VISIONS of ENGLAND Symphony Hall, Birmingham

VISIONS OF ENGLAND Symphony Hall, Birmingham

Wednesday 9 June 2021, 2.00pm & 6.30pm

Michael Seal – Conductor Ian Bostridge – Tenor

Britten Nocturne 27’ Arnold Symphony No.5 31’ OUR CAMPAIGN FOR MUSICAL LIFE IN THE WEST MIDLANDS England’s dreaming… Benjamin Britten loved poetry, and his These socially-distanced concerts have Nocturne summons the magic of a summer night to weave something been made possible by funding from Arts wondrously rich and strange. No one alive sings this music better Council England’s Culture Recovery Fund, than Ian Bostridge – a tenor who charges everything he performs with plus generous support from thousands of drama – and it’s merely the prelude to the soaring melodies, gleaming individuals, charitable trusts and companies colours and raw, heart-on-sleeve emotion of Malcolm Arnold’s through The Sound of the Future fundraising magnificent Fifth Symphony. An online poll recently voted it one of campaign. the greatest of all British symphonies, but the best way to judge is to hear it for yourself – performed live by the CBSO and with Micheal Seal, By supporting our campaign, you will play your part in helping the orchestra to recover a conductor who believes in it, heart and soul. Join us, and discover a from the pandemic as well as renewing the masterpiece by a composer born 100 years ago. 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 Benjamin Britten (1913-76) Coleridge left only the opening lines of a poem entitledThe Wanderings of Cain with its lithe, graceful images of the ‘lovely Boy Nocturne for tenor solo, seven … plucking fruit’. These are realised in a slow, delicate waltz, the harp’s roulades derived from the tenor’s melody. With the lilt of obbligato instruments and the ritornello never far away, Britten exploits the onomatopoeic possibilities of the excerpt from Middleton’s Blurt, Master strings, Op.60 Constable. Voice and horn vividly evoke the sights and sounds of the poetry: the midnight bell, dogs howling, crickets hopping, and the mewing of cats. On a poet’s lips I slept – Very slow and soft Below the thunders of the upper deep – Majestic The Wordsworth text comes from Book X of The Prelude. With an undercurrent of menacing timpani, this is the world of broken Encinctured with a twine of leaves – Slow waltz sleep, nightmarish fantasies and the fear of irrational, unstoppable Midnight’s bell goes ting, ting, ting – Very slow and soft forces. Significantly for a text dwelling on the horrors of the French But that night when on my bed I lay – Steady march Revolution and the September massacres, there is no hint of the She sleeps on soft, last breaths – Slow and regular soothing ritornello anywhere; instead at the climax the tenor launches into an anarchical march, the beating hooves of the What is more gentle than a wind in summer? – Quick horse reminiscent of Tarquinius’ ride in Britten’s opera The Rape When most I wink, then do mine eyes best see – Slow of Lucretia. In Owen’s The Kind Ghosts, the ‘she’ of the poem is a symbol for Britten commented that he found dreams ‘strange and remote’; in Britannia, who complacently accepts the doom of her young men Nocturne he explored them through an anthology of poems for supposed succour of the nation. The cor anglais’ melancholic evoking their differing manifestations, be they fantastical or threnody weaves its way against hollow emotionless pizzicato nightmarish, or self-revelatory, or consoling. Scored for tenor solo, chords. For the opening lines of Keats’ Sleep and Poetry, the seven obbligato instruments, and strings, Nocturne was strings are silent, leaving the filigree decorations of flute and commissioned for the Leeds Centennial Festival of 1958 and clarinet to accompany the tenor’s mellifluous, airy melody. received its premiere on 16 October that year, performed by Peter Magically the strings suddenly reappear on the word ‘sleep’ with a Pears and the BBC Symphony Orchestra conducted by Rudolf crystal-clear C major chord. As the ritornello returns, the tenor’s Schwarz. The dedicatee was Alma Mahler. melisma heard from the Shelley setting returns, then all the obbligato instruments quietly outline a major third on D flat to The music is continuous and the texts not always self-contained, ravishing effect. as several times Britten chose excerpts from longer poems. Binding the setting is a string ritornello (recurring passage) whose Britten leaves his most powerful setting, Shakespeare’s Sonnet 43, lulling character suggests not only slipping into slumber, but also with its affirmation of human love, until last. Against the richness the wakeful moments when dreams drift one into another. The provided by all the obbligato instruments, the string writing tenor’s melodic line is often like anarioso , and tonally the music is becomes impassioned and the wide, expressive melodic line in a state of flux between C and D flat major; Britten handles the overtly Mahlerian. As the tenor finally finds ‘heavy sleep’, the tension between them in consummate fashion. ritornello fades; C major and D flat major are fused as the poet is entwined with the beloved in dreams. Over the omnipresent ritornello, the tenor sings lines from Shelley’s Prometheus Unbound. Britten described to his friend Programme note © Andrew Burn Donald Mitchell the importance he attached to dreams in the creative process and this is reflected here by the choice of text. At the words ‘nurseings of immortality’, the soloist has a rapt melismatic phrase that becomes a significant motif in the work. The first obbligato instrument to be heard is the bassoon, its writhing melodic line vividly portraying the fearful monster of the deep, the Kraken, described in Tennyson’s eponymous poem. Over a ground bass, the strings punctuate the words with disjointed pizzicato and sinister trills. The final image of the Kraken dying on the surface of the ocean is eerily evoked by the bassoon playing in its highest register.

2 1. On a poet’s lips I slept 4. Midnight’s bell goes ting, ting, ting On a poet’s lips I slept Midnight’s bell goes ting, ting, ting, ting, ting, Dreaming like a love-adept Then dogs do howl, and not a bird does sing In the sound his breathing kept; But the nightingale, and she cries twit, twit, twit; Nor seeks nor finds he mortal blisses, Owls then on every bough do sit; But feeds on the aëreal kisses Ravens croak on chimneys’ tops; Of shapes that haunt thought’s wildernesses. The cricket in the chamber hops; He will watch from dawn to gloom The nibbling mouse is not asleep, The lake-reflected sun illume But he goes peep, peep, peep, peep, peep; The yellow bees in the ivy-bloom, And the cats cry mew, mew, mew, Nor heed nor see, what things they be; And still the cats cry mew, mew, mew. But from these create he can Forms more real than living man, From ‘Blurt, Master Constable’ by Thomas Middleton Nurslings of immortality!

From ‘Prometheus Unbound’ by Percy Bysshe Shelley 5. But that night when on my bed I lay But that night When on my bed I lay, I was most mov’d 2. Below the thunders of the upper deep And felt most deeply in what world I was; Below the thunders of the upper deep; With unextinguish’d taper I kept watch, Far, far beneath in the abysmal sea, Reading at intervals; the fear gone by His ancient, dreamless, uninvaded sleep Press’d on me almost like a fear to come; The Kraken sleepeth: faintest sunlights flee I thought of those September Massacres, About his shadowy sides: above him swell Divided from me by a little month, Huge sponges of millenial growth and height; And felt and touch’d them, a substantial dread: And far away into the sickly light, The rest was conjured up from tragic fictions, From many a wondrous grot and secret cell And mournful Calendars of true history, Unnumber’d and enormous polypi Remembrances and dim admonishments. Winnow with giant arms the slumbering green. “The horse is taught his manage, and the wind There hath he lain for ages and will lie Of heaven wheels round and treads in his own steps, Battening upon huge seaworms in his sleep, Year follows year, the tide returns again, Until the latter fire shall heat the deep; Day follows day, all things have second birth; Then once by man and angels to be seen, The earthquake is not satisfied all at once.” In roaring he shall rise and on the surface die. And in such way I wrought upon myself, Until I seem’d to hear a voice that cried From ‘The Kraken’ by Alfred, Lord Tennyson To the whole City, “Sleep no more.”

From ‘The Prelude, Book X’ by William Wordsworth 3. Encinctured with a twine of leaves Encinctured with a twine of leaves, That leafy twine his only dress! 6. She sleeps on soft, last breaths A lovely boy was plucking fruits, She sleeps on soft, last breaths; but no ghost looms By moonlight, in a wilderness. Out of the stillness of her palace wall, The moon was bright, the air was free, Her wall of boys on boys and dooms on dooms. And fruits and flowers together grew On many a shrub and many a tree: She dreams of golden gardens and sweet glooms, And all put on a gentle hue, Not marvelling why her roses never fall Hanging in the shadowy air Nor what red mouths were torn to make their blooms. Like a picture rich and rare. It was a climate where, they say, The shades keep down which well might roam her hall. The night is more beloved than day. Quiet their blood lies in her crimson rooms But who that beauteous boy beguil’d And she is not afraid of their footfall. That beauteous boy to linger here? Alone, by night, a little child, They move not from her tapestries, their pall, In place so silent and so wild – Nor pace her terraces, their hecatombs, Has he no friend, no loving mother near? Lest aught she be disturbed, or grieved at all.

From ‘The Wanderings of Cain’ by Samuel Taylor Coleridge From ‘The Kind Ghosts’ by Wilfred Owen

3 7. What is more gentle than a wind in summer? 8. When most I wink, then do mine eyes best see What is more gentle than a wind in summer? When most I wink, then do mine eyes best see, What is more soothing than the pretty hummer For all the day they view things unrespected; That stays one moment in an open flower, But when I sleep, in dreams they look on thee, And buzzes cheerily from bower to bower? And darkly bright, are bright in dark directed. What is more tranquil than a musk-rose blowing Then thou, whose shadow shadows doth make bright, In a green island, far from all men’s knowing? How would thy shadow’s form form happy show More healthful than the leafiness of dales? To the clear day with thy much clearer light, More secret than a nest of nightingales? When to unseeing eyes thy shade shines so? More serene than Cordelia’s countenance? How would, I say, mine eyes be blessed made More full of visions than a high romance? By looking on thee in the living day, What, but thee Sleep? Soft closer of our eyes! When in dead night thy fair imperfect shade Low murmurer of tender lullabies! Through heavy sleep on sightless eyes Light hoverer around our happy pillows! doth stay? Wreather of poppy buds, and weeping willows! All days are nights to see till I see thee, Silent entangler of a beauty’s tresses! And nights bright days when dreams do show thee me. Most happy listener! when the morning blesses Thee for enlivening all the cheerful eyes Sonnet 43 by William Shakespeare That glance so brightly at the new sun-rise.

From ‘Sleep and Poetry’ by John Keats

4 Sir Malcolm Arnold (1921–2006) The desolate opening of the first movement sounds at odds with its Tempestuoso marking – but not for long. “Without wishing to sound Symphony No.5, Op.74 morbid,” wrote Arnold, “the work is filled with memories of friends of mine who died young.” Moments of glistening tranquillity or eerie calm are repeatedly and violently shattered. Only as the movement Tempestuoso sinks towards its close does Arnold give free rein to his sense of loss, Andante con moto paying tribute to his lost friends in a series of expressive solos: Jack Con fuoco Thurston (clarinet), Dennis Brain (horn) and Hoffnung himself (tuba). Risoluto “We all, in great emotional crises, express ourselves in the simplest of clichés” was how Arnold explained the glorious string melody that opens the Andante. The fact remains that few living British This symphony is in four movements and is written for a composers could have written such a tune – and that this haunting normal symphony orchestra with the addition of a celesta. movement, grounded on the notes AB (musical code for the initials The four movements are divided into two pairs, the first of Hoffnung’s widow Annetta, to whom Arnold was intensely close) thematically related to the third, and the second to the fourth. is actually entirely sincere. It will be noted that in the second movement, the composer is unable to distinguish between sentiment and sentimentality. The brassy savagery of the scherzo is easier to read: at its centre, Arnold throws us a lopsided smile, with a quirky melody that could

have come straight out of one of his English Dances. It ends badly; It’s hard to imagine a programme note that says less than Malcolm and the defiant drum-and-fife march that opens the finale signals the Arnold’s own description of his Fifth Symphony – or that hints at so start of a fight-back against impossible odds. At the peak of the much more. The Cheltenham Festival had been a powerful struggle, the heavens open, and the great tune from the Andante champion of Arnold’s generation of post-War British symphonists, sweeps resplendently back in. Glorious triumph – or just wishful but its commission for a new symphony could hardly have come thinking? In a shocking final gesture, Arnold makes the answer at a worse time for Arnold. His marriage was disintegrating and, on chillingly clear. 28 September 1959, he had heard of the sudden death of one of his closest friends, the cartoonist and musical comedian Gerard Hoffnung, at the age of 34. Arnold reacted as best he could: with Programme note © Richard Bratby strong drink and hard work. Between two film scores On( the Fiddle and Whistle Down the Wind), he wrote the symphony at high intensity between March and May 1961. Arnold himself conducted the premiere with the Hallé Orchestra at Cheltenham on 3 July 1961. The audience cheered it to the rafters, but at least one London critic was seen at the phone, filing his review, before the end of the second movement. The headline of the Richmond Times summed up the general critical response: “A Black Mark for Putting a Tune in a Symphony”. Tunes were out of fashion in the early 1960s; but as Arnold had grappled with his personal anguish, he had written a symphony full of them. “It’s got the two things I stand for,” wrote the composer to the broadcaster Anthony Hopkins. “Simplicity and melody.” Powerfully-built, brilliantly orchestrated and intensely personal, none of Arnold’s nine symphonies is more eloquent or heartfelt than the Fifth – something that audiences sensed immediately, even as irony-deaf critics derided its “almost unbelievable banality”. By the time the CBSO recorded it under the composer’s own direction in 1972, Arnold was effectively beyond the pale of the UK’s musical Establishment – just as more sensitive ears were starting to hear the Fifth as one of the greatest British symphonies since Vaughan Williams. It has yet to be performed at the BBC Proms.

5 THE PERFORMERS Michael Seal Ian Bostridge Conductor Tenor

Michael Seal is the Associate Ian Bostridge’s international recital Conductor of the CBSO, a unique career takes him to the foremost appointment which recognises concert halls of Europe, South East his work as Assistant Conductor, Asia and North America. In opera, and the special relationship he he has performed Tamino in has built with the orchestra. Mozart’s Die Zauberflöte, Jupiter in Handel’s Semele and Aschenbach His in-depth knowledge of in Britten’s Death in Venice at English National Opera, Quint in orchestras from an insider’s position (he was a violinist with the CBSO Britten’s The Turn of the Screw, Don Ottavio in Mozart’s Don Giovanni early in his career) gives him a unique perspective, and he quickly and Caliban in Adès’ The Tempest for the Royal Opera House, Covent builds rapport and trust with the orchestras he works with. His energy Garden, title role in Jephtha for Opera de Paris, Don Ottavio at the and enthusiasm are infectious and he has built a reputation for Wiener Staatsoper, Tom Rakewell in Stravinsky The Rake’s Progress at outstanding results, delivered with great charm and often on a the Bayerische Staatsoper, Munich, Aschenbach in Death in Venice typically British tight rehearsal schedule. for the Deutsche Oper and Quint at Teatro alla Scala, Milan. Seal has worked with many of the UK’s finest orchestras, frequently Future highlights include a recital and lecture series for the University being invited as guest conductor with the BBC orchestras and Royal of Chicago, Des Knaben Wunderhorn with Barcelona Symphony and Liverpool Philharmonic orchestras, as well as with the Academy of Marta Gardolińska, Britten’s War Requiem with Kent Nagano and the St Martin in the Fields, Bournemouth Symphony Orchestra, Royal Tonhalle-Orchester Zürich and with Philippe Jordan and the San Philharmonic Orchestra, Royal Scottish National Orchestra, London Francisco Symphony, Evangelist in St Matthew Passion for Teatro Philharmonic Orchestra and Ulster Orchestra. Regio Torino, Bajazet in Tamerlano in concert for the Moscow State Internationally, he has conducted the Brussels Philharmonic, Philharmonic, Winterreise with Sir Antonio Pappano at the Pierre Frankfurt Radio Symphony Orchestra, KBS Symphony Orchestra, Boulez Saal Berlin and further performances with jazz pianist Brad Norwegian Radio Orchestra, Odense Symphony Orchestra, Joensuu Mehldau of his composition for Ian, The Folly of Desire. City Orchestra, Orquesta Académica del Instituto Superior de Arte His many recordings have won all the major international record del Teatro Colón, Orquesta Filarmónica de Buenos Aires, Trondheim prizes and been nominated for 15 Grammys. Ian’s latest recording for Symphony Orchestra and both RTÉ Concert and National Pentatone of Schubert’s Winterreise with Thomas Adès won the Symphony Orchestras. Vocal Recording of the Year 2020 in the International Classical Music Seal has a special bond with the CBSO Youth Orchestra, conducting Awards. He was awarded a CBE in the 2004 New Year’s Honours. In them on numerous occasions, and being involved with them since 2016, he was awarded the The Pol Roger Duff Cooper Prize for their foundation. non-fiction writing for his latest book,Schubert’s Winter Journey: Anatomy of an Obsession.  His love of opera led to critically-acclaimed performances of Puccini’s Il Trittico at the Birmingham Conservatoire. He has also assisted both Sakari Oramo and Andris Nelsons in opera performances of Peter Grimes, Carmen, Der Rosenkavalier, Lohengrin, Tristan & Isolde and The Flying Dutchman. 

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

Now, under the dynamic leadership of Mirga 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.

Meet the Family The CBSO Chorus – a symphonic choir made up of “amateur professionals”, trained by Simon Halsey CBE – is famous in its own right. The CBSO Children’s Chorus and Youth Chorus showcase singers as young as six. Through its unauditioned community choir – CBSO SO Vocal in Selly Oak – the CBSO shares its know- Under the baton of its Music Director Mirga Gražinytė-Tyla, how and passion for music with communities throughout the city. the City of Birmingham Symphony Orchestra (CBSO) is the The CBSO Youth Orchestra gives that same opportunity to young ﬂ agship of musical life in Birmingham and the West Midlands, instrumentalists aged 14-21, off ering high-level training to the next and one of the world’s great orchestras. generation of orchestral musicians alongside top international conductors and soloists. Based in Symphony Hall, Birmingham, in a normal year the orchestra performs over 150 concerts each year in Birmingham, the UK These groups are sometimes called the “CBSO family” – over and around the world, playing music that ranges from classics 650 amateur musicians of all ages and backgrounds, who work to contemporary, fi lm music and even symphonic disco. With a alongside the orchestra to make and share great music. But the far-reaching community programme and a family of choruses CBSO’s tradition of serving the community goes much further. Its and ensembles, it is involved in every aspect of music-making in Learning and Participation programme touches tens of thousands the Midlands. But at its centre is a team of 75 superb professional of lives a year, ranging from workshops in nurseries to projects musicians, and a 100-year tradition of making the world’s greatest that energise whole neighbourhoods. And everyone’s welcome music in the heart of Birmingham. at CBSO Centre on Berkley Street. As well as being a friendly, stylish performance venue for the lunchtime concert series That local tradition started with the orchestra’s very fi rst symphonic Centre Stage and contemporary jazz concerts by Jazzlines, the concert in 1920 – conducted by Sir Edward Elgar. Ever since then, CBSO’s rehearsal base is home to Birmingham Contemporary through war, recessions, social change and civic renewal, the CBSO Music Group and Ex Cathedra. Having recently enjoyed it’s 100th has been proud to be Birmingham’s orchestra. Under principal birthday, the CBSO, more than ever, remains the beating heart of conductors including Adrian Boult, George Weldon, Andrzej Panufnik musical life in the UK’s Second City.  and Louis Frémaux, the CBSO won an artistic reputation that spread far beyond the Midlands. But it was when it discovered the young British conductor Simon Rattle in 1980 that the CBSO became internationally famous – and showed how the arts can help give a new sense of direction to a whole city.

Photo © Ben Ealovega 7 CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

VIOLIN I CELLO HORN # Zsolt-Tihamer Visontay Tim Gill Elspeth Dutch * # Philip Brett David Powell * Oliver Johnson # # Clare Thompson Kate Setterfield * Mark Phillips * Colin Twigg Miguel Fernandes * Jeremy Bushell * # # Jane Wright Catherine Ardagh-Walter * Martin Wright # # Elizabeth Golding Helen Edgar * Colette Overdijk * Joss Brookes TRUMPET # # Ruth Lawrence * Talulah Yunkers Jonathan Holland * Stefano Mengoli * Neil Fulton Julia Åberg * DOUBLE BASS Stephen Murphy Wendy Quirk Anthony Alcock * Jonathan Sheppard # Robert Bilson Julian Atkinson * Adam Hill Jeremy Watt TROMBONE Jessica Coleman # Sally Morgan * Richard Watkin * Mark Goodchild *# Anthony Howe *# VIOLIN II # Julian Walters * # Peter Campbell-Kelly * BASS TROMBONE Moritz Pfister FLUTE # David Vines * # Catherine Arlidge * # Marie-Christine Zupancic * # Amy Jones * Veronika Klirova * TUBA Emma Lisney # Graham Sibley * Charlotte Skinner * PICCOLO Timothy Birchall Jennifer George TIMPANI # Gabriel Dyker * Matthew Hardy * Georgia Hannant * OBOE # Heather Bradshaw * Emmet Byrne * PERCUSSION Bryony Morrison * Ilid Jones # Adrian Spillett * Kate Lindon Andrew Herbert * COR ANGLAIS VIOLA Rachael Pankhurst * HARP # Chris Yates * # Katherine Thomas * Michael Jenkinson * CLARINET # Catherine Bower * Oliver Janes * # CELESTE Angela Swanson # Joanna Patton * Amy Thomas # Ben Dawson Jessica Tickle * BASSOON # Elizabeth Fryer * Nikolaj Henriques * Cheryl Law Margaret Cookhorn * Isobel Adams Mark Gibbs

# Recipient of the CBSO Long Service Award

* Supported player

8 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 Graham Russell and Gloria Bates (*David Vines) Rachel Baker Memorial Charity (*Ruth Lawrence) Barry and Frances Kirkham The late Roy Collins SYMPHONY CIRCLE (£5,000+) Gillian Shaw Chris and Jane Loughran Dunard Fund John Cole and Jennie Howe Eleanor Sinton (*Adrian Spillett) (*Jonathan Martindale) John Osborn CBE (*Peter Campbell-Kelly) Mr D P Spencer (*Oliver Janes)

Garfi eld Weston Foundation Gill and Jonathan Evans Lesley Thomson (*Jessica Tickle) £50,000+ (*Charlotte Skinner) Basil and Patricia Turner Barclays Peter How Stephen and Stephanie Goldstein (*Marie-Christine Zupancic) The late Miss G Brant Maurice Millward (*Chris Yates) Len Hughes and Jacquie Blake Howard and Judy Vero (*Richard Watkin) David and Sandra Burbidge Jerry Sykes in support of keynote (*Anthony Alcock) Michael Ward John Ellerman Foundation concert programming Sue and Graeme Sloan Diana and Peter Wardley (*Oliver Janes) (*Catherine Ardagh-Walter) Robert Wilson (*Emmet Byrne) Esmée Fairbairn Foundation and our other anonymous supporters. The John Feeney Charitable Trust John Yelland OBE and Anna Charles Henry Foyle Trust £25,000+ (*Catherine Bower) The JABBS Foundation Sir Dominic and Lady Cadbury + and our other anonymous supporters. Alison and Jamie Justham CONCERTO CIRCLE (£2,500 ) The Barwell Charitable Trust Barry and Frances Kirkham Allan and Jennifer Buckle Maurice Millward The following players are supported by (*Jonathan Holland) Clive and Sylvia Richards Charity anonymous members of the Mrs Jayne Cadbury (Principal Supporter of the CBSO’s Overture, Concerto and Symphony Jill S Cadbury (*Julia Åberg) work with young people) Circles, to whom we are very grateful: Isabel, Peter and Christopher in loving Jerry Sykes Mark Goodchild memory of Ernest Churcher Joanna Patton (*Elspeth Dutch) The late Mr P S Day Mark Phillips Charlie and Louise Craddock Deutsche Bank Adam Römer (*Kirsty Lovie) The late Elnora Ferguson Katherine Thomas Mike and Tina Detheridge The late Mrs Marjorie Hildreth (*Andrew Herbert) Peter How The ENT Clinic The Helen Rachael Mackaness Duncan Fielden and Jan Smaczny Charitable Trust OVERTURE CIRCLE (£1,000+) (*Matthew Hardy) The late Blyth and Myriam Major Mike and Jan Adams (*Eduardo David Gregory (*Stefano Mengoli) Mrs Thelma Justham Vassallo) David Handford (*David Powell) The Leverhulme Trust Katherine Aldridge in memory of Chris The Andrew Harris Charitable Trust The LJC Fund Michael Allen in memory of Yvonne Cliff Hubbold Chris and Jane Loughran Roger and Angela Allen David Knibb in memory of Lorraine The late Martin Purdy Miss J L Arthur (*Julian Walters) (*Jon Quirk) The late Norman Thomas Kiaran Asthana Valerie Lester (*Jacqueline Tyler MBE) The late Sheri and Mrs Janet Tullah Mr M K Ayers Paddy and Wendy Martin The Roger and Douglas Turner Mr and Mrs S V Barber (*David BaMaung) Charitable Trust John Bartlett and Sheila Beesley Carol Miller (*Mark O’Brien) Wolfson Foundation

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

10 Marie and John O’Brien Bob and Louise Vivian The late Miss Sheila Margaret Burgess John Vickers Mr and Mrs R T Orme Stephen Vokes and Erica Barnett Smith Mrs Angela and Mr John Watts S J Osborne Tim and Wendy Wadsworth Isabel Churcher Philip Wilson Nigel Packer Kit Ward The late Colin W Clarke Alan Woodfi eld Rod Parker and Lesley Biddle Ann Warne Mr and Mrs P Cocking and our other anonymous donors. Graham and Bobbie Perry Neil Warren The late Roy Collins David and Julia Powell Mrs M L Webb David in memory of Ruth Pauline Holland Gill Powell and John Rowlatt Elisabeth and Keith Wellings Tony Davis and Darin Qualls C Predota Mr and Mrs J West The late Mr Peter S. Day ENDOWMENT DONORS Roger Preston Roger and Sue Whitehouse Mark Devin We are grateful to all those who Eileen and Ken Price Mr William and Mrs Rosemary Whiting Alistair Dow have given to the CBSO Richard and Lynda Price Pippa Whittaker The late Mary Fellows Development Trust’s private John Randall John and Pippa Wickson Felonious Mongoose endowment fund, thus enabling Dr and Mrs K Randle Richard and Mary Williams Valerie Frankland the orchestra to become more Katy and David Ricks Barry and Judith Williamson Jill Godsall self-suﬃ cient for the long term. Peter and Pauline Roe John Winterbottom The late Colin Graham Mike and Jan Adams David and Jayne Roper Ian Woollard David and Lesley Harrington Arts for All Jane and Peter Rowe Tricia Harvey Viv and Hazel Astling and our other anonymous supporters Helen Rowett and David Pelteret The late Mrs Marjorie Hildreth The Barwell Charitable Trust and our Friends. Christopher and Marion Rowlatt Mr Trevor and Mrs Linda Ingram In memory of Foley L Bates Dr Gwynneth Roy Robin and Dee Johnson Bridget Blow CBE Vic and Anne Russell Alan Jones and Andrew Orchard Deloitte Mrs L J Sadler DONORS Ms Lou Jones Miss Margery Elliott Carole and Chris Sallnow Thank you to those who have The late William Jones Simon Fairclough Stephen Saltaire chosen to make a gift to the Peter Macklin Sir Dexter Hutt William and Eileen Saunders CBSO this year. The late Mr and Mrs F. McDermott and Irwin Mitchell Solicitors Margaret and Andrew Sherrey Katherine Aldridge Mrs C. Hall The Justham Trust Dr and Mrs Shrank Baltimore Friends of the CBSO The late Myriam Josephine Major Mrs Thelma Justham Keith Shuttleworth Professor Dame Sandra Dawson The late Joyce Middleton Barry and Frances Kirkham Elizabeth Simons Peter Graham Philip Mills Linda Maguire-Brookshaw Mr N R Skelding Chris Morley The late Peter and Moyra Monahan Mazars Charitable Trust Ed Smith Members of the Newport Music Coach The late Arthur Mould Andrew Orchard and Alan Jones Mary Smith and Brian Gardner The late June North John Osborn in memory of John and Jen Stephen Osborne Margaret Payton Ray Smith LEGACY DONORS Gill Powell Roger Pemberton and Monica Pirotta Matthew Somerville and Deborah Kerr We’re incredibly grateful to the Tony Davis and Darin Qualls David Pett Lyn Stephenson following individuals who have The late Mrs Edith Roberts Pinsent Masons Robin and Carol Stephenson chosen to remember the CBSO in Philip Rothenberg Martin Purdy Anne Stock their will, passing on the baton for The late Mr Andrew Roulstone Peter and Sally-Ann Sinclair Mr and Mrs J B Stuffi ns music-lovers of the future. The late Thomas Edward Scott Jerry Sykes J E Sutton In memory of Chris Aldridge Mrs C E Smith and Mr William Smith Alessandro and Monica Toso Barbara Taylor in memory of In memory of Peter Ashton Pam Snell Patrick Verwer Michael Taylor The late Terence Baum The late Mrs Sylvia Stirman R C and F M Young Trust Bryan and Virginia Turner The late Elizabeth Bathurst Blencowe The late Mrs Eileen Summers John and Anne Turney The late Mr Peter Walter Black Miss K V Swift * Player supporter Mrs J H Upward Philip Bowden John Taylor Credits correct as of 18 May 2021 Clive Kerridge and Suzan van Helvert Allan and Jennifer Buckle Mr D M and Mrs J G Thorne

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.

11 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 Lillie Johnson Charitable Trust ABO Trust’s Sirens Programme The Kobler Trust Miss Albright Grimley Charity James Langley Memorial Trust The Andor Charitable Trust The Leverhulme Trust The Lord Austin Trust LG Harris 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 McLay Dementia Trust In-kind supporters British Korean Society The James Frederick & Ethel Anne Measures Charity The Charles Brotherton Trust The Anthony and Elizabeth Mellows Charitable Trust The Edward & Dorothy Cadbury Trust MFPA Trust Fund for the Training of Handicapped Edward Cadbury Charitable Trust Children in the Arts The George Cadbury Fund Millichope Foundation The R V J Cadbury Charitable Trust The David Morgan Music Trust CBSO Development Trust The Oakley Charitable Trust City of Birmingham Orchestral Endowment Fund The Patrick Trust The John S Cohen Foundation 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 The W E Dunn Trust The Rainbow Dickinson Trust John Ellerman Foundation The Ratcliff Foundation The Eveson Charitable Trust Clive & Sylvia Richards Charity Globeflow The John Feeney Charitable Trust Rix-Thompson-Rothenberg Foundation George Fentham Birmingham Charity The M K Rose Charitable Trust Allan and Nesta Ferguson Charitable Settlement The Rowlands Trust Fidelio Charitable Trust RVW Trust The Garrick Charitable Trust The Saintbury Trust The Golsoncott Foundation The E H Smith Charitable Trust Grantham Yorke Trust F C Stokes Trust The Grey Court Trust Sutton Coldfield Charitable Trust The Grimmitt Trust C B & H H Taylor 1984 Trust Funders The Derek Hill Foundation G J W Turner Trust The Joseph Hopkins and Henry James Sayer Charities The Roger & Douglas Turner Charitable Trust John Horniman’s Children’s Trust Garfield Weston Foundation The Irving Memorial Trust The Wolfson Foundation The JABBS Foundation The Alan Woodfield Charitable Trust www.prsformusicfoundation.com 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]

12 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 Co-Librarian William Lucas Birmingham City Council Head of Artistic Planning Anna Melville Nominated Trustees Cllr Sir Albert Bore Planning & Tours Manager Hannah Muddiman† Cllr Alex Yip Project Manager Claire Greenwood† Player Nominated Trustees Elspeth Dutch Assistant Planning Manager Maddi Belsey-Day Helen Edgar Director of Learning & Engagement Lucy Galliard Additional Player Representative Margaret Cookhorn Learning & Participation Manager Katie Lucas Community Projects Offi cer Adele Franghiadi Hon Secretary to the Trustees Mark Devin Youth Ensembles Offi cer Rebecca Nicholas Schools Offi cer Carolyn Burton Chorus Manager Poppy Howarth CBSO DEVELOPMENT TRUST Children’s & Youth Chorus Offi cer Ella McNamee Chair Chris Loughran DL Research Assistant Adam Nagel*† Trustees Charles Barwell OBE Director of Marketing & Communications Gareth Beedie Gordon Campbell CRM & Insight Manager Melanie Ryan*† Wally Francis Publications Manager Jane Denton† John Osborn CBE Assistant Marketing Manager Harriet Green David Pett Digital Content Producer Hannah Blake-Fathers Hon Secretary to the Trustees John Bartlett Marketing Volunteer Christine Midgley*#

Director of Development Simon Fairclough CAMPAIGN BOARD Head of Philanthropy Francesca Spickernell 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 John Osborn CBE Finance Manager Dawn Doherty Payroll Offi cer Lindsey Bhagania†* Honorary Medical Advisors: Assistant Accountant Graham Irving Dr Rod MacRorie. Association of Medical Finance Assistant (Cost) Susan Price Advisors to British Orchestras/BAPAM HR Manager Hollie Dunster 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