DIGITAL CONCERTS BEETHOVEN: 250 YEARS YOUNG

This concert was filmed at CBSO Centre, Birmingham on Friday 4 December 2020

Beethoven String Quintet in C, Op.29, ‘The Storm’ 35’ Widmann 180 Beats per minute 6’ Beethoven Sextet in E flat for two horns and strings, Op.81b 17’

Happy birthday, Ludwig van B! Yes, today’s the day, and as Beethoven hits the big 2-5-0 he’s as lively, as irreverent, as challenging and OUR CAMPAIGN FOR MUSICAL (of course) as passionate as ever. But don’t picture a grey-haired maestro with a fearsome frown: today we celebrate the young genius LIFE IN THE WEST MIDLANDS – wild-eyed, tousle-haired, and creating music to delight, astonish Your support of the CBSO’s The Sound of the and entertain. Handpicked teams of CBSO players perform two of his Future campaign will raise £12.5m over five joyous early chamber works – a playful, rarely-heard sextet, and his years to: sweeping Romantic landscape of a string quintet. Plus a real little  Accelerate our recovery from the zinger by Jörg Widmann – a good friend of the CBSO and a composer Covid-19 crisis so that we can get back to who’s definitely on Beethoven’s wavelength. Come and join the enriching people’s lives through music as party: this is going to be fun! quickly as possible  Renew the way we work for our second This concert is available to view online only from 6pm on century, opening up the power of to an even broader cross-section Thursday 17 December until Friday 15 January 2021 music of society whilst securing our tradition of artistic excellence.

The CBSO’s digital work has been made possible thanks to generous support from Support your CBSO at cbso.co.uk/donate David and Sandra Burbidge, Jamie and Alison Justham, Chris and Jane Loughran, John Osborn, and Arts Council England’s Culture Recovery Fund.

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Supported by Supported by 1 Ludwig van Beethoven (1770-1827) But listen to the flowing, expansive opening bars of the Quintet Op.29 and there can be little doubt that Mozart (not for the first time String Quintet in C, Op.29, in Beethoven’s career) was a potent inspiration – his C major Quintet ‘The Storm’ K.515 (1787) begins by creating the same sense of breadth and limitless scale. And there’s no mistaking the spirit of freedom and Allegro moderato play as Beethoven explores what he can do with his top and bottom Adagio molto espressivo instruments once they’ve been liberated by that second viola. The first violin enters, chirruping like a bird (or, if you prefer, winking like Scherzo (Allegro) a soubrette) high above the unfolding musical landscape, before Presto getting down to vigorous and high-spirited business.

Musical evenings at the house of Count Moritz von Fries in The Adagio unfurls its sensuous, lyrical melody over a gentle Vienna could be lively affairs. At one such occasion in May 1800, cello pizzicato: if Beethoven was cribbing from Mozart, there the visiting piano virtuoso Daniel Steibelt sat yawning through can be little doubt that when Schubert wrote the corresponding Beethoven’s new clarinet trio Op.11, before, a week later, movement of his own C major Quintet in 1828, he was thinking ostentatiously improvising a set of flashy variations on one of of Beethoven. The Scherzo almost seems float, before the first Beethoven’s melodies. Beethoven, furious, grabbed the cello part viola takes the lead in a lilting central trio section. But in the finale: of Steibelt’s own quintet, barged his way to the keyboard and, what’s happening? Beethoven unleashes a driving tremolando placing Steibelt’s music upside down on the desk, launched into rainstorm, with violin and cello whirling like leaves caught in a his own thunderous improvisation. Steibelt stormed out. summer squall (in German-speaking countries, the Quintet is even nicknamed The Storm). Beethoven, however, felt no enmity towards Count von Fries, who was a skilled amateur violinist and something of a fan. In And then, just as Beethoven starts to flex his muscles, there’s a September 1801 Beethoven dedicated his Spring sonata to sudden halt, a change of speed, and he’s suddenly exchanging Fries. And around the same time, he also wrote a string quintet, formal courtesies in a stately (if suspiciously irreverent) mock- dedicated to the Count and allocated to him, for his exclusive baroque manner. It’s pure comic opera. A joke at the expense of private enjoyment, for a period of six months – after which his salon rivals (Steibelt reportedly liked to dress up classical cliches Beethoven had arranged to have it published by Breitkopf and with flashy, pseudo-romantic devices such as tremolando)? Or Härtel of Leipzig. At the age of 31, Beethoven was a shrewd is this a glimpse of Beethoven, amongst friends and in a playful businessman: he knew exactly what sort of chamber music was mood, getting as close as he ever did to Mozart’s ideal of chamber popular, and what would sell. music that was lyrical, playful and unashamedly dramatic – in short, a kind of opera without words? Unfortunately, the Count doesn’t seem to have been quite so canny. At some point during his six-month stewardship of the Programme note © Richard Bratby quintet, the publisher Artaria of Vienna obtained the Count’s copy and released an unauthorised edition. Beethoven hit the roof: a letter to Breitkopf in November 1802 hints at his outrage:

When I was away in the country for the good of my health, the arch-swindler Artaria begged for the Quintet from Count Fries, claiming that it was already in print here, and that they merely wished to delight the public. Poor Count Fries fell for it, never suspecting any foul play…the whole matter is the greatest fraud in the world.

Clearly, the Quintet was a property worth fighting for. And yet Beethoven never wrote another: this was to remain his only full- scale, wholly original work for the combination of instruments – string quartet plus a second viola – for which Mozart wrote some of his most personal chamber music. Mozart found that the Quintet form allowed him to open out the musical texture – to sing, and to express emotion in its own space. Beethoven was on a very different creative path.

2 Jörg Widmann (1809-47) a thorough rummage around his famously chaotic apartment. “Sextet of mine” he scribbled on the manuscript first horn part. 180 Beats per minute “God knows where the rest of it is”. 180 Beats per minute was composed in 1993 shortly after I Yet there’s no better illustration of Beethoven’s position at the had left school. My inspiration for this piece was the then highly turning-point of two musical eras than this exuberant Sextet popular, fast “techno beats”. A rhythmic drive and permanent for a pair of horns and a string quartet. The 19th century called change of pulse whizzes past at maximum speed (180 beats this piece a Sextet, labeling it forever as chamber music (with all per minute). The structure becomes condensed into a study its domestic connotations). In form and spirit, however, this is on a one single chord which in principle is varied throughout outdoor music – as close as Beethoven ever got to the classical the entire piece while remaining constant from the aspect of its Divertimento à la Mozart. Try to imagine those two horns in full tonal material. Ultimately, the music fuses into a six-voice canon, cry in an elegant Viennese drawing room! But then again, it’s hard wandering through all instruments from the first violin to the third to imagine horn playing as virtuosic and flamboyant as this being cello and oscillating between a major and minor third. The work relegated to background music – or the average Viennese street makes no claims to be more than the sum of its parts – the sheer band having players of the necessary calibre. enjoyment of rhythm. No, this Sextet is yet another example (like the String Trio Op.3 Programme note © Jörg Widmann and the Piano and Wind Quintet Op.16) of Beethoven’s youthful creative energy and love of Mozart looking for a form and not quite finding it. If there’s any direct model for the Sextet, it’s surely Mozart’s horn concertos (particularly in the galloping finale). But

having decided to write something for the horn-playing Bonn publisher Nicolaus Simrock (a boyhood acquaintance) Beethoven went one better, and composed what’s effectively a double Ludwig van Beethoven (1770-1827) horn concerto, with horn parts even more tongue-twisting than anything in Mozart’s chamber music – and then tried to make the Sextet in E flat for two horns and whole thing a chamber work. strings, Op.81b No wonder the older Beethoven was so relaxed about the Sextet’s Allegro con brio fate. Commentators often write of Beethoven’s early music “straining the bounds of classical form”, and while that’s not really Adagio true here – the Sextet’s three short movements are deftly and Rondo: Allegro stylishly proportioned – it’s definitely the case that the Sextet Beethoven didn’t think much of this piece – in fact, he didn’t even requires some seriously good players. The result gives us a spirited think very much about it. Take its opus number. Chronologically, and entertaining portrait of a young composer paying his dues, it seems to place the Sextet at the peak of Beethoven’s “second and gives horn players then and now an irresistible work-out. And period” – around 1810, somewhere between the Les Adieux it does it all with wit, enthusiasm and (in the poised, Haydn-like sonata and the incidental music to Goethe’s Egmont. The reality Adagio) real beauty. The 25-year-old Beethoven aims to charm, is rather different – it predates his Op.1. Beethoven seems to have amuse and delight – and 225 years later, he still does exactly that. composed the piece in Vienna in late 1794 or early 1795. He simply didn’t bother publishing it for 15 years, presumably after Programme note © Richard Bratby

3 CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Under the baton of its Music Director famous – and showed how the arts can help right. The CBSO Children’s Chorus and Youth Mirga Gražinytė-Tyla, the City of give a new sense of direction to a whole city. Chorus showcase singers as young as eight. Birmingham Symphony Orchestra Through its unauditioned community choir (CBSO) is the flagship of musical life in Home and Away – CBSO SO Vocal in Selly Oak – the CBSO Birmingham and the West Midlands, Rattle’s successors Sakari Oramo (1998- shares its know-how and passion for music and one of the world’s great orchestras. 2008) and Andris Nelsons (2008-15) with communities throughout the city. The helped cement that global reputation, and CBSO Youth Orchestra gives that same Based in Symphony Hall, the ochestra gives continued to build on the CBSO’s tradition opportunity to young instrumentalists aged over 150 concerts each year in Birmingham, of flying the flag for Birmingham. As the only 14-21, offering high-level training to the next the UK and around the world, playing music professional symphony orchestra based generation of orchestral musicians alongside that ranges from classics to contemporary, between Bournemouth and Manchester, top international conductors and soloists. film music and even symphonic disco. With the orchestra tours regularly in Britain – a far-reaching community programme and and much further afield. The orchestra These groups are sometimes called a family of choruses and ensembles, it is has travelled to Japan and the United the “CBSO family” – over 650 amateur involved in every aspect of music-making in Arab Emirates in previous seasons, and in musicians of all ages and backgrounds, the Midlands. But at its centre is a team of 75 December 2016 made its debut tour of who work alongside the orchestra to make superb professional musicians, and a 100- China. And its recordings continue to win and share great music. But the CBSO’s year tradition of making the world’s greatest acclaim. In 2008, the CBSO’s recording of tradition of serving the community goes music, right here in the heart of Birmingham. Saint-Saëns’ complete piano concertos was much further. Its Learning and Participation named the best classical recording of the programme touches tens of thousands That local tradition started with the last 30 years by Gramophone. of lives a year, ranging from workshops in orchestra’s very first symphonic concert in nurseries to projects that energise whole 1920 – conducted by Sir Edward Elgar. Ever Now, under the dynamic leadership of neighbourhoods. And everyone’s welcome since then, through war, recessions, social Mirga Gražinytė-Tyla, associate conductor at CBSO Centre on Berkley Street. As well as change and civic renewal, the CBSO has Michael Seal and assistant conductor Jaume being a friendly, stylish performance venue been proud to be Birmingham’s orchestra. Santonja Espinós, the CBSO continues to do for the lunchtime concert series Centre Under principal conductors including Adrian what it does best – playing great music for Stage and contemporary jazz concerts by Boult, George Weldon, Andrzej Panufnik and the people of Birmingham and the Midlands. Jazzlines, the CBSO’s rehearsal base is home Louis Frémaux, the CBSO won an artistic to Birmingham Contemporary Music Group reputation that spread far beyond the Meet the Family and Ex Cathedra. Now in its Centenary Midlands. But it was when it discovered the The CBSO Chorus – a symphonic choir year, the CBSO, more than ever, remains young British conductor Simon Rattle in made up of “amateur professionals”, trained the beating heart of musical life in the UK’s 1980 that the CBSO became internationally by Simon Halsey cbe – is famous in its own Second City.

VIOLIN I VIOLA CELLO HORN # # # Philip Brett Chris Yates * Eduardo Vassallo * Mark Phillips * Charlotte Skinner * Catherine Bower * Miguel Fernandes * Jeremy Bushell * # Kate Suthers* Helen Edgar * Georgia Hannant *

# Recipient of the CBSO Long Service Award * Supported player

4 MEMBERS AND SUPPORTERS

EXCEPTIONAL SUPPORT Robert Perkin James and Anthea Lloyd Janet & Michael Taplin We are particularly grateful for the Graham Russell & Gloria Bates Tim Marshall (*Nikolaj Henriques) Roger & Jan Thornhill exceptional support of the following (*Ruth Lawrence) Paddy & Wendy Martin Roy Walton people this year: Gillian Shaw David R Mayes obe Revd T & Mrs S Ward Eleanor Sinton (*Adrian Spillett) Philip Mills David Wright & Rachel Parkins £50,000+ Mr D P Spencer (*Oliver Janes) Nigel & Ann Mundy Mr Paul C Wynn David and Sandra Burbidge Lesley Thomson (*Jessica Tickle) Paul & Elaine Murray and our other anonymous supporters. 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7 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 Director of Concerts Jenny Nicholls Jane Fielding Planning & Tours Manager (Maternity cover) Claire Greenwood Susan Foster Assistant Planning Manager Maddi Belsey-Day Joe Godwin Orchestra Manager Claire Dersley* Emily Ingram Assistant Orchestra Manager Alan Johnson Sundash Jassi Platform Manager Peter Harris* Chris Loughran Assistant Platform Manager Robert Howard Lucy Williams Librarian Jack Lovell-Huckle Birmingham City Council Co-Librarian William Lucas Nominated Trustees Cllr Sir Albert Bore Director of Learning and Engagement Lucy Galliard Cllr Alex Yip Learning & Participation Manager Katie Lucas Player Nominated Trustees Elspeth Dutch Community Projects Officer Adele Franghiadi Helen Edgar Youth Ensembles Officer Rebecca Nicholas Schools Officer Carolyn Burton Additional Player Representative Margaret Cookhorn Chorus Manager Poppy Howarth Hon Secretary to the Trustees Mark Devin Children’s & Youth Chorus Officer Ella McNamee Research Assistant Adam Nagel*† Marketing Consultant Katy Raines CBSO DEVELOPMENT TRUST Interim Head of Marketing Maria Howes Chair Chris Loughran dl CRM and Insight Manager Melanie Ryan*† Publications Manager Jane Denton† Trustees Charles Barwell obe Assistant Marketing Manager Shaista Hussain Gordon Campbell Digital Content Producer Hannah Blake-Fathers Wally Francis Marketing Volunteer Christine Midgley*# John Osborn David Pett Director of Development Simon Fairclough Hon Secretary to the Trustees John Bartlett Head of Philanthropy Francesca Spickernell Membership & Appeals Manager Eve Vines† Events & Relationship Management Executive Megan Bradshaw CAMPAIGN BOARD Development Operations Officer Melanie Adey Chair David Burbidge cbe, dl Development Administrator Bethan McKnight† Susan Foster Trust Fundraiser Alexandra Rowlands Peter How Jamie Justham Director of Finance Annmarie Wallis Her Honour Frances Kirkham cbe Finance Manager Dawn Doherty Chris Loughran dl Payroll Officer Lindsey Bhagania† John Osborn cbe Assistant Accountant Graham Irving Finance Assistant (Cost) Susan Price Honorary Medical Advisors: HR Manager Hollie Dunster Dr Rod MacRorie. Association of Medical CBSO Centre Manager Niki Longhurst*† Advisors to British Orchestras/BAPAM Technical Manager Daniel Rowlinson* Professor Sir Keith Porter. Assistant CBSO Centre Manager Peter Clarke* Consultant, University Hospitals Birmingham Receptionists 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

8