked and sang; Regard, please “Are you washed in the blood of the Lamb?” The taxpayer’s leeching and besuited disease. Hallelujah, Lord! It was queer to see Tonight they must answer for their minds made of Bull necked convicts with that land make free. mustard Loons with trumpets blown a blare, And their terrible On, on, upward thro’ the golden air! woeful deplorable (Are you washed in the blood of the Lamb?) wretched execrable egregiously poor example.

12 13 John Cage Elliott Carter at an astonishing rate, with more than 60 works or “elastic form” in works like the Mosaic Quartet coming after the age of 90. (where performers determine the order and In his final years, Carter continued to complete alternation of movements). works with astounding frequency. Among Carter’s Cowell’s influence is legion, counting among final works areDialogues II (2012), a concerto for his students John Cage, Lou Harrison, and George piano and orchestra dedicated to Daniel Barenboim Gershwin. Cowell taught at the New School for and premiered just weeks before his passing at the Social Research in New York and also held posts age of 103. at the Peabody Conservatory and Columbia Reprinted by kind permission of Boosey & Hawkes. University. A plethora of awards, grants, and honorary degrees was capped by his election in Henry Cowell 1951 to the American Institute of Arts and Letters. John Cage was born on September 5, 1912 in Los Elliott Carter is internationally recognized as Angeles, California and died in New York City on one of the most distinguished American voices in Ruth Crawford Seeger August 12, 1992. He studied liberal arts at Pomona classical music, and a leading figure of College. Among his composition teachers were in the 20th and 21st centuries. Carter’s prolific Henry Cowell and . Cage career spanned over 75 years, with more than 150 was elected to the American National Academy pieces, ranging from chamber music to orchestra and Institute of Arts and Letters and received to opera, often marked with a sense of wit and innumerable awards and honors both in the United humour. He received numerous prestigious honors, States and in Europe. including the prestigious Pulitzer Prize on two He was commissioned by a great many of occasions: for his String Quartet No. 2, 1960 and the most important performing organizations String Quartet No. 3, 1973. Henry Cowell was a tireless musical explorer throughout the world, and maintained a very Born in New York City on December 11, 1908, and inventor. Born 11 March 1897 in Menlo Park, active schedule. It would be extremely difficult Elliott Carter was first encouraged toward a California, where he grew up surrounded by a wide Ruth Crawford Seeger was born to an itinerant to calculate, let alone critically evaluate, the career in classical music by his friend and mentor variety of Oriental musical traditions, his father’s Methodist minister and his wife in 1901. Upon stimulating effect and ramifications that Cage’s Charles Ives. He studied under composers Walter Irish folk heritage, and his mother’s Midwestern graduating high school Crawford entered Foster’s work had on 20th century music and art, for it is Piston and Gustav Holst while attending Harvard folktunes, Cowell began composing in his early teens School of Musical Art, studying piano. In 1921 clear that the musical developments of our time University, and later traveled to Paris, studying with and began formal training at age 16 with Charles Crawford enrolled in the American Conservatory cannot be understood without taking into account Nadia Boulanger. Following his studies in France, Seeger at the University of California. His use of of Music in Chicago, staying until 1929, studying his music and ideas. His invention of the prepared he returned to New York, and devoted his time to varied sound materials, experimental compositional composition and theory with Adolf Weidig. Weidig piano and his work with percussion instruments composing and teaching. procedures, and a rich palette coloured by multiple encouraged her early efforts, and with her first led him to imagine and explore many unique Carter’s early works demonstrated a non-European and folk influences revolutionized Piano Preludes of 1924 Crawford had already and fascinating ways of structuring the temporal neoclassical style influenced by his contemporaries American music and popularized, most notably, the developed her own unique, “ultra-modern” voice. dimension of music. Copland, Hindemith and Stravinsky. After 1950, tone cluster as an element in compositional design. In 1926 Crawford composed her Sonata for He is universally recognized as the initiator he shifted his compositional style away from In addition to tone clusters evident in such Violin and Piano, performed often at modern music and leading figure in the field of indeterminate neoclassicism and developed a unique and works as Advertisement and Tiger, Cowell concerts in the late twenties; critics remarked that composition by means of chance operations. signature rhythmic and harmonic language, often experimented with the “string piano”; in works Crawford could “sling dissonances like a man”. She Arnold Schoenberg said of Cage that he was an using tempo modulation. like The Aeolian Harp and The Banshee where was recognized early on as a woman composer “inventor – of genius”. A creative burst of imaginative works began in strings are strummed or plucked inside the piano. who did not fit the sentimental stereotypes earnest during the 1980s, with works such as Night Studies of the musical cultures of Africa, Java, and associated with the standard profile. In Chicago, Fantasies (1980) and Penthode (1985), and major North and South India enabled Cowell to stretch Crawford joined the circle of Djana Lavoie Herz, orchestral essays such as Oboe Concerto (1986–87). and redefine Western notions of melody and pianist and ex-follower of Scriabin; through Herz Carter’s only opera, What Next? (1997–98) was rhythm; mastery of the gamelan and the theory of she met Henry Cowell. Cowell quickly enjoined introduced by Daniel Barenboim, a champion of gamelan composition led to further explorations Crawford’s cause, arranging for performances of the composer’s music, in Berlin in 1999. Carter’s with exotic instruments and percussion. Later, her music in New York and publishing it in the remarkable late-career creative burst continued Cowell developed the concept of indeterminancy periodical New Music Quarterly.

14 15 By 1930, Ruth Crawford was a force to be and explorative, ahead of its time; but respect for Aldeburgh Festival, Tête á Tête Opera Festival, Park consisted mostly of ruthless and painstaking reckoned with in American modernism. Stylistically his music gradually rose. In the 1930s and 40s Lane Group Young Artists Series, BMIC Cutting revision of his earlier works. He turned mostly to her work stood out in its uncompromising use of many influential musicians took interest in his Edge Series and Ultraschall Festival in Berlin. his painting - which grew increasingly abstract - dissonance, contrapuntal ostinati, striking choice of work, including Aaron Copland, Lou Harrison and Joanna has studied on the Britten-Pears during the Vermont years of his life. texts and tidy formal construction. In March 1930 pianist John Kirkpatrick, whose performances of Contemporary Composition Course, LSO Panufnik Crawford won a Guggenheim Fellowship to travel Ives’ music received much praise. Among these Scheme, Jerwood Opera Foundation Course and is to Europe; the first woman so honoured. important performances was the 1946 premiere, completing a PhD at Birmingham Conservatoire, About tonight’s In 1929 she began study with Charles Seeger, conducted by Lou Harrison, of his Symphony No. tutored by Richard Causton and Edwin Roxburgh. a key figure in American music as a composer, 3, for which Charles Ives won a Pulitzer Prize the She works as composer assistant to Paul Englishby, performers theorist and musicologist. They married in 1932, following year. which has included music for the Oscar-nominated with Ruth assuming responsibility for his children Charles Ives died in New York City on May 19, film An Education, and projects for the Royal Oliver Knussen of a previous marriage. She likewise adopted 1954. He is remembered today as one of the great Shakespeare Company and BBC. several of Seeger’s theoretical methods that mark American composers, and as a maverick whose the works of her most productive period, 1930- musical experimentation and exploration set the Carl Ruggles 33, however her composing comes to a virtual stage for, and continues to influence the course of, standstill after 1934. American classical music for generations to come. Crawford only returned to serious composition with the Suite for Wind Quintet in 1952. By the time Joanna Lee it was completed, she learned she had cancer and she died at the age of 52, ending prematurely a career that had begun with extraordinary promise. Biography by David Lewis Oliver Knussen (born in Glasgow in 1952) is one of the pre-eminent composer-conductors in the Charles Ives world today and is presently Artist-in-Association Carl Ruggles was born in East Marion, with both the BBC Symphony Orchestra and Massachusetts, on March 11, 1876. Trained as a Birmingham Contemporary Music Group. The violinist, he also studied theory and composition in recipient of many awards, including the Nemmers Boston with Josef Claus and John Knowles Paine. Prize in 2006, he has been Artistic Director of the Joanna Lee’s compositions have been shortlisted (Plans to study composition with Dvorák in Prague Aldeburgh Festival (1983-98), Head of Contemporary for a British Composer Award and Arts Foundation were put off when a financial sponsor died). Music at the Tanglewood Music Center (1986-93) Opera Composition Award, featured in Premieres of In 1907, Ruggles moved to Winona, Minnesota. and Music Director of the London Sinfonietta (1998- the Year in Classical Music magazine and her first In this small city on the banks of the Mississippi he 2002). Together with he founded chamber opera received the Stephen Oliver Award. founded, and for a decade conducted, the Winona the Composition and Performance Courses at the Joanna was BCMG/SAM Apprentice Composer- Symphony. He also gave lessons, composed, and Britten-Pears School in 1992. Charles Ives, the son of famed Civil War in-Residence for 2012, for which she was mentored began painting during this time. Among his best-known compositions are three bandleader George Ives, was born in Danbury, by Oliver Knussen. Recent projects include a Ruggles moved to New York City in 1917 and, symphonies, concertos for horn and violin, several Connecticut, on October 20, 1874. At the age of 5, commission for EXAUDI, a Residency at Aldeburgh supported by teaching and private patronage, song cycles, works for ensembles and for solo he started piano lessons; and he began composing composing a piece for Aldeburgh Music Club to became associated with Ives, Varèse, Cowell, piano, and the operas Where the Wild Things Are at around age 13. He attended Yale University, after celebrate 60 years since their founding by Benjamin Slonimsky, and Seeger. Most of his major works and Higglety Pigglety Pop! written in collaboration which he chose to forego a musical career, moving Britten and she was awarded a Jerwood Opera were begun and first performed during the years in with the late Maurice Sendak. to New York in 1898 to take a job as a clerk with Fellowship in 2012. New York (1917-37). His recent 60th birthday was celebrated an insurance firm. This did not prevent him from Performances of Joanna’s work include London After a period (1938-43) during which he taught with special events in Aldeburgh, Amsterdam, pursuing music on the side, however. He worked as Symphony Orchestra, BCMG, Psappha, CHROMA, composition at the University of Miami, Ruggles Birmingham, London and Tanglewood. a church organist and choirmaster until 1902, and Orchestra of the Swan, Elysian Quartet, Jane settled in a converted schoolhouse in Vermont, continued composing new works until 1927. Manning, Sarah Leonard, Loré Lixenberg, Omar where he had been spending his summers since Charles Ives’s music was innovative, daring Ebrahim, Joby Burgess and Robin Michael in the the ‘20s. His musical activities during this time

16 17 Leigh Melrose Chamber Music Festival. Other highlights Birmingham Contemporary Music Group include Matthias Pintscher songs with the BBC BCMG Players celebrates its 25th anniversary season in 2012/13. Scottish Symphony Orchestra at the Huddersfield Emerging from within the City of Birmingham Contemporary Music Festival. performing tonight Symphony Orchestra in 1987, the Group quickly established a reputation for brilliant performances, Lucy Schaufer Flute / Piccolo Marie-Christine Zupancic ambitious commissions, innovative collaborations, Oboe / Melinda Maxwell and a vibrant learning programme. With a central Cor Anglais commitment to composers and the presentation of Clarinet / Mark O’Brien new work, BCMG’s open and inclusive approach Bass Clarinet takes people of all ages through the rich and Bassoon / Margaret Cookhorn fascinating world of contemporary music. Leigh Melrose in recent years has carved out a Contra Bassoon BCMG has premiered over 150 new works, formidable reputation for the performance of new Horn Mark Philips many commissioned through its pioneering Sound works. A wonderfully dynamic artist on both the Trumpets Jonathan Holland Investment scheme. In addition to a busy schedule concert and opera platform, Leigh Melrose is also in Alan Thomas of concerts in the UK and abroad, BCMG runs an demand for core repertoire by composers such as Trombone Ed Jones extensive learning and participation programme, Brahms, Mozart, Berg and Mahler. Lucy Schaufer has performed with many of the Percussion Julian Warburton working with young people in and out of school A graduate of St John’s College, Cambridge, world’s most important opera companies, including Gareth Ceredig and with adults in a range of community settings, and the Royal Academy of Music, Melrose’s opera the Metropolitan Opera, Houston Grand Opera, Pianos Malcolm Wilson as well as presenting ground-breaking Family and engagements have taken him to companies all over LA Opera, Washington National Opera, Opera der James Keefe Schools’ Concerts. the world. He has sung the title role in Wozzeck Stadt Köln, the Hamburgische Staatsoper, Opera Harp Céline Saout The Group has two Artists-in-Association, for Salzburg; Papageno Die Zauberflöte for Seattle de Monte Carlo, Opera National de Lyon, the Grand Violins Alexandra Wood Oliver Knussen and John Woolrich, and Sir Simon Opera, Demetrius A Midsummer Night’s Dream for Theatre de Geneve, Opera National du Rhin and Lena Zeliszewska Rattle is Founding Patron. BCMG has received La Monnaie; Escamillo Carmen at the Royal Albert English National Opera in roles including Carolina Gabriel Dyker a clutch of prestigious awards, has an extensive Hall and with the City of Birmingham Symphony (Elegy for Young Lovers), Cherubino, Charlotte, Jane Gordon catalogue of CD recordings and broadcasts Orchestra under Sakari Oramo; and Britten’s Death Clare de Lune, Erika (Vanessa), Hansel, Joanna Violas Christopher Yates regularly on BBC radio. in Venice at the Liceu, Barcelona. (Sweeney Todd), Judy (Punch and Judy), Marcelline, Michael Jenkinson bcmg.org.uk Leigh Melrose has given many world premieres Octavian, Olga, Sesto and Suzuki. She has worked Cellos Ulrich Heinen including Cholawicki in Johannes Kalitzke’s Die with directors including: Christopher Alden, Jurgen Elaine Ackers Besessenen at Theater an der Wien, Elliott Carter’s Flimm, Jude Kelly and David McVicar and with Double Bass John Tattersdill On Conversing with Paradise at the Aldeburgh conductors including: Valery Gergiev, Alan Gilbert, Festival under Oliver Knussen, and Evan in Julius Rudel, Simone Young and Kent Nagano. James MacMillan’s new opera The Sacrifice at Her recordings include: Weill’s The Firebrand of Welsh National Opera, all to critical acclaim. On Florence (BBCSO/Sir Andrew Davies), Ira Gershwin Conversing with Paradise was recorded and at 100: Celebration at Carnegie Hall (PBS TV/ released on the Bridge label, and subsequently Rob Fisher), Der Rosenkavalier (ARTE/Simone nominated for a Gramophone Award for ‘Best Young) and Paul Bowles’s The Wind Remains Contemporary Album’. (Eos Ensemble/ Jonathan Sheffer) for BMG. In the In the 2012-13 season Melrose returns to ENO concert hall, Ms Schaufer has performed at the as Escamillo in Calixto Bieito’s production of Aldeburgh Festival and the BBC Proms and with Carmen and then takes on the title role of Berg’s orchestras including the Gulbenkian Orchestra Wozzeck in a new production signed by Carrie and the City of Birmingham Symphony Orchestra. Cracknell. On the concert and recital platform Future engagements include: Suzuki with New he makes his debut at the Alte Oper Frankfurt Zealand Opera and the release of Carpentersville, a performing several newly commissioned song solo recital disc on ABC Classics. cycles and is an artist in residence at the Trondheim

18 19 Become a supporter of BCMG

BCMG Foundation I always seem to come away from BCMG events with my horizons broadened, my vision refreshed, and my sense of being part of this wonderful creative city reinvigorated. Through the BCMG Foundation, I feel close to the beating heart of this brilliant inclusive world-class team. John Christophers, BCMG Foundation member

The BCMG Foundation allows you to engage with aspects of our work that concert-goers don’t usually see. You can support the future development of Gerald Barry’s opera The Importance of Being Earnest was BCMG’s performance and learning activity by supported by the BCMG Foundation becoming a Core Supporter from £1,000 per year. You can also help with specific BCMG projects, Remember BCMG’s with a donation starting from £250 per year. Projects for which we are currently seeking your work in your Will support include: Composers and the development of new work Spotlight on Resolution need every encouragement we can give. • Big Ears – a series of creative music-making Leaving a legacy to BCMG enables us to workshops in primary schools, linked to our support the future of new music even beyond BCMG’s Resolution project has brought together practices. Entrance is free and no booking is Schools’ Concerts in Spring 2013 our lifetime. Alan Woodfield, BCMG supporter composers and young professional biomedical required – we would be delighted if you could join • The Birmingham premiere of George Benjamin’s scientists to work with young people from us for the finale to this stimulating project from opera Into the Little Hill in April 2013 By remembering BCMG’s work in your Will you Turves Green Girls School and King Edward VI 6.30pm on Friday 22 March 2013. can give future generations a very special gift. Handsworth School, Birmingham, and Light Hall Funded by a Wellcome Trust Small Arts Award, Sound Investment We should be grateful if you would let us know if School, Solihull, to create new music inspired by Resolution is a partnership project between Sound Investment is BCMG’s pioneering you have made provision for BCMG in your Will. scientific research into auto-immune disease. Birmingham Contemporary Music Group and commissioning scheme, which involves individuals BCMG is a registered charity no. 1001474 Over the last few months workshops have the University of Birmingham’s Rheumatology in the thrill of bringing alive new work by the most been taking place in schools led by composers Research Group, part of the Centre for Translational exciting composers of our time. Forthcoming Liz Johnson, Fraser Trainer and Jackie Walduck, Inflammation Research, based in the Queen premieres include works by Gerald Barry, Benedict supported by scientists Beth Clay, Rachel Bayley Elizabeth Hospital. The project has also included Mason, David Lang, Harrison Birtwistle and many and Bozo Lugonja, and emerging composers professional development sessions for scientists more. You can support BCMG’s commissioning Jeremy Clay, Joanna Lee and Ruta Vitkauskaite – and emerging composers and reflection and programme from £15 per month. We always welcome one-off donations to who have been writing new music for the young planning time for all those involved. bcmg.org.uk/soundinvestment support our programme. Any level of donation people to perform. On Friday 22 March 2013 will make a difference to BCMG’s work. Would you like to get involved? the project culminates with a performance by For more information on this project, or any of You can send us a cheque made out to Call Gwendolyn Tietze on: the young people of music they have created and BCMG’s Learning Programme, please visit ‘BCMG’, or donate online: 0121 616 2621 new music created for them with accompanying bcmg.org.uk/learning, contact Naomi bcmg.org.uk/donatenow science demonstrations. The performance will Wellings, Learning Co-ordinator on email: [email protected] be followed by an open discussion exploring the 0121 616 6519 or email [email protected] or go to: bcmg.org.uk/supportus similarities and differences of artistic and scientific or [email protected].

20 21 Concertante is an intervention. Taking this In Tandem structure, I have created original compositional late-night material which has little resemblance to the (1992) initial object. Similarly to Your Ex-Lover is Dead, this piece has two protagonists, a violinist & alto Howard Skempton (b. 1947) saxophonist replacing male and female vocalists. However, in this piece both protagonists act as In Tandem is a short piece for two keyboard generators of compositional material rather than instruments (most frequently, vibraphone and confronting the ensemble as traditional soloists. piano). It was composed in 1992 and was written Moreover, this piece deals with memory and for Swedish musicians Jerker Johansson and recollection (musical or real). Each short movement Programme Björn Nilsson, for Nilsson’s concert series in Boras, seems to be the same memory (or collection of Joe Cutler’s music has been described as Sweden. memories), remembered in a slightly different way. “propulsive” (BBC Music Magazine), “alluring” (Scotsman), “neurotic” (Re-Diffusion) and “the Seán Clancy best thing to come out of Neasden since Twiggy” Artistic Director/Conductor: Dan Watson Sikorski B (Gramophone). Violin: Alexandra Wood * His work has been performed or broadcast (2007) Saxophone: Kyle Horch * in over forty countries worldwide, and alongside pieces for the concert hall, includes music for film, Joe Cutler (b. 1968) theatre, dance companies and table tennis players. Howard Skempton His debut portrait disc (released on NMC) was In 2005, I wrote an ensemble piece for Noszferatu, one of Gramophone Magazine’s Top 20 Releases In Tandem commissioned by the Huddersfield Contemporary of the Year in 2008. He also won the 2008 British Joe Cutler Music Festival, entitled Sikorski. This piece took as Composer Award in the chamber music category its starting point the work of the Polish composer for Folk Music, commissioned by the Smith Quartet. Sikorski B Tomasz Sikorski (1939-88), whose approach has Dublin born composer Seán Clancy’s music been described by composer Stephen Montague has been described as ‘exploring the tensions Howard Skempton Seán Clancy as using “to bludgeon rather than to between found and original material, narrative and Strange to See You Again * entertain”. After finishing the piece I became aware rupture, elite and vernacular values, and between (Thumb commission / world premiere) that I could have taken the material in a different innovation and intervention.’ and more single minded direction, and in Sikorski B His music has been performed and broadcast I attempt to explore this alternate route. internationally by many of the world’s leading artists and ensembles and has featured at numerous international festivals of new music. Strange to Awards include an RTÉ Lyric FM/IMRO Composition Bursary (2012), selection for the See You Again UNESCO International Rostrum of Composers (2011) and BCMG/SaM Apprentice Composer- Howard Skempton, born in Chester in 1947, has (2013) in-Residence (2011). Principal teachers have worked as a composer, accordionist, and music included David Lang, Joe Cutler, Howard Skempton publisher. From 1967 he studied with Cornelius Seán Clancy (b. 1984) and Gerald Barry. He is a visiting lecturer at Cardew with whom he was later to become one Birmingham Conservatoire and is represented by of the founding members of the influential Scratch Strange to See You Again is the first line of text the Contemporary Music Centre, Dublin. Orchestra. Since then he has continued to write taken from the song Your Ex-Lover is Dead by the undeflected by compositional trends, producing Canadian group Stars; upon which, this Sinfonia a corpus of more than 300 works. Skempton’s

22 23 works have been commissioned and performed by Alexandra Wood Kyle Horch Thumb was founded in 2009 by enthusiastic leading artists, including the BBC and Birmingham Birmingham Conservatoire students keen to promote Contemporary Music Group. Highly acclaimed and perform innovative and forward thinking works recordings of his works have been made by vocal by Conservatoire composers. The ensemble has group EXAUDI, Birmingham Contemporary Music given over 50 premieres since its inauguration, and Group, and the Exon Singers. it aims to continue its core remit of encouraging new works and offering young composers performance opportunities to further their career. About tonight’s This concert represents an important milestone for the ensemble. In the summer of 2012 Thumb performers won a Musicians Benevolent Fund Emerging Alexandra Wood, ‘highly charged yet At the beginning of his career, Kyle Horch was Excellence Award, which enabled the ensemble Dan Watson imaginatively refined’ (The Times), has won a prizewinner at many competitions in Britain, to embark on a joint project with Birmingham major prizes at international violin competitions. Europe and the USA. Since then he has given Contemporary Music Group, resulting in Alexandra graduated from Selwyn College, recitals at many venues in Britain and abroad, mentorship for Thumb as the ensemble seeks Cambridge before going on to the Royal College of and his recordings on the Clarinet Classics wider recognition and long-term sustainability Music in London. Leader of City of London Sinfonia, label, ChamberSax and AngloSax, have received to continue its work. Through support from the and regular leader of Birmingham Contemporary international praise from reviewers, as has his Musicians Benevolent Fund and the RVW Trust, Music Group she also frequently guest-leads other chamber music recording Flotilla, on Big Shed Thumb are proud to present their first commission ensembles. As a concerto artist she has performed Music. He has also recorded as a soloist and in this concert, Seán Clancy’s Strange to See You with orchestras such as the Philharmonia and City chamber musician for the Music Chamber, Herald, Again, and anticipate it will be the first of many in of London Sinfonia. She has given the premiere of Deux-Elles, and ABC Classics labels. Kyle has the coming years. violin concertos specially written for her by Hugh been a regular BCMG player since 1991, and also www.thisisthumb.co.uk Wood (2009) and Charlotte Bray (2010). Her CD works as a freelance saxophonist with many other Workshopping, rehearsing and performing brand of world premiere recordings – Chimera – was UK orchestras and ensembles. He is saxophone new works has been a prominent feature of Dan described as ‘splendid’ in The Sunday Times, and in professor at the in London. Watson’s activity since he began conducting 2009 the ABRSM volume Spectrum for Violin, which as an undergraduate student at Birmingham she compiled, edited and recorded, was released. Conservatoire. He is currently Artistic Director of She has also recently recorded two violin pieces by Thumb players Thumb, and has guest conducted other ensembles Oliver Knussen for NMC. such as Thallein ensemble and Toy Sound Circus. performing tonight www.danwatson.co.uk Flute Jenni Hogan Clarinet Benjamin Graves Saxophone Tom Martin Bassoon Kathryn Harris Trumpet Eric Brookes Trombone Dan Serafini Percussion Bryn Bowen Electric Guitar Thomas Emery Piano Leo Nicholson Viola Christina Bean Double Bass Ben Wolstenholme

24 25 BCMG forthcoming events BCMG staff Acknowledgements

John Cage: Water Music Into the Little Hill Artistic Team and Management Our work would not be possible without the Part of the CAGE100 festival Saturday 6 April 2013, 7.30pm generous support of individual donors, charitable Thursday 14 March 2013, 6 – 6.30pm Wigmore Hall, London Founding Patron Simon Rattle trusts and foundations, partner organisations and Ikon Gallery, Birmingham. Free event Part of Wigmore Hall’s George Benjamin Day Artist-in-Association: Oliver Knussen, statutory funders. We are particularly grateful to John Woolrich the following for supporting BCMG in our 25th Piano: Christopher Hobbs Sunday 7 April 2013, 7.30pm Artistic Director Stephen Newbould anniversary season: CBSO Centre, Birmingham Executive Producer Jackie Newbould BCMG and IKON Gallery present Cage’s Water Finance & Administration Manager BCMG Sound Investors Music for piano (plus radio, whistles, water Conductor: George Benjamin Margaret Anderson BCMG Foundation Members containers and a deck of cards) as part of a Soprano: Susanna Andersson * Finance Assistant Galia Bouhayed live internet concert curated by the Forum of Contralto: Hilary Summers * Productions Co-ordinator James Carpenter Contemporary Music Leipzig - the biggest Director of Development Gwendolyn Tietze highlight of the international art and music festival Francesco Antonioni: Ballata (BCMG Sound Development Co-ordinator Alex Wright CAGE100. The concert will be one of several Water Investment commission 2009 / London premiere) Marketing Manager Tim Rushby Music performances across Leipzig’s sister cities David Sawer: Rumpelstiltskin Suite (BCMG Director of Learning & Participation Nancy Evans from 8 – 15 March, including Bologna, Houston and Sound Investment and Wigmore Hall co- Learning Co-ordinator Naomi Wellings Lyon – all streamed live on www.cage100.com. commission / world premiere) Learning Co-ordinator Jeremy Clay George Benjamin: Into the Little Hill * (concert Learning Trainee Ruta Vitkauskaite performance) Project Staff David Sawer’s stage work, Rumpelstiltskin, was premiered and toured by BCMG in 2009/10 to Press Consultant Faith Wilson universal acclaim. In these concerts we premiere Orchestra Manager Mark Phillips a 30-minute instrumental suite compiled by Sawer from his scintillating Rumpelstiltskin score, BCMG Board of Directors alongside George Benjamin’s jewel-like, award- winning chamber opera - a contemporary re- Chair Stephen Saltaire City of Birmingham Orchestral Endowment Fund, imagining of the Pied Piper fable – which has gone Financial Director Simon Purkess The Barber Trust, William A Cadbury Charitable Trust, on to enjoy worldwide success since its premiere in Deputy Chair Penny Collier The Hinrichsen Foundation, S & D Lloyd Charity 2006. Franceso Antonioni’s 2009 Sound Investment commission Ballata (dell’abbandono e della fortuna) Directors A special thanks to filmmaker Barrie Gavin completes this exciting concert programme. for Directing and Producing The Ensemble of Cllr Sue Anderson, Kenneth Baird, Susanna Possibilities: 25 Years of BCMG On Sunday 7 April there will be a free Eastburn, Nike Jonah, Theresa Stewart, Blair pre-concert talk from 6.30-7pm with Winton, Aaron Wright George Benjamin, David Sawer and Photographs Francesco Antonioni, open to all ticket Representatives Meredith Heuer, Robert Day, George Tyler, holders. Susan Schwartzenberg, Sidney Cowell, Chris Jonathan Mayes (Arts Council England, Christodoulou/Lebrecht Music & Arts, Mark Allen, See bcmg.org.uk to book tickets and West Midlands) Deen Van Meer, Chris Redgrave, Katie Vandyck for more information. Ulrich Heinen (BCMG player) Alexandra Wood (BCMG player) Stephen Maddock (CBSO Chief Executive)

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