DIGITAL CONCERTS FANTASIA ON A THEME OF THOMAS TALLIS

This concert was filmed in Symphony Hall, Birmingham on Wednesday 18 November 2020

Mirga Gražinytė-Tyla – Conductor Eugene Tzikindelean – Play/Direct

Ireland A Downland Suite 18’ Bartók Divertimento 26’ Vaughan Williams Fantasia on a Theme of Thomas Tallis 15’ Everything old is new again. Béla Bartók roamed the forests of OUR CAMPAIGN FOR MUSICAL Transylvania, listening to the folk songs that he hoped would open LIFE IN THE WEST MIDLANDS a path to the musical future. John Ireland celebrated the landscape of his beloved South Downs, in music as fresh as an English spring Your support of the CBSO’s The Sound of the Future campaign will raise £12.5m over five morning. And Ralph Vaughan Williams took an ancient hymn tune years to: and wove a masterpiece like no other: serene, impassioned and as beautiful now as the day it was first heard – in Gloucester Cathedral,  Accelerate our recovery from the 110 years ago. Mirga Gražinytė-Tyla conducts the strings, brass and Covid-19 crisis so that we can get back to percussion of the CBSO in music to refresh mind and spirit, and our enriching people’s lives through music as brilliant new leader Eugene Tzikindelean brings a very personal flair quickly as possible to music close to his heart.  Renew the way we work for our second century, opening up the power of music to an even broader cross-section This concert is available to view online only from 6pm on of society whilst securing our tradition Thursday 3 December until Friday 1 January 2021 of artistic excellence.

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Supported by Supported by 1 John Ireland (1879-1962) of the BBC Symphony Orchestra – finds a satisfying middle-ground between the traditional brass band and the richer range of colour (arr. C Mowat) that Ireland clearly craved. He gets his trumpets at last!

A Downland Suite Programme note © Richard Bratby

Prelude Elegy Minuet Béla Bartók (1881-1945) Rondo

John Ireland was born near Altrincham in Cheshire, and studied Divertimento at the Royal College of Music – a pupil of Charles Villiers Stanford Allegro ma non troppo (“that great man”). As a mature composer, he would retreat when Molto adagio he could to the Channel Islands and the Sussex Downs. The titles of Ireland’s compositions tell the story: Amberley Wild Brooks, Allegro assai Sarnia, A Downland Suite. He sketched his Piano Concerto in the countryside around the Iron Age hill fort of Chanctonbury Ring, Music has not many finer examples of a composer rising above in the South Downs, and believed that he had seen otherworldly adversity than Bartók’s Divertimento for String Orchestra. This is one beings on the Sussex hills. His creative wellsprings, remembered of the most immediately approachable works to have come from his his pupil Geoffrey Bush, were “English poetry; a feeling for place, or pen, yet it was written at a time when he was beset by troubles. rather places; and that very rare thing, a sense of the immanence of the past”. He felt deeply about the political situation in his native Hungary. A man of liberal outlook and humanitarian principles, his continued So – as a northerner in love with the landscape of the South – protests against political dictatorship made him a target for official Ireland relished the paradox of writing for brass band. “Thirty-four displeasure. He refused to appear in Hitler’s Germany, and as years ago, few people in the south of England had ever heard a Hungarian ties with the Nazis were strengthened in the late 1930s, brass band” he wrote in the Daily Mirror in September 1934. He had so pressure on Bartók became intolerable. He considered emigrating been asked to write a test-piece for the 190 bands competing in to America, but felt tied by his love for his native land, and was the National Band Festival at the Crystal Palace, in South London: disturbed at the prospect of leaving his mother behind. some 4,500 brass players in total. It wasn’t the first time, either; he had written a test-piece for the October 1932 festival, after finding In the first three weeks of August 1939, Paul Sacher, the director of himself seated next to the organiser of the festival, John Iles, at a the Basle Chamber Orchestra, offered Bartók his cottage at Saanen dinner for the Worshipful Company of Musicians. in Switzerland for a holiday. For Bartók, it was a busman’s holiday and the Divertimento was his thanks; he composed it there for That had been his first encounter with the technical challenges Sacher and his orchestra in 14 days. Even this brief respite was to of writing for brass band – and “the inescapable fact that the be clouded. Europe was on the brink of war, and Bartók could not cornet, baritone and euphonium are all instruments of more or regard the prospect as other than one which would bring a tragic less the same type”. “I have often thought that it might be decided curtailment of creative musical activity. The outlook was one of improvement if trumpets are added, but whether this is practical despair for an artist of his beliefs. at the present time is debatable” he added, slightly ruefully. From this limited but characterful palette, he created a set of four musical Yet the Divertimento lives up to its title. Shadows rarely darken its landscape-drawings of the South Downs – as if welcoming this pages, and the opening movement is among the composer’s liveliest northern musical tradition to a world he’d come to love. inventions. In this movement, there are three identifiable episodes. There is an apparent Hungarian atmosphere about the tune with Admirers of the works of Eric Ravilious and Paul Nash will know which the violins begin the first over a pulsating accompaniment. that it’s possible to evoke a powerful sense of place with only a few The following section is discussed by a solo quartet and the body of colours, and the four movements of Ireland’s Downland Suite distil strings, rather in the way in which ideas are argued between similar the contours and atmosphere of folk music (though Ireland never forces in Elgar’s Introduction and Allegro. The third episode is more uses an actual folk tune) into concise classical forms, perfectly varied in rhythm and mood, moments of tranquillity and harshness gauged to show the full technical and expressive range of the alternating. Although string counterpoint has not hitherto been a competing bands. There’s a bracing Prelude (marked Molto energico prominent feature of Bartók’s writing, here it becomes an essential of – very energetically), a hymn-like Elegy, a graceful Minuet and a his texture. Rondo that glances back at the Elegy before bustling to a suitably brilliant finish. Ireland later rewrote the central two movements for The middle movement is really in four sections, the last of which string orchestra, but this version for orchestral brass – created for is closely related to the first. It begins with an air across which a London Brass by Chris Mowat, the long-serving principal trombone sudden single outburst from the violins appears like a flash of light.

2 Bartók is working through a carefully concentrated build-up of both For the form, he took as his basis the Jacobean ‘fancy’ or ‘fantasia’, sound and emotion, which reaches its peak towards the end of the and for his theme he returned to the melody that Tallis wrote in 1567 movement; a series of trills adds to the striking effect of the passage. for Archbishop Parker’s metrical Psalter which he had already The movement then subsides into the close-knit harmonic and incorporated as No.92 of The English Hymnal (1906). As the work melodic pattern out of which it began, with one more flash of light was being written for the Gloucester Three Choirs Festival, he also from the violins. bore in mind another heritage from the past, Gloucester’s great cathedral itself, whose acoustic and space he used to brilliant effect The finale provides the sort of contrast of which Bartók was such in the scoring for string orchestra, an antiphonal one-desk string a master. There is some rhythmic and thematic affinity with the ensemble, and string quartet within the main body of strings. opening of the first movement and a further hint of Hungarian derivation. First one tune and then another is flung at the listener At the first performance on 6 September theFantasia preceded and blended into the design as Bartók’s counterpoint becomes more The Dream of Gerontius conducted by Elgar. Like so many premieres profuse. There is an occasional slackening of tempo for a lyrical idea, (then as now) the audience was waiting impatiently for the familiar some virtuoso violin playing, and an amusing pizzicato interlude work. Few of the 2,000 people gathered in the cathedral would have before the work rushes on to its cheerful conclusion. known much about Vaughan Williams. As the composer Herbert Howells (then 18) later recalled, “there at the rostrum towered the Programme note © Kenneth Loveland unfamiliar figure of VW; 38, magisterial, dark-haired, clean-cut of feature. He and a strangely new work for strings were between them and their devotion to Elgar.”

For Howells, and his friend and fellow composition student Ivor Gurney, though, it was the new work that spoke directly to them, its Ralph Vaughan Williams (1872-1958) language a revelation. Overnight the Fantasia’s composer became the musical leader of their generation. So profound was the Fantasia on a Theme of impression that neither attempted to sleep after hearing it, but were so excited that they wandered around the streets of Gloucester all Thomas Tallis night. Herbert Brewer however, their teacher and Cathedral organist, was not so moved, describing the Fantasia as “a queer mad work by With hindsight some first performances prove landmarks in the an odd fellow from Chelsea”. musical history of a nation. In Britain, for instance, think of the Enigma Variations establishing Elgar, and Britten’s Peter Grimes Programme note © Andrew Burn heralding the appearance of a major opera composer. Another was the premiere of the Fantasia on a Theme of Thomas Tallis in 1910 when, in his first masterpiece, Vaughan Williams indisputably became a major and distinctive voice in English music. Here the influences that created Vaughan Williams’ personal style – folksong, modality, and the glories of 16th and 17th century English music – are moulded together in their first maturity.

3 THE PERFORMERS

Mirga Gražinytė-Tyla America, she has worked with the orchestras Eugene Tzikindelean of Philadelphia, Seattle and San Diego and Osborn Music Director Play/Direct has led the Metropolitan Opera Orchestra at Mirga Gražinyte-Tyla was named Music Carnegie Hall. Born into a musical family in Romania Director of the City of Birmingham With the Los Angeles Philharmonic, and educated in Bucharest and Symphony Orchestra in February 2016 Gražinyte-Tyla was a Dudamel Fellow in Paris, Tzikindelean won top prizes in following in the footsteps of the 2012-13 season, Assistant Conductor international competitions including Sir Simon Rattle, Sakari Oramo and (2014-16), and Associate Conductor the Enescu Competition in Romania, Andris Nelsons. Her Music Directorship (2016-17). She was the Music Director of the Carl Nielsen International was extended through the 2020-21 the Salzburg Landestheater from 2015 until Competition in Denmark and France’s season. 2017. Winner of the 2012 Salzburg Festival Long-Thibaud-Crespin Competition. Recent highlights include numerous Young Conductors Award, she subsequently After holding a position with the Orchestre European tours with the City of Birmingham made her debut with the Gustav Mahler du Capitole de Toulouse, he has been Symphony Orchestra, performances Youth Orchestra in a symphonic concert at Leader of the Odense Symphony Orchestra with the New York Philharmonic, NDR the Salzburger Festspiele. in Denmark since 2012. He also keeps Elbphilharmonie Orchestra, Swedish Radio Gražinyte-Tyla was discovered by the a busy schedule as a soloist, chamber Orchestra, Filharmonica della Scalla, Los German Conducting Forum (Deutsches musician and guest leader with ensembles Angeles Philharmonic, and the National Dirigentenforum) in April 2009. A native around the world including the London Symphony Orchestra. of Vilnius, Lithuania, she was born into a Philharmonic Orchestra, BBC Philharmonic, Oslo Philharmonic, Trondheim Symphony Gražinyte-Tyla has electrified audiences musical family. Before pursuing her studies Orchestra, Singapore Symphony Orchestra, as a guest conductor all over the world. at the Music Conservatory in Zurich, she Copenhagen Philharmonic, and Århus and In Europe, she has collaborated with the studied at the Music Conservatory Felix Norrkoping Symphony Orchestras, and at Lithuanian National Symphony Orchestra, Mendelssohn-Bartholdy in Leipzig and at the Mikhailovsky Theatre in St Petersburg. the Beethoven Orchestra Bonn, the the Music Conservatory in Bologna, Italy. His most recent concerto appearance was Deutsche Radiophilharmonie, the Choir of She graduated with a bachelor’s degree a performance of Elgar’s Violin Concerto in the Bavarian Radio Symphony Orchestra, in choral and orchestral conducting from Denmark in early March. the MDR Symphony Orchestra, as well as the University of Music and Fine Arts, Graz, the Chamber Orchestras of Vienna, the Austria. Mirga has participated in numerous Danish National Symphony Orchestra, the masterclasses and conducting workshops, Mozarteum Orchestra and the Camerata and has worked with many established Salzburg, and the Orchestra of the Komische conductors and professors, such as Oper in Berlin. At the Kremerata Baltica, Christian Ehwald, George Alexander she has enjoyed a dynamic collaboration Albrecht, Johannes Schlaefli, Herbert with Gidon Kremer on numerous European Blomstedt, and Colin Metters. tours. She has led operas in Heidelberg, Salzburg, Komische Oper Berlin, and Bern, where she served as Kapellmeister. In North

‘Gražinytė-Tyla’s conducting opens your ears.’

Bachtrack, 2019

4 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 VIOLIN II Michael Jenkinson * DOUBLE BASS TROMBONE # Eugene Tzikindelean Peter Campbell-Kelly * Elizabeth Fryer * Anthony Alcock * Richard Watkin * # # # Jonathan Martindale * Kate Suthers* Jessica Tickle * Julian Atkinson * Anthony Howe * Philip Brett Moritz Pfister * Amy Thomas # Damián Rubido González # Colin Twigg Catherine Arlidge * Helen Roberts Jeremy Watt BASS TROMBONE # # # Jane Wright * Amy Jones * Julian Walters * David Vines * Colette Overdijk * Charlotte Skinner * CELLO Mark Goodchild *# # Stefano Mengoli * Bryony Morrison * Eduardo Vassallo * TUBA # # # Elizabeth Golding * Gabriel Dyker * Kate Setterfield * HORN # Graham Sibley * # Julia Åberg * Georgia Hannant * Miguel Fernandes * Elspeth Dutch * # # Kirsty Lovie * Katharine Gittings Jacqueline Tyler * Martin Wright PERCUSSION # # # Ruth Lawrence * Robert Bilson Catherine Ardagh-Walter * Mark Phillips * Adrian Spillett * # # Mark Robinson Adam Hill Helen Edgar * Jeremy Bushell * Toby Kearney * Catherine Chambers Joss Brookes Matthew Hardy * Wendy Quirk VIOLA Philippa Schofield TRUMPET # # Chris Yates * Jonathan Holland * # Adam Romer * Alan Thomas * Catherine Bower * Richard Blake * # # Angela Swanson Jonathan Quirk * David BaMaung Stephen Murphy

# Recipient of the CBSO Long Service Award * Supported player

5 Charles Stanley are proud to support 100 years of the City of Birmingham Symphony Orchestra

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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 Paul Bond Susan Holmes in memory of Peter Dr & Mrs Shrank Mr Trevor & Mrs Linda Ingram Professor Lalage Bown Valerie & David Howitt Keith Shuttleworth Robin & Dee Johnson Anthony and Jenni Bradbury Penny Hughes Richard & Elizabeth Simons Alan Jones & Andrew Orchard Mr M & Mrs T Brazier David Hutchinson Mr N R Skelding Ms Lou Jones Dr Jane Flint Bridgewater Henry & Liz Ibberson Ed Smith The late William Jones & Mr Kenneth Bridgewater Mr R M E & Mrs V Irving Mary Smith & Brian Gardner Peter Macklin Mr Arthur Brooker Mr & Mrs G Jones in memory of John and Jen The late Mr & Mrs F. McDermott & M. L. Brown Ken & Chris Jones Peter J & Dorothy Smith Mrs C. 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Partners in Orchestral Development

William King Ltd

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 Angus Allnatt Charitable Foundation James Langley Memorial Trust The Andor Charitable Trust The Leverhulme Trust The Lord Austin Trust Limoges Charitable Trust The John Avins Trust The S & D Lloyd Charity Backstage Trust The Helen Rachael Mackaness Charitable Trust The Rachel Baker Memorial Charity The McLay Dementia Trust Bite Size Pieces The James Frederick & Ethel Anne Measures Charity The Boshier-Hinton Foundation MFPA Trust Fund for the Training of Handicapped British Korean Society Children in the Arts The Charles Brotherton Trust Millichope Foundation The Edward & Dorothy Cadbury Trust The David Morgan Music Trust Edward Cadbury Charitable Trust The Oakley Charitable Trust The R V J Cadbury Charitable Trust The Patrick Trust CBSO Development Trust The Misses C M Pearson & M V Williams Charitable City of Birmingham Orchestral Endowment Fund Trust The John S Cohen Foundation The Bernard Piggott Charitable Trust The George Henry Collins Charity PRS Foundation’s The Open Fund for Organisations Baron Davenport’s Charity The Radcliffe Trust The D’Oyly Carte Charitable Trust The Rainbow Dickinson Trust www.prsformusicfoundation.com Dunard Fund The Ratcliff Foundation The W E Dunn Trust Clive & Sylvia Richards Charity John Ellerman Foundation The M K Rose Charitable Trust The Eveson Charitable Trust The Rowlands Trust Globeflow The John Feeney Charitable Trust RVW Trust George Fentham Birmingham Charity The Saintbury Trust Allan and Nesta Ferguson Charitable Settlement F C Stokes Trust Fidelio Charitable Trust Sutton Coldfield Charitable Trust The Garrick Charitable Trust C B & H H Taylor 1984 Trust The Golsoncott Foundation G J W Turner Trust The Grey Court Trust The Roger & Douglas Turner Charitable Trust The Grimmitt Trust Garfield Weston Foundation The Derek Hill Foundation The Wolfson Foundation The Joseph Hopkins and Henry James Sayer Charities The Alan Woodfield Charitable Trust John Horniman’s Children’s 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]

9 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 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 Carolyn Burton Schools Officer 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 Chris Loughran dl Finance Manager Dawn Doherty John Osborn cbe Payroll Officer Lindsey Bhagania† Assistant Accountant Graham Irving Honorary Medical Advisors: Finance Assistant (Cost) Susan Price 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 Jo Patton (Chair) Mark Philips (Vice Chair) 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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