MIRGA CONDUCTS BRAHMS AND ADÈS Symphony Hall,

Wednesday 4 August 2021, 8pm

Mirga Gražinytė-Tyla – Conductor

Gipps Symphony No.2 21’

Adès The Exterminating Angel Symphony (CBSO Centenary Commission – World Premiere) 20’

Brahms Symphony No.3 in F major 37’

In preparation for our upcoming performance at the BBC Proms 2021, we join Music Director Mirga Gražinytė-Tyla to champion the music of a too-long neglected composer. A pupil of Vaughan Williams, Ruth Gipps OUR CAMPAIGN FOR MUSICAL started her career as an oboist with what was then the City of Birmingham LIFE IN THE WEST MIDLANDS Orchestra in 1944, before becoming established as a composer. Her These socially-distanced concerts have Symphony No.2 takes a wide-screen, cinematic view of the Second World been made possible by funding from Arts War, embracing exhilaration, anxiety and, finally, ecstatic rejoicing. Conflict Council England’s Culture Recovery Fund, of a very different kind runs throughThe Exterminating Angel Symphony plus generous support from thousands of by Thomas Adès (50 this year), inspired by Louis Buñuel’s Surrealist film. individuals, charitable trusts and companies through The Sound of the Future fundraising Brahms’ Third Symphony strikes a more autumnal tone, inspired by a campaign. visit to the River Rhine in 1883. The critic Eduard Hanslick pronounced it ‘artistically the most nearly perfect’ of the composer’s symphonies to date. By supporting our campaign, you will play your part in helping the orchestra to recover And there’s much more to come... today we launch our 2021/22 season – from the pandemic as well as renewing the see cbso.co.uk/whats-on for more details. way we work in our second century. Plus, all new memberships are currently being matched pound for pound by a generous You are welcome to view the online programme on your mobile device, but please ensure that your member of the CBSO’s campaign board. 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 Support your CBSO at cbso.co.uk/future 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 facebook.com/thecbso signage and/or guidance from staff, and using the hand sanitising stations provided. Thank you. twitter.com/thecbso instagram.com/thecbso

Supported by Supported by 1 Ruth Gipps mbe (1921–99) clear that other, far more personal influences were at work. She told her biographer Jill Halstead that “Robert’s return left her overflowing Symphony No.2, Op.30 with musical ideas and she simply wrote out large sections of the symphony in short score with little or no revision”. Moderato – Tempo di marcia – Adagio – Allegro moderato The result is personal, passionate and heroic in its scope. Its very form conveys something of the urgency and inspiration with which it was When the City of Birmingham Orchestra became a full-time composed. Alone among Gipps’ five symphonies, it is in a single ensemble in the summer of 1944, one of the first appointments was movement; an unbroken 21-minute outpouring of music in several a new second oboe and cor anglais player – the 23-year-old Ruth distinct but organically linked sections, each the work of an Gipps, known to her friends as ‘Wid’, and already carving a path as a unashamedly romantic composer. From a stately opening, the first pianist and a strikingly original composer. Born in Bexhill, the section becomes grandly affirmative and then idyllic, before the brass daughter of a Swiss piano teacher, she had played her first concerto suggest the tumult of world affairs. A brisk march grows menacing; a in public at the age of four. After graduating from the Royal College poignant Adagio ends with a horn solo before the struggle resumes, of Music (where she had studied composition with Vaughan and trumpets and percussion crown the defiant closing bars. Only in Williams, and completed her First Symphony) Gipps launched herself 1991, did Gipps reveal to Halstead that she originally conceived it as into a freelance career as an orchestral oboist in a wartime Britain, depicting her life before, during and after the war: where opportunities for female musicians were in generous supply. She played in the Hallé, the London Symphony and the Liverpool …(a young woman at the start of her creative life in every sense); the Philharmonic before being headhunted for the CBO by its new outbreak of war and its consequences (a woman now in love but music director, her college friend George Weldon. separated from her husband: fear and isolation amid the continuity of everyday life); and Robert’s homecoming, accompanied by a return to Gipps played as a full-time member of the CBO for just one normality with high hopes for the future (the bringing together of all tempestuous season,1944–45 – during which Weldon premiered her the strands of life). First Symphony, booked her as a piano soloist and generally promoted her so enthusiastically that he was accused of favouritism. Her position Weldon and the CBO premiered the symphony at Birmingham Town became untenable, and still reeling from the experience, she and her Hall on 3 October 1946. “She is a composer of marked individuality” husband (the CBSO’s future second clarinet Robert Baker, then on wrote the Birmingham Gazette, drawing parallels with Sibelius and leave from military service) took a holiday with Weldon at Holywell Bay, Samuel Barber. “Ideas of her own she has, and an ability to express Cornwall in August 1945. There, she composed her Second them without taking refuge in academicism or mere padding”. Symphony in a matter of weeks. The Daily Express had organised a “Birmingham takes a particular interest in her work”, the critic added; competition for symphonies to mark the end of the Second World War, we might do worse than do so again. and although she entered the finished symphony in the competition (the first prize went to Bernard Stevens’Symphony of Liberation), it is Programme note © Richard Bratby

RUTH GIPPS AND THE CBSO

Ruth ‘Wid’ Gipps joined the City of Birmingham Orchestra as “They did not resent all the women in the orchestra or anything silly second oboe and cor anglais in the summer of 1944 – one of the like that” Gipps recalled. “[but] I was plainly regarded by some as a first hirings by the new Music Director (and former motor-racing little know-all and moreover a friend of the management.” That was champion) George Weldon for the brand new full-time orchestra. the crux of the issue. She’d known Weldon since her time at the The appointment of a female woodwind principal was not as unusual Royal College of Music, and they enjoyed what she termed a “violent for that time as it might sound – at least, not in Birmingham, where friendship”. It was rumoured that they were lovers, and Gipps was the CBO had employed female musicians since its foundation as a shunned by her fellow-musicians. She resigned at the end of her first part-time ensemble in 1920. Nor was Gipps the only composer in the season, but gossip continued after she left the orchestra – and even orchestra. Weldon supported his players’ ambitions and compositions after her husband, the clarinettist Robert Baker, returned from military by the bassoonist Vaughan Allin and Gipps’s fellow-oboist Mary service and joined the orchestra in 1946. Weldon continued to Chandler featured regularly in Birmingham programmes in the late champion Gipps’ music, and later gave her conducting lessons after 1940s. But none of them made quite the impact that Gipps made she was made Assistant Conductor of the City of Birmingham Choir. when, on 25 March 1945, she played in the orchestra in Rimsky- She also worked with the BBC Midland Orchestra, and in 1949 she Korsakov’s Capriccio Espagnol, appeared as soloist in Glazunov’s launched and edited Play On – the CBSO’s first in-house magazine. Piano Concerto No.1, and finally played cor anglais in the premiere It was a witty, surprisingly outspoken publication. After leaving of her own First Symphony. “How often does musical history show a Birmingham for London, Gipps went on to found and conduct the case of so remarkable a symphony written by a girl of 21 – or for that London Repertoire Orchestra and Chanticleer Orchestra, composing matter, by a boy?” asked the Birmingham Post. Occasions like this her fifth and final symphony in 1982. provoked envy among her older colleagues, some of whom had been in the orchestra since its inception. © Richard Bratby

2 Thomas Adès (b. 1971) THOMAS ADÈS AND THE CBSO

The Exterminating Angel In 1996, Sir , the CBSO and the Feeney Trust backed a hunch about an unknown young composer. Thomas Adès was Symphony only 26 but Asyla, premiered at Symphony Hall on 1 October 1997, was an instant sensation: a symphonic work for a new I Entrances Millennium, richly-imagined and powerfully assured. “Totally original, II March uncompromisingly serious, utterly of our time and a teasing, tingling delight to the ear. This is music that orchestras are going to want III Berceuse to play, and audiences to hear, again and again” predicted Andrew IV Waltzes Clark of the Financial Times, with complete accuracy. Asyla was so

striking that Rattle chose to reprise it less than 12 months later, in Composed in 2020, this Symphony is an orchestral rendering of August 1998, in his final concert as music director of the CBSO. music from Adès’ third opera The Exterminating Angel. Based on Luis Buñuel’s classic surrealist movie from 1962, in which a Like its composer, Asyla has become a global phenomenon since collection of society characters find themselves inexplicably trapped that warm night in Birmingham 23 years ago. And although Thomas together at a post-opera party, it premiered at the 2016 Salzburg Adès has never held a formal post with the CBSO (he was, however, Festival, and has since travelled to the Royal Opera House, Covent Music Director of Birmingham Contemporary Music Group from Garden, New York’s Metropolitan Opera, and the Royal Danish Opera, 1998-2000) the relationship has continued to thrive. The percussion Copenhagen. section raided their kitchens for old baking tins when he recorded In the Symphony’s opening movement, Entrances, the guests arrive These Premises Are Alarmed at CBSO Centre in 1999; with the for dinner; in an early sign that they are leaving “reality” behind, they CBSO, he conducted his own America and Polaris at Symphony Hall arrive twice. Then comes the ferocious and obsessive March that and Tevot at the BBC Proms. bridges the opera’s first two acts, the music for their first night under the spell of the Exterminating Angel. The third movement, a Berceuse, draws on some of the work’s most exquisite and “Tonight’s premiere writes memorable music: one of the yearning, melancholy duets between the doomed lovers Beatriz and Eduardo: Fold your body into mine / an exciting new page in an Hide yourself within its hand. ongoing story.” Adès describes composing Waltzes – the Symphony’s final and most extensive movement – as like “joining together the bits of a broken The CBSO Youth Orchestra has performed his Three Studies from porcelain object”. Unlike the other movements, which draw on fairly Couperin, and Adès has appeared on numerous occasions as a complete passages from the opera, here the waltz fragments that guest conductor in his own (typically eclectic) choice of repertoire: surface throughout the score are brought together to create everything from Berlioz and Gerald Barry to a remarkable something wholly original. “What interests me about the waltz is the performance of Stravinsky’s Les Noces in 2006, as part of the seductiveness of this music” remarked Adès in an interview before CBSO’s IgorFest. For the CBSO – co-founded by Granville Bantock the opera’s premiere. “I often feel that the waltzes by Johann Strauss and a regular collaborator with Holst, Elgar and Britten – it is the are saying ‘why don’t you stay a little longer? Don’t worry about most natural thing in the world to be working with one of Britain’s what’s going on outside’. So in the context of this opera the waltz pre-eminent living composers. Tonight’s premiere writes an becomes very dangerous, potentially fatal.” exciting new page in an ongoing story. Programme note by Faber Music © Richard Bratby

The Exterminating Angel Symphony was commissioned by City of Birmingham Symphony Orchestra, as part of its Centenary Commissions; together with The Cleveland Orchestra – Franz Welser-Möst, Music Director; Helsinki Philharmonic Orchestra; Carnegie Hall; Orquesta Nacionale de España; Symphonieorchester des Bayerischen Rundfunks; Radio France; and Luzerner Sinfonieorchester.

3 Johannes Brahms (1833-1897) Cracking the code The very first things you hear are three mighty, rising chords for the Symphony No.3 in F, Op.90 winds – before the strings launch off into a grand, striding melody. It’s a magnificent opening, and not unlike the start of theRhenish Allegro con brio symphony by Brahms’ long-dead hero and mentor Robert Schumann. So is it a coincidence that it came to him while staying in Andante the Rhineland town of Wiesbaden? What certainly isn’t a coincidence Poco allegretto is that those three grand opening chords are the chords of F, A flat Allegro and F again. Which is purely a technicality, until you know that, in their youth, Brahms and Joachim had private mottos – musical symbols of their artistic ideals. Joachim’s was Frei Aber Einsam (“Free Letter from Bohemia but lonely”), and he often incorporated the notes F, A flat and E into 10 October 1883 his music. Brahms’ was Frei Aber Fröh (“Free but Happy”). Or, in musical terms, F, A flat and F. Those notes reappear throughout the Third Symphony. You can’t always hear them – though when Brahms Dear Friend! wants you to hear them, you can’t miss them! I’ve recently returned from Vienna, where I spent several days with Dr Brahms. At my request to hear something of his new Clearing the air symphony, he played its first and last movements for me. I say So the Third Symphony is a homage to Schumann, and a message to without exaggeration that this work surpasses his first two Joachim. But it’s also pure Brahms, more relaxed and intimate than symphonies; if not, perhaps, in grandeur, then certainly in we’ve ever heard him with a full orchestra. This is the most colourful beauty. There is a mood in it, which one does not often find in of Brahms’ symphonies, and it’s hard to resist the dreamy clarinet Brahms! What magnificent melodies are there for the finding! waltz that comes after that heroic opening, and the dusky cello and viola colours of the Third movement. The tender Andante, and the It is full of love, and it makes one’s heart melt! Think of these haunting lullaby of the third are exactly what they seem to be; two of words when you hear the symphony, and you’ll agree… the gentlest and most touching movements Brahms ever wrote. Yours But this is still a great classical symphony, and it still deals with serious Ant. Dvořák matters. A short way into the second movement, the skies darken briefly and the clarinet, and then oboe, sing a sombre, hesitant melody. Remember that shadowy theme – because in the Finale, it Dvořák wasn’t the only musician to fall in love-at-first-hearing with unleashes a tempest. It is bracing, but also menacing (when Brahms Brahms’ Third Symphony. It was one of the few works other than his introduces a courageous second theme, Joachim was reminded of own that Elgar was willing to conduct (in Liverpool, amongst other the doomed classical hero Leander, swimming the Hellespont in the places). And if you ask many musicians, to this day, which is their teeth of the storm). The storm peaks, and then, like the skies clearing personal favourite of Brahms’ four symphonies, they’ll choose the at the end of a turbulent day, the colours of a radiant sunset spread Third. Yet it’s easily the least-played of the four. Like the symphony through the orchestra. All anger is spent, and as the first movement’s itself, that’s something of a puzzle – yet at the same time, perfectly opening theme gleams in the distance, Brahms ends the symphony comprehensible. on the chord with which it began – “Free but Happy”.

Absent friends Programme note © Richard Bratby The first clue’s in the endings. All four movements of the Third end quietly. Audiences love a good rousing finish, and Brahms knew that – his first two symphonies end in blazing triumph, and his Fourth in tragic grandeur. But he brings the Third to a close in radiant calm. And once you realise that Brahms wasn’t writing to please the crowds, a lot about the symphony starts to make sense. As soon as the symphony was completed, in the autumn of 1883, Brahms wrote to the violinist Joseph Joachim, offering him the chance to conduct it with his orchestra in Berlin. Joachim was Brahms’ closest musical friend, but they had fallen out, and hadn’t spoken in months. The offer of the Third Symphony was to be a gesture of friendship – and Joachim’s frostiness immediately started to thaw. This symphony is Brahms talking from the heart about the people and things that mattered to him most. And it’s filled with intimate references.

4 THE PERFORMERS

Mirga Gražinytė-Tyla Conductor With the Los Angeles Philharmonic, Gražinytė-Tyla was a Dudamel Fellow in the 2012-13 season, Assistant Conductor (2014-16), and Associate Conductor (2016-17). She was the Music Director of the Salzburg Landestheater from 2015 until 2017. An exclusive Deutsche Grammophon Artist since 2018, her first album on the yellow label features Symphony No.2 for string orchestra and Symphony No.21 Kaddish, by the Polish composer Mieczysław Weinberg, recorded with , the CBSO and Kremerata Baltica, and released in May 2019 to coincide with celebrations of the composer’s centenary. Mirga was nominated for a GRAMMY and the album received numerous accolades from the press and was awarded with a Grammophone Award at the Grammophone Classic Music Awards as well as as an Opus Klassik Award in 2020. On her next release, Mirga went on to present music by her compatriot Raminta Šerkšnytė with the Lithuanian National Symphony Orchestra, Vilnius Municipal Choir and Kremerata Baltica followed by an album of works by British composers with the CBSO as the orchestra celebrated its Centenary in 2020. Mirga was discovered by the German Conducting Forum (Deutsches Dirigentenforum) in April 2009. A native of Vilnius, , she was born into a musical family. Before pursuing her studies at the Music Conservatory in Zurich, she studied at the Music Conservatory Felix Mendelssohn-Bartholdy in Leipzig and at Mirga Gražinytė-Tyla was named Music Director of the City of the Music Conservatory in Bologna, Italy. She graduated with a Birmingham Symphony Orchestra in February 2016, following in the bachelor’s degree in choral and orchestral conducting from the footsteps of Sir Simon Rattle, and . Her University of Music and Fine Arts, Graz, Austria. Mirga has Music Directorship was extended through the 2020-21 season. participated in numerous masterclasses and conducting Winner of the 2012 Young Conductors Award, she workshops, and has worked with many established conductors and subsequently made her debut with the Gustav Mahler Youth professors, such as Christian Ehwald, George Alexander Albrecht, Orchestra in a symphonic concert at the Salzburger Festspiele. Johannes Schlaefli, Herbert Blomstedt, and Colin Metters.  Recent highlights include European tours with the City of Birmingham Symphony Orchestra, performances with the London Symphony Orchestra, the NDR Elbphilharmonie, the Swedish Radio Orchestra, Filharmonica della Scalla, Los Angeles Philharmonic, and the National Symphony Orchestra. Mirga has electrified audiences as a guest conductor all over the world. In Europe, she has collaborated with the Lithuanian National Symphony Orchestra, the Beethoven Orchestra Bonn, the Deutsche Radiophilharmonie, the Choir of the Bavarian Radio Symphony Orchestra, the MDR Symphony Orchestra, as well as the Chamber Orchestras of Vienna, the Danish National Symphony Orchestra, the Mozarteum Orchestra and the Camerata Salzburg, and the Orchestra of the Komische Oper in Berlin. At the Kremerata Baltica, she has enjoyed a dynamic collaboration with Gidon Kremer on numerous European tours. She has led operas in Heidelberg, Salzburg, Komische Oper Berlin, and Bern, where she served as Kapellmeister. In North America, she has worked with the orchestras of Philadelphia, Seattle and San Diego and led the Metropolitan Opera Orchestra in her Carnegie Hall debut in May of 2018.

Photo © Frans Jansen 5 CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

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 flying the flag for Birmingham. As the only professional symphony orchestra based between Bournemouth and Manchester, the orchestra tours regularly in Britain – and much further afield. The CBSO has travelled to Japan and the United Arab Emirates in previous seasons, and in December 2016 made its debut tour of China. And its recordings continue to win acclaim. In 2008, the CBSO’s recording of Saint-Saëns’ complete piano concertos was named Best Classical Recording of the last 30 years by Gramophone.

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

Under the baton of its Music Director Mirga Gražinytė-Tyla, Meet the Family the City of Birmingham Symphony Orchestra (CBSO) is the The CBSO Chorus – a symphonic choir made up of “amateur flagship of musical life in Birmingham and the West Midlands, professionals”, trained by Simon Halsey cbe – is famous in its own and one of the world’s great orchestras. right. The CBSO Children’s Chorus and Youth Chorus showcase singers as young as six. Through its unauditioned community Based in Symphony Hall, Birmingham, in a normal year the orchestra choir – CBSO SO Vocal in Selly Oak – the CBSO shares its know- performs over 150 concerts each year in Birmingham, the UK how and passion for music with communities throughout the city. and around the world, playing music that ranges from classics The CBSO Youth Orchestra gives that same opportunity to young to contemporary, film music and even symphonic disco. With a instrumentalists aged 14-21, offering high-level training to the next far-reaching community programme and a family of choruses generation of orchestral musicians alongside top international and ensembles, it is involved in every aspect of music-making in conductors and soloists. 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 These groups are sometimes called the “CBSO family” – over 650 music in the heart of Birmingham. amateur musicians of all ages and backgrounds, who work alongside the orchestra to make and share great music. But the CBSO’s That local tradition started with the orchestra’s very first symphonic tradition of serving the community goes much further. Its Learning concert in 1920 – conducted by Sir . Ever since then, and Participation programme touches tens of thousands of lives a through war, recessions, social change and civic renewal, the CBSO year, ranging from workshops in nurseries to projects that energise has been proud to be Birmingham’s orchestra. Under principal whole neighbourhoods. And everyone’s welcome at CBSO Centre on conductors including , George Weldon, Berkley Street. As well as being a friendly, stylish performance venue and Louis Frémaux, the CBSO won an artistic reputation that spread for the lunchtime concert series Centre Stage and contemporary far beyond the Midlands. But it was when it discovered the young jazz concerts by Jazzlines, the CBSO’s rehearsal base is home to British conductor Simon Rattle in 1980 that the CBSO became Birmingham Contemporary Music Group and Ex Cathedra. Having internationally famous – and showed how the arts can help give a recently enjoyed it’s 100th birthday, the CBSO, more than ever, new sense of direction to a whole city. remains the beating heart of musical life in the UK’s Second City. 

Photo © Ben Ealovega 6 CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

VIOLIN I CELLO CLARINET TIMPANI # Eugene Tzikindelean Eduardo Vassallo * Oliver Janes * Matthew Hardy * # Jonathan Martindale * Thomas Isaac Joanna Patton * # Philip Brett Kate Setterfield * PERCUSSION # Colin Twigg Miguel Fernandes * BASS CLARINET Adrian Spillett * # Jane Wright Jacqueline Tyler * Mark O’Brien * Andrew Herbert * # # Mark Robinson Catherine Ardagh-Walter * Toby Kearney * Julia Åberg * Sarah Berger BASSOON James Bower Elizabeth Golding # Joss Brookes Nikolaj Henriques * # Ruth Lawrence * Shelly Organ HARP Kirsty Lovie * DOUBLE BASS Katherine Thomas * Colette Overdijk * Anthony Alcock * CONTRABASSOON # Stefano Mengoli * Julian Atkinson * PIANO Margaret Cookhorn * Catherine Chambers Damián Rubido González Ben Dawson Jeremy Watt HORN # VIOLIN II Sally Morgan * # Elspeth Dutch * # # Peter Campbell-Kelly * Julian Walters * Jonathan Maloney Moritz Pfister # Mark Phillips * Peter Graham FLUTE Jeremy Bushell * # Catherine Arlidge * # Marie-Christine Zupancic * Martin Wright # # Amy Jones * Veronika Klirova * Emma Lisney TRUMPET Charlotte Skinner * PICCOLO # # Jonathan Holland * Heather Bradshaw * Helen Benson # # Jonathan Quirk * Gabriel Dyker * Stuart Essenhigh Bryony Morrison * OBOE Stephen Murphy Timothy Birchall Juliana Koch Georgia Hannant * Emmet Byrne * TROMBONE Amy Littlewood Richard Watkin * COR ANGLAIS # VIOLA Anthony Howe * Rachael Pankhurst * Richard Ward # Chris Yates * # Adam Romer * BASS TROMBONE # Michael Jenkinson * # # David Vines * Angela Swanson # Catherine Bower * TUBA David BaMaung * # # Graham Sibley * Elizabeth Fryer * Amy Thomas # Jessica Tickle * Helen Roberts

# Recipient of the CBSO Long Service Award

* Supported player

7 THANK YOU The Sound of the Future is a £12.5m fundraising campaign – launched to mark the CBSO’s centenary – which will ensure the orchestra’s recovery from the pandemic and redefi ne its future for the benefi t of everyone across Birmingham and the West Midlands.

EXCEPTIONAL SUPPORTERS MAJOR DONORS MEMBERS Patrick and Tricia McDermott The following individuals, trusts We are grateful to the following Over 1,500 members contribute (*Helen Edgar and Rachael and companies have nurtured the supporters for their major gift s annually to ensure the orchestra’s Pankhurst) CBSO’s world-class excellence and this year and over the life of our vital work both on and off the Carole McKeown and David Low broad community reach by Sound of the Future campaign. concert platform can happen. (*Miguel Fernandes) off ering exceptional philanthropic Thank you to each and every one Carol Miller support to the CBSO and the CBSO £250,000+ of you. Frank North (*Kate Suthers) Development Trust’s private John Osborn (*Gabriel Dyker) Angela O’Farrell and Michael Lynes endowment fund over time, either David and Sandra Burbidge (*Toby Kearney) by making major gift s, by leaving a Clive and Sylvia Richards Charity John Osborn (*Gabriel Dyker) legacy or through sustained BENEFACTORS (£10,000+) Dianne Page (*Catherine Arlidge Mbe) (Principal Supporter of the CBSO’s Lady Alexander of Weedon annual giving. work with young people) Gerard Paris (*Amy Marshall) Viv and Hazel Astling (*Graham Sibley) Simon and Margaret Payton Felonious Mongoose in memory of (*Julian Atkinson) City of Birmingham Orchestral £100,000+ Endowment Fund Dolores (*Richard Blake) Robert Perkin Alison and Jamie Justham Rachel Baker Memorial Charity Graham Russell and Gloria Bates (*David Vines) The late Roy Collins (*Ruth Lawrence) Barry and Frances Kirkham SYMPHONY CIRCLE (£5,000+) Dunard Fund Gillian Shaw Chris and Jane Loughran John Cole and Jennie Howe John Osborn CBE Eleanor Sinton (*Adrian Spillett) (*Jonathan Martindale) (*Peter Campbell-Kelly) Garfi eld Weston Foundation Mr D P Spencer (*Oliver Janes) Gill and Jonathan Evans Barclays (*Charlotte Skinner) Lesley Thomson (*Jessica Tickle) The late Miss G Brant £50,000+ Basil and Patricia Turner Peter How Stephen and Stephanie Goldstein David and Sandra Burbidge The Charlotte Heber-Percy (*Marie-Christine Zupancic) John Ellerman Foundation Maurice Millward (*Chris Yates) Howard and Judy Vero (*Richard Watkin) Jerry Sykes in support of keynote Charitable Trust Esmée Fairbairn Foundation Len Hughes and Jacquie Blake Michael Ward The John Feeney Charitable Trust concert programming Diana and Peter Wardley (*Oliver Janes) (*Catherine Ardagh-Walter) (*Anthony Alcock) Charles Henry Foyle Trust Sue and Graeme Sloan Robert Wilson (*Emmet Byrne) The JABBS Foundation John Yelland Obe and Anna Alison and Jamie Justham £25,000+ and our other anonymous supporters. (*Catherine Bower) Barry and Frances Kirkham Sir Dominic and Lady Cadbury and our other anonymous supporters. Maurice Millward Clive and Sylvia Richards Charity CONCERTO CIRCLE (£2,500+) The Barwell Charitable Trust (Principal Supporter of the CBSO’s The following players are supported by Allan and Jennifer Buckle work with young people) anonymous members of the (*Jonathan Holland) Jerry Sykes Overture, Concerto and Symphony Mrs Jayne Cadbury The late Mr P S Day Circles, to whom we are very grateful: Jill S Cadbury (*Julia Åberg) Deutsche Bank Mark Goodchild Isabel, Peter and Christopher in loving The late Elnora Ferguson Joanna Patton memory of Ernest Churcher The late Mrs Marjorie Hildreth Mark Phillips (*Elspeth Dutch) Peter How Adam Römer Charlie and Louise Craddock The Helen Rachael Mackaness Katherine Thomas Charitable Trust (*Kirsty Lovie) The late Blyth and Myriam Major Mike and Tina Detheridge Mrs Thelma Justham (*Andrew Herbert) OVERTURE CIRCLE (£1,000+) The late Mr John Thomas Knight The ENT Clinic Mike and Jan Adams (*Eduardo The Leverhulme Trust Duncan Fielden and Jan Smaczny Vassallo) The LJC Fund (*Matthew Hardy) Katherine Aldridge in memory of Chris Chris and Jane Loughran David Gregory (*Stefano Mengoli) Michael Allen in memory of Yvonne The late Martin Purdy David Handford (*David Powell) Roger and Angela Allen The late Norman Thomas The Andrew Harris Charitable Trust Miss J L Arthur (*Julian Walters) The late Sheri and Mrs Janet Tullah Cliff Hubbold Kiaran Asthana The Roger and Douglas Turner David Knibb in memory of Lorraine Mr M K Ayers Charitable Trust (*Jon Quirk) John Bartlett and Sheila Beesley Valerie Lester (*Jacqueline Tyler Mbe) (*Mark O’Brien) Wolfson Foundation Paddy and Wendy Martin Michael Bates (*David BaMaung) Tim and Margaret Blackmore

8 Christine and Neil Bonsall GOLD PATRONS Richard Newton Dr J Dilkes and Mr K A Chipping Mrs Jennifer Brooks in memory of David (£650+ per year) Mrs A J Offi cer and family (*Julia Åberg) Peter and Jane Baxter Liz and Keith Parkes Brian and Mary Dixon Helen Chamberlain in memory of Allan Mike Bowden Mr R Perkins and Miss F Hughes Terry Dougan and Christina Lomas Chamberlain (*Sally Morgan) Lady Cadbury Dr and Mrs Plewes Mr and Mrs C J Draysey Gay and Trevor Clarke Mr C J M Carrier The Revd. Richard and Mrs Gill Postill John Drury (*Bryony Morrison) Christine and John Carroll Kath and Mike Poulter Catherine Duke Dr Anthony Cook and Ms Susan Elias Tim Cherry Eileen Poxton in memory of Naomi and David Dyker Ann Copsey Tim Clarke and family Reg Poxton Chris Eckersley John Cunningham-Dexter Professor and Mrs M H Cullen Dr and Mrs R C Repp Linda and William Edmondson Julian and Lizzie Davey Roger and Liz Dancey Ray Smith Alex and Fran Elder Anita Davies (*Jeremy Bushell) Robin and Kathy Daniels Sheila and Ian Sonley Robert van Elst Tony Davis and Darin Qualls John and Sue Del Mar Andy Street Miss E W Evans Jenny Dawson Professor Sir David Eastwood John and Dorothy Tesh Dr D W Eyre-Walker Dr Judith Dewsbury in memory of Tony Mr G L and Mrs D Evans Professor and Mrs J A Vale Jill Follett and John Harris (*Kate Setterfi eld) Geoff and Dorothy Fearnehough William and Janet Vincent Chris Fonteyn Mbe Alan Faulkner Nicola Fleet-Milne Tony and Hilary Vines Jack and Kathleen Foxall Elisabeth Fisher (*Colette Overdijk) Susan and John Franklin Peter Walling Susan and John Franklin Wally Francis Mr R Furlong and Ms M Penlington Julie and Simon Ward Agustín Garcia-Sanz J Godwin Averil Green in memory of Terry Green Stephen Williams Alan and Christine Giles Anita and Wyn Griffi ths Dr M Kershaw John and Daphne Wilson Professor J E Gilkison and Mary and Tony Hale Miss C Midgley Geoff and Moira Wyatt Prof T Hocking Tony and Shirley Hall Nigel and Sarah Moores Paul C Wynn Stephen J Gill Keith and Mavis Hughes Andrew and Linda Murray R and J Godfrey Lord Hunt of Kings Heath Magdi and Daisy Obeid and our other anonymous supporters. Jill Godsall Basil Jackson Chris and Eve Parker Laura Greenaway in memory of In memory of Harry and Rose Jacobi Phillipa and Laurence Parkes David Richards Mr Michael and Mrs Elaine Jones Chris and Sue Payne PATRONS (£250+ per year) Paul Hadley John Jordan Professor and Mrs A Rickinson Mrs Thérèse Allibon Roger and Gaye Hadley Mrs T Justham in memory of David Canon Dr Terry Slater David and Lesley Arkell Nigel and Lesley Hagger-Vaughan (*Michael Seal, Associate Conductor) Dr Barry and Mrs Marian Smith Val and Graham Bache Miss A R Haigh John and Jenny Kendall Pam Snell Leon and Valda Bailey Mr W L Hales John and Lisa Kent (*Veronika Klírová) Ian and Ann Standing Andrew Barnell Malcolm Harbour Charles and Tessa King-Farlow Rimma Sushanskaya Mr P and Mrs S Barnes Ian Hartland Beresford King-Smith in memory of Janet and Michael Taplin Mr and Mrs Barnfi eld Phil Haywood in memory of Ann Kate (*Heather Bradshaw) Roger and Jan Thornhill Di Bass Keith R Herbert Jane Lewis Bryan and Virginia Turner Paul Beckwith Keith Herbert and Pat Gregory Richard Lewis Roy Walton Mr I L Bednall Hanne Hoeck and John Rawnsley James and Anthea Lloyd Revd T and Mrs S Ward Gareth Beedie Susan Holmes in memory of Peter Tim Marshall (*Nikolaj Henriques) David Wright and Rachel Parkins Peter and Gill Bertinat Valerie and David Howitt David R Mayes Obe Philip and Frances Betts Penny Hughes and our other anonymous supporters. Philip Mills Mrs Ann Billen David Hutchinson Paul and Elaine Murray Michael and Beryl Blood Henry and Liz Ibberson Ian C Norton Bridget Blow cbe Mr R M E and Mrs V Irving Andrew Orchard and Alan Jones SILVER PATRONS Anthony and Jenni Bradbury Ken and Chris Jones Roger and Jenny Otto in memory (£450+ per year) Dr Jane Flint Bridgewater Mr M N Jordan of Juliet Mr and Mrs S V Barber and Mr Kenneth Bridgewater Paul Juler Rob Page Richard Allen and Gail Barron Mr Arthur Brooker Mrs P Keane Sir Michael and Lady Joan Perry Mr P G Battye M. L. Brown Mr and Mrs R Kirby Dr John Peterson Paul Bond Ann Bruton Mr A D Kirkby Julie and Tony Phillips (*Elizabeth Fryer) Professor Lalage Bown Mr and Mrs J H Bulmer Professor and Mrs R J Knecht Rosalyn and Philip Phillips Roger and Lesley Cadbury Mr G H and Mrs J M Butler Bill Lane Clive and Cynthia Prior Mr A D and Mrs M Campbell Benedict and Katharine Cadbury Brian Langton Ian Richards Sue Clodd and Mike Griffi ths Jeannie Cadman Mrs D Larkam Peter and Shirley Robinson David and Marian Crawford-Clarke Elizabeth Ceredig Jennie Lawrence in memory of Philip Mr A M and Mrs R J Smith Mrs A P Crockson Carole and Richard Chillcott Emmanuel Lebaut Mark and Amanda Smith Dr. Margaret Davis and Dr. John Davis Dr J and Mrs S Chitnis M. E. Ling Pam and Alistair Smith Mark Devin Peter and Jane Christopher Mr J F and Mrs M J Lloyd William Smith Alistair Dow Ann Clayden and Terry Thorpe Professor David London Colin Squire Obe Jane Fielding and Benedict Coleman Dr A J Cochran Geoff and Jean Mann Mr M and Mrs S A Squires Mrs D R Greenhalgh Dee and Paul Cocking Geoff and Jenny Mason Brenda Sumner John Gregory in memory of Janet Mrs S M Coote in memory of John Neil Maybury Tenors of the CBSO Chorus Cliff Haresign D and M Coppage Mr A A McLintock (*Joanna Patton) Mr and Mrs G Jones Luned Corser Patro Mobsby Alan Titchmarsh Mbe Bob and Elizabeth Keevil Mr Richard and Mrs Hilary Crosby Norah Morton (*Matthew Hardy) Rodney and Alyson Kettel Maurice and Ann Crutchlow Geoff Mullett Mr R J and Mrs M Walls Rebecca King in loving memory of Ian Judith Cutler and Keith Miles P J and H I B Mulligan Mr E M Worley cbe and Mrs A Worley DL Mr Peter T Marsh Stephen and Hilary Daly Mrs M M Nairn Mike and Jane Yeomans in memory of James and Meg Martineau Sue Dalley and Martin Willis Richard and Shirley Newby Jack Field (*Michael Jenkinson) Peter and Julia Maskell Robert and Barbara Darlaston Richard Newton and Katharine Francis Richard and Emma Yorke Dr and Mrs Bernard Mason Wilf Davey Brian Noake and our other anonymous supporters. Carmel and Anthony Mason Trevor Davis Ms E Norton Obe Anthony and Barbara Newson Kath Deakin In memory of Jack and Pam Nunn

9 Marie and John O’Brien Kit Ward Mr and Mrs P Cocking ENDOWMENT DONORS Mr and Mrs R T Orme Ann Warne The late Roy Collins We are grateful to all those who S J Osborne Neil Warren David in memory of Ruth Pauline Holland have given to the CBSO Nigel Packer Mrs M L Webb Tony Davis and Darin Qualls Development Trust’s private Rod Parker and Lesley Biddle Elisabeth and Keith Wellings The late Mr Peter S. Day endowment fund, thus enabling Graham and Bobbie Perry Mr and Mrs J West Mark Devin the orchestra to become more David and Julia Powell Roger and Sue Whitehouse Alistair Dow self-suffi cient for the long term. Margaret Rogers Mr William and Mrs Rosemary Whiting The late Mary Fellows Mike and Jan Adams Gill Powell and John Rowlatt Pippa Whittaker Felonious Mongoose Arts for All C Predota John and Pippa Wickson Valerie Frankland Viv and Hazel Astling Roger Preston Richard and Mary Williams Jill Godsall The Barwell Charitable Trust Eileen and Ken Price Barry and Judith Williamson The late Colin Graham In memory of Foley L Bates Richard and Lynda Price John Winterbottom David and Lesley Harrington Bridget Blow cbe John Randall Ian Woollard Tricia Harvey Deloitte Dr and Mrs K Randle The late Mrs Marjorie Hildreth Miss Margery Elliott and our other anonymous supporters Katy and David Ricks Mr Trevor and Mrs Linda Ingram Simon Fairclough and our Friends. Peter and Pauline Roe Robin and Dee Johnson Sir Dexter Hutt David and Jayne Roper Alan Jones and Andrew Orchard Irwin Mitchell Solicitors Jane and Peter Rowe Ms Lou Jones The Justham Trust Helen Rowett and David Pelteret DONORS The late William Jones Mrs Thelma Justham Christopher and Marion Rowlatt Thank you to those who have The late Mr John Thomas Knight Barry and Frances Kirkham Dr Gwynneth Roy chosen to make a gift to the Peter Macklin Chris and Jane Loughran Vic and Anne Russell CBSO this year. The late Mr and Mrs F. McDermott and Linda Maguire-Brookshaw Mrs L J Sadler Katherine Aldridge Mrs C. Hall Mazars Charitable Trust Carole and Chris Sallnow Baltimore Friends of the CBSO The late Myriam Josephine Major Andrew Orchard and Alan Jones Stephen Saltaire Professor Dame Sandra Dawson The late Joyce Middleton John Osborn William and Eileen Saunders Peter Graham Philip Mills Margaret Payton Margaret and Andrew Sherrey Chris Morley The late Peter and Moyra Monahan Roger Pemberton and Monica Pirotta Dr and Mrs Shrank Members of the Newport Music Coach The late Arthur Mould David Pett Keith Shuttleworth The late June North Pinsent Masons Elizabeth Simons and our other anonymous donors. Stephen Osborne Martin Purdy Mr N R Skelding Gill Powell Peter and Sally-Ann Sinclair Ed Smith The late Mrs Edith Roberts Jerry Sykes Mary Smith and Brian Gardner LEGACY DONORS Philip Rothenberg Alessandro and Monica Toso in memory of John and Jen We’re incredibly grateful to the The late Mr Andrew Roulstone Patrick Verwer Ray Smith following individuals who have The late Thomas Edward Scott R C and F M Young Trust Matthew Somerville and Deborah Kerr chosen to remember the CBSO in Mrs C E Smith and Mr William Smith Lyn Stephenson their will, passing on the baton for Pam Snell * Player supporter Robin and Carol Stephenson music-lovers of the future. The late Mrs Sylvia Stirman Anne Stock In memory of Chris Aldridge The late Mrs Eileen Summers Mr and Mrs J B Stuffi ns In memory of Peter Ashton Miss K V Swift J E Sutton The late Terence Baum John Taylor Credits correct as of 27 July 2021 Barbara Taylor in memory of The late Elizabeth Bathurst Blencowe Mr D M and Mrs J G Thorne Michael Taylor The late Mr Peter Walter Black John Vickers John and Anne Turney Philip Bowden Mrs Angela and Mr John Watts Mrs J H Upward Allan and Jennifer Buckle Philip Wilson Clive Kerridge and Suzan van Helvert The late Miss Sheila Margaret Burgess Alan Woodfi eld Bob and Louise Vivian Smith and our other anonymous donors. Stephen Vokes and Erica Barnett Isabel Churcher Tim and Wendy Wadsworth The late Colin W Clarke

To make a donation, to join us as a member or for more information on the many ways by which you can support the CBSO, please visit cbso.co.uk/support-us

Get closer to the music, the orchestra and its musicians – we’d love you to be part of it. Joining as a member will not only provide vital support to help the CBSO recover from the Covid crisis but your gift will also be matched pound for pound thanks to the generous support of a CBSO member of our campaign board. Visit cbso.co.uk/membership for more information and to join online.

10 The support we receive from thousands of individual donors, public funders, THANK YOU 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.

Public Funders Corporate Partners

Supporter of Schoolsʼ Concerts

Education Partners William King Ltd

Partners in Orchestral Development Trusts and Foundations 29th May 1961 Charitable Trust The JABBS Foundation ABO Trust’s Sirens Programme Lillie Johnson Charitable Trust Miss Albright Grimley Charity The Kobler Trust The Andor Charitable Trust James Langley Memorial Trust The Lord Austin Trust The Leverhulme Trust The John Avins Trust LJC Fund Backstage Trust Limoges Charitable Trust The Rachel Baker Memorial Charity The S & D Lloyd Charity Bite Size Pieces The Helen Rachael Mackaness Charitable Trust The Boshier-Hinton Foundation The MacRobert Trust British Korean Society The McLay Dementia Trust The Charles Brotherton Trust The James Frederick & Ethel Anne Measures Charity In-kind supporters The Edward & Dorothy Cadbury Trust The Anthony and Elizabeth Mellows Charitable Trust Edward Cadbury Charitable Trust MFPA Trust Fund for the Training of Handicapped The George Cadbury Fund Children in the Arts The R V J Cadbury Charitable Trust Millichope Foundation CBSO Development Trust The David Morgan Music Trust City of Birmingham Orchestral Endowment Fund The Oakley Charitable Trust The John S Cohen Foundation The Patrick Trust The Cole Charitable Trust The Misses C M Pearson & M V Williams The George Henry Collins Charity Charitable Trust The Concertina Charitable Trust Perry Family Charitable Trust Baron Davenport’s Charity The Bernard Piggott Charitable Trust The D’Oyly Carte Charitable Trust PRS Foundation’s The Open Fund for Organisations Dunard Fund The Radcliffe Trust Globeflow The W E Dunn Trust The Rainbow Dickinson Trust The W.G. Edwards Charitable Foundation The Ratcliff Foundation John Ellerman Foundation Clive & Sylvia Richards Charity The Eveson Charitable Trust Rix-Thompson-Rothenberg Foundation The John Feeney Charitable Trust The M K Rose Charitable Trust George Fentham Birmingham Charity The Rowlands Trust Allan and Nesta Ferguson Charitable Settlement RVW Trust Fidelio Charitable Trust The Saintbury Trust The Garrick Charitable Trust The E H Smith Charitable Trust Funders The Golsoncott Foundation F C Stokes Trust Grantham Yorke Trust Sutton Coldfield Charitable Trust The Grey Court Trust C B & H H Taylor 1984 Trust The Grimmitt Trust G J W Turner Trust LG Harris Trust The Roger & Douglas Turner Charitable Trust The Derek Hill Foundation Garfield Weston Foundation www.prsformusicfoundation.com The Joseph Hopkins and Henry James Sayer Charities The Wolfson Foundation John Horniman’s Children’s Trust The Alan Woodfield Charitable Trust The Irving Memorial Trust

Thank you also to our Major Donors, Benefactors, Circles Members, Patrons and Friends for their generous support. 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 [email protected] 11 CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

MANAGEMENT BOARD Chief Executive Stephen Maddock Obe* Chair David Burbidge cbe DL PA to Chief Executive Niki Longhurst*† Deputy Chair David Roper Elected Trustees Tony Davis Head of Orchestra Management Jane Fielding (Maternity Cover) Adrian Rutter Susan Foster Orchestra Manager Claire Dersley* Joe Godwin Assistant Orchestra Manager Alan Johnson Emily Ingram Platform Manager Peter Harris* Sundash Jassi Assistant Platform Manager Robert Howard Chris Loughran Librarian Jack Lovell-Huckle Lucy Williams Head of Artistic Planning Anna Melville Birmingham City Council Planning & Tours Manager Hannah Muddiman† Nominated Trustees Cllr Sir Albert Bore Project Manager Claire Greenwood† Cllr Alex Yip Assistant Planning Manager Maddi Belsey-Day Player Nominated Trustees Elspeth Dutch Director of Learning & Engagement Lucy Galliard Helen Edgar Learning & Participation Manager Katie Lucas Additional Player Representative Margaret Cookhorn Youth Ensembles Offi cer Rebecca Nicholas Schools Offi cer Carolyn Burton Hon Secretary to the Trustees Mark Devin Chorus Manager Poppy Howarth Children’s & Youth Chorus Offi cer Ella McNamee Research Assistant Adam Nagel*† CBSO DEVELOPMENT TRUST Director of Marketing & Communications Gareth Beedie Chair Chris Loughran DL Marketing Manager Beki Smith CRM & Insight Manager Melanie Ryan*† Trustees Charles Barwell Obe Publications Manager Jane Denton† Gordon Campbell Assistant Marketing Manager Harriet Green Wally Francis Digital Content Producer Hannah Blake-Fathers John Osborn cbe Marketing Offi cer Aphra Hiscock David Pett Marketing Volunteer Christine Midgley*# Hon Secretary to the Trustees John Bartlett

Director of Development Simon Fairclough Head of Philanthropy Francesca Spickernell CAMPAIGN BOARD Membership & Appeals Manager Eve Vines† Chair David Burbidge cbe, DL Events & Relationship Management Executive Megan Bradshaw Susan Foster Development Operations Offi cer Melanie Adey Peter How Development Administrator Bethan McKnight† Jamie Justham Trust Fundraiser Fiona Fox Her Honour Frances Kirkham cbe Chris Loughran DL Director of Finance Annmarie Wallis Finance Manager Dawn Doherty John Osborn cbe Payroll Offi cer Lindsey Bhagania†* Honorary Medical Advisors: Assistant Accountant Graham Irving Finance Assistant (Cost) Susan Price Dr Rod MacRorie. Association of Medical HR Manager Hollie Dunster Advisors to British Orchestras/BAPAM CBSO Centre Manager Niki Longhurst*† Professor Sir Keith Porter. Technical & Facilities Supervisor Tomoyuki Matsuo Consultant, University Hospitals Birmingham Assistant CBSO Centre Manager Peter Clarke* Receptionist Sev Kucukogullari† PLAYERS’ COMMITTEE Chair Jo Patton Vice Chair Mark Phillips Richard Watkin Andy Herbert Kirsty Lovie Colette Overdijk Heather Bradshaw * Recipients of the CBSO Long Service Award † Part-time employee # Volunteer Matthew Hardy

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