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MOZART AND ADÈSSymphony Hall, Birmingham Wednesday 16 June 2021, 2.00pm & 6.30pm

Supported by

Supported by

Thomas Adès – Conductor (Adès)

Steven Osborne – Piano/Director (Mozart)

Eugene Tzikindelean – Conductor (Purcell)

Purcell (arr.Stucky) Funeral Music for Queen Mary 10’

Mozart Piano Concerto No.23 26’

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

Every concert is an adventure – and what could be more of an adventure than the world premiere of the first symphony by one of Britain’s (and the world’s) most famous living composers? Thomas Adès’ Centenary Commission for the CBSO is based on his hit opera The Exterminating Angel, and it’s the dazzling climax to an evening that revisits history with Henry Purcell. Oh, and Steven Osborne plays Mozart’s most romantic piano concerto. Trust us, you don’t want to miss it…

Mirga Gražinytė-TylaDue to illness Mirga Gražinytė-Tyla is sadly unable to travel to the UK and quarantine ahead of her scheduled performances with the CBSO on Wednesday 16 June.

The world premiere of Thomas Adès’ The Exterminating Angel Symphony (a CBSO Centenary Commission) will now be conducted by Thomas Adès, Steven Osborne will play/direct Mozart’s Piano Concerto No.23 and Purcell’s Funeral Music for Queen Mary will be conducted by CBSO Leader, Eugene Tzikindelean. Dorothy Howell’s Lamia will be deferred to a later date.

You are welcome to view the online programme on your mobile device, but please ensure that your 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 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 signage and/or guidance from staff, and using the hand sanitising stations provided. Thank you.

OUR CAMPAIGN FOR MUSICAL LIFE IN THE WEST MIDLANDSThese socially-distanced concerts have been made possible by funding from Arts Council England’s Culture Recovery Fund, plus generous support from thousands of individuals, charitable trusts and companies through The Sound of the Future fundraising campaign.

By supporting our campaign, you will play your part in helping the orchestra to recover from the pandemic as well as renewing the way we work in our second century. Plus, all new memberships are currently being matched pound for pound by a generous member of the CBSO’s campaign board.

Support your CBSO at cbso.co.uk/future

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Henry Purcell (1659-1695)arranged by Steven Stucky (1949-2016)

Funeral Music for Queen Mary When, in December 1694, the 32-year-old Queen Mary discovered a rash on her arms, the court physicians initially diagnosed it as measles. By the time the doctors realised their mistake, it was already too late; the Queen had smallpox, of the most virulent strain. Treatment was impossible, and she died at Kensington Palace on 28 December. Her husband, King William III – a man not given to public displays of emotion – surrendered to grief. Courtiers saw him dissolve in tears, sobbing loudly, before collapsing in a faint. “From being the happiest of men I shall now be the miserablest creature on earth”, he declared.

The winter of 1694-95 was punishingly cold and Mary’s funeral was postponed until 5 March (her embalmed body lay at Whitehall in the interim). The Queen had requested a simple service, but there was never much chance of that. “The crowd was inconceivable” wrote a French eye-witness. “Never has there been a more solemn or majestic ceremony”. Both houses of Parliament attended, and the funeral procession was extended to include representatives of all classes of society.

As organist of Westminster Abbey, it fell to Henry Purcell to direct the music, and he seems to have taken the task intensely personally. As well as using funeral music by the Tudor composer Thomas Morley, he composed a solemn march (for four “flatt, mournfull trumpets”), a canzona, and an anthem. It made a deep impression: years later, one attendee, the composer Thomas Tudway, asked fellow witnesses “whether they heard anything so rapturously fine, so solemn, and so heavenly in operation, which drew tears from all; and yet a plain natural composition”. That it should be played just eight months later at Purcell’s own funeral seemed entirely fitting.

This realisation for symphonic winds (plus piano, harp and percussion) was created in 1992 by the American composer Steven Stucky as a homage to Purcell rather than a literal transcription. In Stucky’s own words:

“It was at the suggestion of Esa-Pekka Salonen that I transcribed this music of Purcell for the Los Angeles Philharmonic Orchestra. I used three of the pieces heard at the funeral of Mary II of England, who died of smallpox on 28 December 1694: a solemn march, the anthem In the Midst of Life We Are in Death, and a canzona in imitative polyphonic style. In working on the project I did not try to achieve a pure, musicological reconstruction but, on the contrary, to regard Purcell’s music, which I love deeply, through the lens of three hundred intervening years. Thus, although most of this version is straightforward orchestration of the Purcell originals, there are moments when Purcell drifts out of focus.”

Programme note © Richard Bratby

Wolfgang Amadeus Mozart (1756–1791)

Piano Concerto No.23 in A major, K488 Allegro

Andante

Presto

One of the miraculous set of 12 piano concertos Mozart wrote in Vienna between 9 February 1784 and 4 December 1786, hoping to win favour with the Austrian capital’s fickle public, the Concerto No.23 (completed on 2 March 1786) is set in the A major key which seems to have been particularly personal to the composer.

Other great works in this tonality include the Quintet for Clarinet and Strings and the ineffable Clarinet Concerto; all three compositions share a common beginning, derived from the notes of the A major triad.

All three works, too, breathe an air of gentle withdrawal, confirmed by decidedly pastel instrumental colourings and an avoidance of showy bravura. Unlike the piano concertos which immediately surround it, K488 lacks the assertive timbres of trumpets and drums, and the much-featured wind section of its orchestration employs only a single flute and pairs of clarinets, bassoons and horns – hardly the stuff to impress the excitement-hungry bourgeoisie, but tones of solace and balm to the sensitive listener. Strings comprise the habitual first and second violins, viola, cello and bass, though in his self-compiled thematic catalogue Mozart does claim parts for first and second violas.

A generous wealth of melody, often underpinned by subtly disturbing harmonies (as in the very first bar), is one of the attractive features of this concerto. After a full orchestral interjection immediately after the opening comes one of Mozart’s longest, most sinuous tunes, delving deeper and deeper, and comparable with the similar point in the Clarinet Quintet. Within this first movement, however, there is also a great deal of contrapuntal rigour; Mozart had learned much from his recent introduction by a Viennese amateur to the music of Bach.

The Andante, cast in the baroque siciliano dance-metre, is the only movement Mozart ever wrote in the then outlandish key of F sharp minor. Its sad little song in fact covers quite an expanse of the keyboard as the piano announces it, and in later appearances offers itself up as the vehicle for spontaneous decoration from the soloist, as Mozart himself would have performed it.

A hectic finale is not without its more doubting moments before the concerto ends in joyous affirmation.

But let us append a charming footnote: encouraged by the interest of an aristocratic possible patron in this concerto, but one whose private orchestra would certainly not possess the new-fangled clarinets, Mozart wrote to him, “His Royal Highness can replace the clarinets with solo violin and viola”. Comment on how that would have sounded is superfluous.

Programme note © Christopher Morley

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Thomas Adès (b. 1971)

The Exterminating Angel SymphonyI Entrances

II March

III Berceuse

IV Waltzes Composed in 2020, this Symphony is an orchestral rendering of music from Adès’ third opera The Exterminating Angel. Based on Luis Buñuel’s classic surrealist movie from 1962, in which a collection of society characters find themselves inexplicably trapped together at a post-opera party, it premiered at the 2016 Salzburg Festival, and has since travelled to the Royal Opera House, Covent Garden, New York’s Metropolitan Opera, and the Royal Danish Opera, Copenhagen.

In the Symphony’s opening movement, Entrances, the guests arrive for dinner; in an early sign that they are leaving “reality” behind, they arrive twice. Then comes the ferocious and obsessive March that 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 memorable music: one of the yearning, melancholy duets between the doomed lovers Beatriz and Eduardo: Fold your body into mine / Hide yourself within its hand.

Adès describes composing Waltzes – the Symphony’s final and most extensive movement – as like “joining together the bits of a broken porcelain object”. Unlike the other movements, which draw on fairly complete passages from the opera, here the waltz fragments that surface throughout the score are brought together to create something wholly original. “What interests me about the waltz is the seductiveness of this music” remarked Adès in an interview before the opera’s premiere. “I often feel that the waltzes by Johann Strauss are saying ‘why don’t you stay a little longer? Don’t worry about what’s going on outside’. So in the context of this opera the waltz becomes very dangerous, potentially fatal.”

Programme note by Faber Music

Thomas Adès and the CBSO In 1996, Sir Simon Rattle, the CBSO and the Feeney Trust backed a hunch about an unknown young composer. Thomas Adès was only 26 but Asyla, premiered at Symphony Hall on 1 October 1997, was an instant sensation: a symphonic work for a new Millennium, richly-imagined and powerfully assured. “Totally original, uncompromisingly serious, utterly of our time and a teasing, tingling delight to the ear. This is music that orchestras are going to want to play, and audiences to hear, again and again” predicted Andrew Clark of the Financial Times, with complete accuracy. Asyla was so striking that Rattle chose to reprise it less than 12 months later, in August 1998, in his final concert as music director of the CBSO.

Like its composer, Asyla has become a global phenomenon since that warm night in Birmingham 23 years ago. And although Thomas Adès has never held a formal post with the CBSO (he was, however, Music Director of Birmingham Contemporary Music Group from 1998-2000) the relationship has continued to thrive. The percussion section raided their kitchens for old baking tins when he recorded These Premises Are Alarmed at CBSO Centre in 1999; with the CBSO, he conducted his own America and Polaris at Symphony Hall and Tevot at the BBC Proms.

The CBSO Youth Orchestra has performed his Three Studies from Couperin, and Adès has appeared on numerous occasions as a guest conductor in his own (typically eclectic) choice of repertoire: everything from Berlioz and Gerald Barry to a remarkable performance of Stravinsky’s Les Noces in 2006, as part of the CBSO’s IgorFest. For the CBSO – co-founded by Granville Bantock and a regular collaborator with Holst, Elgar and Britten – it is the most natural thing in the world to be working with one of Britain’s pre-eminent living composers. Tonight’s premiere writes an exciting new page in an ongoing story.

© 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.

“Tonight’s premiere writes an exciting new page in an ongoing story.”

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THE CONDUCTORThomas Adès cbe

Thomas Adès was born in London in 1971. Renowned as both composer and performer, he works regularly with the world’s leading orchestras, opera companies and festivals.

His compositions include three operas: the most recent of which The Exterminating Angel premiered at the 2016 Salzburg Festival and subsequently has been performed at the Metropolitan Opera, New York and the Royal Opera House, London all conducted by the composer; The Tempest (Royal Opera House and Metropolitan Opera); and Powder Her Face. His orchestral works include Asyla (CBSO, 1997), Tevot (Berlin Philharmonic and Carnegie Hall, 2007), Polaris (New World Symphony, Miami 2011), Violin Concerto Concentric Paths (Berliner Festspiele and the BBC Proms, 2005), In Seven Days (Piano concerto with moving image – LA Philharmonic and RFH London 2008), Totentanz for mezzo-soprano, baritone, and orchestra (BBC Proms, 2013), and Concerto for Piano and Orchestra (Boston Symphony Orchestra, 2019). His compositions also include numerous celebrated chamber and solo works.

Adès has been an Artistic Partner of the Boston Symphony Orchestra since 2016 and conducts the orchestra in Boston and at Tanglewood, performs chamber music with the orchestra players, and leads the summer Festival of Contemporary Music. He also regularly coaches Piano and Chamber Music at the International Musicians Seminar, Prussia Cove.

As a conductor, Adès appears regularly with the Los Angeles, San Francisco and London Philharmonic orchestras, the Boston, London, BBC, Finnish Radio and City of Birmingham, Symphony

Orchestras, the Royal Concertgebouworkest, Leipzig Gewandhaus and the Orchestra of Santa Cecilia. In opera, in addition to The Exterminating Angel, he has conducted The Rake’s Progress at the Royal Opera House and the Zürich Opera, The Tempest at the Metropolitan Opera and Vienna State Opera, and Gerald Barry’s latest opera Alice’s Adventures Under Ground in Los Angeles (world premiere) and in London (European premiere). In the 2020-21 season Thomas is a featured composer at the Elbphilharmonie and will conduct the NDR Elbphilharmonie Orchestra and Deustche Kammerphilharmonie Bremen in Europe. To celebrate his 50th birthday in 2021, he returns to conduct the Britten Sinfonia at the Barbican Centre in a concert of his own music, Beethoven, Stravinsky and Janáček.

His piano engagements have included solo recitals at Carnegie Hall (Stern Auditorium), New York and the Wigmore Hall in London, and concerto appearances with the New York Philharmonic and Boston Symphony Orchestra. Recent piano releases include an album solo piano music by Janáček and a live album of Winterreise with Ian Bostridge.

His many awards include the Grawemeyer Award for Asyla (1999); Royal Philharmonic Society large-scale composition awards for Asyla, The Tempest and Tevot; and Ernst von Siemens Composers’ prize for Arcadiana; British Composer Award for The Four Quarters. His CD recording of The Tempest from the Royal Opera House (EMI) won the Contemporary category of the 2010 Gramophone Awards; his DVD of the production from the Metropolitan Opera was awarded the Diapason d’Or de l’année (2013), Best Opera recording (2014 Grammy Awards) and Music DVD Recording of the Year (2014 ECHO Klassik Awards); and The Exterminating Angel won the World Premiere of the Year at the International Opera Awards (2017). In 2015 he was awarded the prestigious Léonie Sonning Music Prize and in January 2021 he judged the Toru Takemitsu composition award.

Photo © Mathias Benguigui

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THE PIANISTSteven Osborne

Steven Osborne is one of Britain’s most treasured musicians whose insightful and idiomatic interpretations of diverse repertoire show an immense musical depth. His numerous awards include The Royal Philharmonic Society Instrumentalist of the Year (2013) and two Gramophone Awards. His residences at London’s Wigmore Hall, Antwerp’s deSingel, the Bath International Music Festival, the City of Birmingham Symphony Orchestra and the Royal Scottish National Orchestra are a testament to the respect he commands.

Described by The Observer as “always a player in absolute service to the composer”, Osborne recently released a much praised recording, for Hyperion – Prokofiev’s War Sonatas – which was shortlisted for a Gramophone Award.

Osborne’s recitals are publicly and critically acclaimed without exception, and 2020/21 sees his focus shift to works by Debussy and Rachmaninov in preparation for his next recordings. He has performed at many of the world’s prestigious venues including the Wiener Konzerthaus, Amsterdam Concertgebouw, Berlin Philharmonie, Hamburg Elbphilharmonie, Suntory Hall Tokyo, Kennedy Center Washington, and he is a regular guest at both Lincoln Center and Wigmore Hall.

Concerto performances take Osborne to major orchestras all over the world, including recent visits to the Deutsches Sinfonieorchester Berlin, Radio Symphonieorchester Wien, Oslo Philharmonic, Danish National Radio, London Symphony, Royal Stockholm Philharmonic, Yomiuri Nippon Symphony, Australian Chamber Orchestra, St Louis Symphony, Aspen Music Festival and Mostly Mozart Festival at

Lincoln Center, with repertoire ranging from Mozart, Beethoven, Brahms, Ravel, Rachmaninov, Shostakovich and Messiaen through to Tippett, Britten and Julian Anderson, who dedicated his 2017 Piano Concerto to Osborne.

2021 sees Osborne release French duet repertoire with colleague Paul Lewis, his 31st recording for Hyperion. A label artist since 1998, his 30 recordings have accumulated numerous awards in the UK, France, Germany and the USA including two Gramophone Awards, three Preis der Deutschen Schallplattenkritik Awards and a Choc in Classica Magazine in addition to a clutch of Editor’s Choice in Gramophone and Recordings of the Year from The Daily Telegraph, The Guardian, The Times and The Sunday Times. His recordings span a wide range of repertoire including Beethoven, Schubert, Debussy, Ravel, Liszt, Stravinsky, Prokofiev, Rachmaninov, Medtner, Messiaen, Britten, Tippett, Crumb and Feldman.

Osborne won first prize at the Clara Haskil Competition (1991) and the Naumburg International Competition (1997). Born in Scotland he studied with Richard Beauchamp at St. Mary’s Music School in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester. He is Visiting Professor at the Royal Academy of Music and the Royal Conservatoire of Scotland, Patron of the Lammermuir Festival and in 2014 was elected a Fellow of the Royal Society of Edinburgh.

Photo © Ben Ealovega

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EUGENE TZIKINDELEANLeader

Eugene Tzikindelean has been the CBSO’s Leader since the beginning of the 2020-21 season. Born into a musical family in Romania and educated in Bucharest and Paris, he won top prizes in international competitions including the Enescu Competition in Romania, the Carl Nielsen International Competition in Denmark and France’s Long-Thibaud-Crespin Competition. After holding a position with the Orchestre du Capitole de Toulouse, he has been Leader of the Odense Symphony Orchestra in Denmark since 2012. He also keeps a busy schedule as a soloist, chamber musician and guest leader with ensembles around the world.

Tzikindelean’s extensive work with the CBSO has included performances of Mahler’s Symphony of a Thousand, Beethoven’s Missa Solemnis and the Friday Night Classics concert ‘Sounds of the 1920s’ at Symphony Hall, as well as Elgar’s Cello Concerto with Sheku Kanneh-Mason at the 2019 BBC Proms and Mahler’s 4th Symphony on tour across Germany. His CBSO debut was in the orchestra’s acclaimed Weinberg weekend in 2018, which included the UK premiere and the recording of a GRAMMY-nominated CD of Weinberg’s Symphony No.21 for Deutsche Grammophon.

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Under the baton of its Music Director Mirga Gražinytė-Tyla, the City of Birmingham Symphony Orchestra (CBSO) is the flagship of musical life in Birmingham and the West Midlands, and one of the world’s great orchestras.

Based in Symphony Hall, Birmingham, in a normal year the orchestra performs over 150 concerts each year in Birmingham, the UK and around the world, playing music that ranges from classics to contemporary, film music and even symphonic disco. With a far-reaching community programme and a family of choruses and ensembles, it is involved in every aspect of music-making in 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 music in the heart of Birmingham.

That local tradition started with the orchestra’s very first symphonic concert in 1920 – conducted by Sir Edward Elgar. Ever since then, through war, recessions, social change and civic renewal, the CBSO has been proud to be Birmingham’s orchestra. Under principal conductors including Adrian Boult, George Weldon, Andrzej Panufnik 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.

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.

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-how and passion for music with communities throughout the city. The CBSO Youth Orchestra gives that same opportunity to young instrumentalists aged 14-21, offering high-level training to the next generation of orchestral musicians alongside top international conductors and soloists.

These groups are sometimes called the “CBSO family” – over 650 amateur musicians of all ages and backgrounds, who work alongside the orchestra to make and share great music. But the CBSO’s tradition of serving the community goes much further. Its Learning and Participation programme touches tens of thousands of lives a year, ranging from workshops in nurseries to projects that energise whole neighbourhoods. And everyone’s welcome at CBSO Centre on Berkley Street. As well as being a friendly, stylish performance venue for the lunchtime concert series Centre Stage and contemporary jazz concerts by Jazzlines, the CBSO’s rehearsal base is home to Birmingham Contemporary Music Group and Ex Cathedra. Having recently enjoyed it’s 100th birthday, the CBSO, more than ever, remains the beating heart of musical life in the UK’s Second City.

Photo © Ben Ealovega

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VIOLIN IEugene TzikindeleanJonathan Martindale *Samuel StaplesPhilip BrettColin TwiggJane Wright Stefano Mengoli *Colette Overdijk *Julia Åberg *Elizabeth Golding #

Ruth Lawrence * #

Kirsty Lovie *Mark Robinson #

Wendy Quirk

VIOLIN IIPeter Campbell-Kelly *

#

Moritz Pfister Amy Jones *

#

Charlotte Skinner *Richard ThomasGabriel Dyker *

#

Heather Bradshaw * #

Timothy BirchallBryony Morrison *Georgia Hannant *Catherine ChambersAdam Hill

VIOLAChris Yates *

#

Adam Romer * #

Michael Jenkinson * #

David BaMaung *Angela Swanson

#

Catherine Bower * #

Jessica Tickle *Elizabeth Fryer *

#

Amy Thomas #

Joe Ichinose

CELLOEduardo Vassallo *

#

David Powell * #

Miguel Fernandes *Catherine Ardagh-Walter *

#

Helen Edgar * #

Jacqueline Tyler * #

Talulah Yunkers Abigail Hyde-Smith

DOUBLE BASSAnthony Alcock *Julian Atkinson *

#

Damián Rubido GonzálezJeremy WattMark Goodchild *#

Sally Morgan * #

FLUTEMarie-Christine Zupancic *

#

Veronika Klirova *

PICCOLORosie Bowker

OBOEJohn Roberts Emmet Byrne *

COR ANGLAISRachael Pankhurst *

CLARINETOliver Janes *Joanna Patton *

#

BASS CLARINETMark O’Brien *

BASSOONNikolaj Henriques *

Joshua Wilson

CONTRABASSOONMargaret Cookhorn *

HORNElspeth Dutch *

#

Jonathan Quaintrell-Evans Mark Phillips *

#

Jeremy Bushell *Martin Wright #

TRUMPETJonathan Holland *

#

Jonathan Quirk * #

Stephen Murphy

TROMBONERichard Watkin * Anthony Howe *#

Andrew Cole

BASS TROMBONEDavid Vines *

#

TUBAGraham Sibley *

#

TIMPANIMatthew Hardy *

PERCUSSIONAdrian Spillett *

#

Andrew Herbert *Toby Kearney *James Bower

HARPKatherine Thomas *

PIANOBen Dawson

# Recipient of the CBSO Long Service Award

* Supported player

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

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EXCEPTIONAL SUPPORTERSThe following individuals, trusts and companies have nurtured the CBSO’s world-class excellence and broad community reach by off ering exceptional philanthropic support to the CBSO and the CBSO Development Trust’s private endowment fund over time, either by making major gift s, by leaving a legacy or through sustained annual giving.

City of Birmingham Orchestral Endowment Fund

Rachel Baker Memorial CharityThe late Roy CollinsDunard FundJohn Osborn CBEGarfi eld Weston Foundation

BarclaysThe late Miss G BrantDavid and Sandra BurbidgeJohn Ellerman FoundationEsmée Fairbairn FoundationThe John Feeney Charitable TrustCharles Henry Foyle TrustThe JABBS FoundationAlison and Jamie JusthamBarry and Frances KirkhamMaurice MillwardClive and Sylvia Richards Charity

(Principal Supporter of the CBSO’s work with young people)

Jerry Sykes

The late Mr P S DayDeutsche BankThe late Elnora FergusonThe late Mrs Marjorie HildrethPeter HowThe Helen Rachael Mackaness

Charitable TrustThe late Blyth and Myriam MajorMrs Thelma JusthamThe Leverhulme TrustThe LJC FundChris and Jane LoughranThe late Martin PurdyThe late Norman ThomasThe late Sheri and Mrs Janet TullahThe Roger and Douglas Turner

Charitable TrustWolfson Foundation

MAJOR DONORSWe are grateful to the following supporters for their major gift s this year and over the life of our Sound of the Future campaign.

£250,000+John Osborn (*Gabriel Dyker)David and Sandra BurbidgeClive and Sylvia Richards Charity

(Principal Supporter of the CBSO’s work with young people)

£100,000+Alison and Jamie Justham

(*David Vines)Barry and Frances KirkhamChris and Jane Loughran

(*Jonathan Martindale) £50,000+Peter HowMaurice Millward (*Chris Yates)Jerry Sykes in support of keynote

concert programming (*Catherine Ardagh-Walter)

£25,000+Sir Dominic and Lady Cadbury

MEMBERSOver 1,500 members contribute annually to ensure the orchestra’s vital work both on and off the concert platform can happen. Thank you to each and every one of you.

BENEFACTORS (£10,000+)Lady Alexander of WeedonViv and Hazel Astling (*Graham Sibley)Felonious Mongoose in memory of

Dolores (*Richard Blake)

SYMPHONY CIRCLE (£5,000+)John Cole and Jennie Howe

(*Peter Campbell-Kelly)Gill and Jonathan Evans

(*Charlotte Skinner)Stephen and Stephanie GoldsteinThe Charlotte Heber-Percy

Charitable TrustLen Hughes and Jacquie Blake

(*Anthony Alcock)Sue and Graeme Sloan

and our other anonymous supporters.

CONCERTO CIRCLE (£2,500+)The Barwell Charitable TrustAllan and Jennifer Buckle

(*Jonathan Holland)Mrs Jayne CadburyJill S Cadbury (*Julia Åberg)Isabel, Peter and Christopher in loving

memory of Ernest Churcher(*Elspeth Dutch)

Charlie and Louise Craddock (*Kirsty Lovie)

Mike and Tina Detheridge (*Andrew Herbert)

The ENT ClinicDuncan Fielden and Jan Smaczny

(*Matthew Hardy)David Gregory (*Stefano Mengoli)David Handford (*David Powell)The Andrew Harris Charitable TrustCliff HubboldDavid Knibb in memory of Lorraine

(*Jon Quirk)Valerie Lester (*Jacqueline Tyler Mbe)Paddy and Wendy Martin

(*David BaMaung)

Patrick and Tricia McDermott (*Helen Edgar and Rachael Pankhurst)

Carole McKeown and David Low (*Miguel Fernandes)

Carol MillerFrank North (*Kate Suthers)Angela O’Farrell and Michael Lynes

(*Toby Kearney)John Osborn (*Gabriel Dyker)Dianne Page (*Catherine Arlidge Mbe)Gerard Paris (*Amy Marshall)Simon and Margaret Payton

(*Julian Atkinson)Robert PerkinGraham Russell and Gloria Bates

(*Ruth Lawrence)Gillian ShawEleanor Sinton (*Adrian Spillett)Mr D P Spencer (*Oliver Janes)Lesley Thomson (*Jessica Tickle)Basil and Patricia Turner

(*Marie-Christine Zupancic)Howard and Judy Vero (*Richard Watkin)Michael WardDiana and Peter Wardley (*Oliver Janes)Robert Wilson (*Emmet Byrne)John Yelland Obe and Anna

(*Catherine Bower)

and our other anonymous supporters.

The following players are supported by anonymous members of theOverture, Concerto and Symphony Circles, to whom we are very grateful:Mark GoodchildJoanna PattonMark PhillipsAdam RömerKatherine Thomas

OVERTURE CIRCLE (£1,000+)Mike and Jan Adams (*Eduardo

Vassallo)Katherine Aldridge in memory of ChrisMichael Allen in memory of YvonneRoger and Angela AllenMiss J L Arthur (*Julian Walters)Kiaran AsthanaMr M K AyersJohn Bartlett and Sheila Beesley

(*Mark O’Brien)Michael Bates

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.

THANK YOU

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Tim and Margaret BlackmoreChristine and Neil BonsallMrs Jennifer Brooks in memory of David

(*Julia Åberg)Helen Chamberlain in memory of Allan

Chamberlain (*Sally Morgan)Gay and Trevor Clarke

(*Bryony Morrison)Dr Anthony Cook and Ms Susan EliasAnn CopseyJohn Cunningham-DexterJulian and Lizzie DaveyAnita Davies (*Jeremy Bushell)Tony Davis and Darin QuallsJenny DawsonDr Judith Dewsbury in memory of Tony

(*Kate Setterfi eld)Alan FaulknerElisabeth Fisher (*Colette Overdijk)Wally FrancisJ GodwinAnita and Wyn Griffi thsMary and Tony HaleTony and Shirley HallKeith and Mavis HughesLord Hunt of Kings HeathBasil JacksonIn memory of Harry and Rose JacobiMr Michael and Mrs Elaine JonesJohn JordanMrs T Justham in memory of David

(*Michael Seal, Associate Conductor)John and Jenny KendallJohn and Lisa Kent (*Veronika Klírová)Charles and Tessa King-FarlowBeresford King-Smith in memory of

Kate (*Heather Bradshaw)Jane LewisRichard LewisJames and Anthea LloydTim Marshall (*Nikolaj Henriques)David R Mayes ObePhilip MillsPaul and Elaine MurrayIan C NortonAndrew Orchard and Alan JonesRoger and Jenny Otto in memory

of JulietRob PageSir Michael and Lady Joan PerryDr John PetersonJulie and Tony Phillips (*Elizabeth Fryer)Rosalyn and Philip PhillipsClive and Cynthia PriorIan RichardsPeter and Shirley RobinsonMark and Amanda SmithPam and Alistair SmithWilliam SmithColin Squire ObeMr M and Mrs S A SquiresBrenda SumnerTenors of the CBSO Chorus

(*Joanna Patton)Alan Titchmarsh Mbe

(*Matthew Hardy)Mr R J and Mrs M WallsMr E M Worley cbe and Mrs A Worley DLMike and Jane Yeomans in memory of

Jack Field (*Michael Jenkinson)Richard and Emma Yorke

and our other anonymous supporters.

GOLD PATRONS(£650+ per year)Peter and Jane BaxterMike BowdenLady CadburyMr C J M CarrierChristine and John CarrollTim CherryTim Clarke and familyProfessor and Mrs M H CullenRoger and Liz DanceyRobin and Kathy DanielsJohn and Sue Del MarProfessor Sir David EastwoodMr G L and Mrs D EvansGeoff and Dorothy FearnehoughNicola Fleet-MilneSusan and John FranklinMr R Furlong and Ms M PenlingtonAveril Green in memory of Terry GreenDr M KershawMiss C MidgleyNigel and Sarah MooresAndrew and Linda MurrayMagdi and Daisy ObeidChris and Eve ParkerPhillipa and Laurence ParkesChris and Sue PayneProfessor and Mrs A RickinsonCanon Dr Terry SlaterMr A M and Mrs R J SmithDr Barry and Mrs Marian SmithPam SnellIan and Ann StandingRimma SushanskayaJanet and Michael TaplinRoger and Jan ThornhillRoy WaltonRevd T and Mrs S WardDavid Wright and Rachel Parkins

and our other anonymous supporters.

SILVER PATRONS(£450+ per year)Mr and Mrs S V BarberRichard Allen and Gail BarronMr P G BattyePaul BondProfessor Lalage BownRoger and Lesley CadburyMr A D and Mrs M CampbellSue Clodd and Mike Griffi thsDavid and Marian Crawford-ClarkeMrs A P CrocksonDr. Margaret Davis and Dr. John DavisMark DevinAlistair DowJane Fielding and Benedict ColemanMrs D R GreenhalghJohn Gregory in memory of JanetCliff HaresignMr and Mrs G JonesBob and Elizabeth KeevilRodney and Alyson KettelRebecca King in loving memory of IanMr Peter T MarshJames and Meg MartineauPeter and Julia MaskellDr and Mrs Bernard MasonCarmel and Anthony MasonAnthony and Barbara Newson

Richard NewtonMrs A J Offi cerLiz and Keith ParkesMr R Perkins and Miss F HughesDr and Mrs PlewesThe Revd. Richard and Mrs Gill PostillKath and Mike PoulterEileen Poxton in memory of

Reg PoxtonDr and Mrs R C ReppRay SmithSheila and Ian SonleyAndy StreetJohn and Dorothy TeshProfessor and Mrs J A ValeWilliam and Janet VincentTony and Hilary VinesPeter WallingJulie and Simon WardStephen WilliamsJohn and Daphne WilsonGeoff and Moira WyattPaul C Wynn

and our other anonymous supporters.

PATRONS (£250+ per year)Mrs Thérèse AllibonDavid and Lesley ArkellVal and Graham BacheLeon and Valda BaileyAndrew BarnellMr P and Mrs S BarnesMr and Mrs Barnfi eldDi BassPaul BeckwithMr I L BednallGareth BeediePeter and Gill BertinatPhilip and Frances BettsMrs Ann BillenMichael and Beryl BloodBridget Blow cbeAnthony and Jenni BradburyDr Jane Flint Bridgewaterand Mr Kenneth BridgewaterMr Arthur BrookerM. L. BrownAnn BrutonMr and Mrs J H BulmerMr G H and Mrs J M ButlerBenedict and Katharine CadburyPeter and Jeannie CadmanElizabeth CeredigCarole and Richard ChillcottDr J and Mrs S ChitnisPeter and Jane ChristopherAnn Clayden and Terry ThorpeDr A J CochranDee and Paul CockingMrs S M Coote in memory of JohnD and M CoppageLuned CorserMr Richard and Mrs Hilary CrosbyMaurice and Ann CrutchlowJudith Cutler and Keith MilesStephen and Hilary DalySue Dalley and Martin WillisRobert and Barbara DarlastonWilf DaveyTrevor DavisKath Deakin

Dr J Dilkes and Mr K A Chipping and family

Brian and Mary DixonTerry Dougan and Christina LomasMr and Mrs C J DrayseyJohn DruryCatherine DukeNaomi and David DykerChris EckersleyLinda and William EdmondsonAlex and Fran ElderRobert van ElstMiss E W EvansDr D W Eyre-WalkerJill Follett and John HarrisChris Fonteyn MbeJack and Kathleen FoxallSusan and John FranklinAgustín Garcia-SanzAlan and Christine GilesProfessor J E Gilkison and

Prof T HockingStephen J GillR and J GodfreyJill GodsallLaura Greenaway in memory of

David RichardsPaul HadleyRoger and Gaye HadleyNigel and Lesley Hagger-VaughanMiss A R HaighMr W L HalesMalcolm HarbourIan HartlandPhil Haywood in memory of AnnKeith R HerbertKeith Herbert and Pat GregoryHanne Hoeck and John RawnsleySusan Holmes in memory of PeterValerie and David HowittPenny HughesDavid HutchinsonHenry and Liz IbbersonMr R M E and Mrs V IrvingKen and Chris JonesMr M N JordanPaul JulerMrs P KeaneMr and Mrs R KirbyMr A D KirkbyProfessor and Mrs R J KnechtBill LaneBrian LangtonMrs D LarkamJennie Lawrence in memory of PhilipEmmanuel LebautM. E. LingMr J F and Mrs M J LloydProfessor David LondonGeoff and Jean MannGeoff and Jenny MasonNeil MayburyMr A A McLintockPatro MobsbyNorah MortonGeoff MullettP J and H I B MulliganMrs M M NairnRichard and Shirley NewbyRichard Newton and Katharine FrancisBrian NoakeMs E Norton ObeIn memory of Jack and Pam Nunn

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Marie and John O’BrienMr and Mrs R T OrmeS J OsborneNigel PackerRod Parker and Lesley BiddleGraham and Bobbie PerryDavid and Julia PowellGill Powell and John RowlattC PredotaRoger PrestonEileen and Ken PriceRichard and Lynda PriceJohn RandallDr and Mrs K RandleKaty and David RicksPeter and Pauline RoeDavid and Jayne RoperJane and Peter RoweHelen Rowett and David PelteretChristopher and Marion RowlattDr Gwynneth RoyVic and Anne RussellMrs L J SadlerCarole and Chris SallnowStephen SaltaireWilliam and Eileen SaundersMargaret and Andrew SherreyDr and Mrs ShrankKeith ShuttleworthElizabeth SimonsMr N R SkeldingEd SmithMary Smith and Brian Gardner

in memory of John and JenRay SmithMatthew Somerville and Deborah KerrLyn StephensonRobin and Carol StephensonAnne StockMr and Mrs J B Stuffi nsJ E SuttonBarbara Taylor in memory of

Michael TaylorBryan and Virginia TurnerJohn and Anne TurneyMrs J H UpwardClive Kerridge and Suzan van HelvertBob and Louise VivianStephen Vokes and Erica Barnett

Tim and Wendy WadsworthKit WardAnn WarneNeil WarrenMrs M L WebbElisabeth and Keith WellingsMr and Mrs J WestRoger and Sue WhitehouseMr William and Mrs Rosemary WhitingPippa WhittakerJohn and Pippa WicksonRichard and Mary WilliamsBarry and Judith WilliamsonJohn WinterbottomIan Woollard

and our other anonymous supportersand our Friends.

DONORS Thank you to those who have chosen to make a gift to the CBSO this year.Katherine AldridgeBaltimore Friends of the CBSOProfessor Dame Sandra DawsonPeter GrahamChris MorleyMembers of the Newport Music Coach

LEGACY DONORSWe’re incredibly grateful to the following individuals who have chosen to remember the CBSO in their will, passing on the baton for music-lovers of the future.In memory of Chris AldridgeIn memory of Peter AshtonThe late Terence BaumThe late Elizabeth Bathurst BlencoweThe late Mr Peter Walter BlackPhilip BowdenAllan and Jennifer BuckleThe late Miss Sheila Margaret Burgess

SmithIsabel ChurcherThe late Colin W Clarke

Mr and Mrs P CockingThe late Roy CollinsDavid in memory of Ruth Pauline HollandTony Davis and Darin QuallsThe late Mr Peter S. DayMark DevinAlistair DowThe late Mary FellowsFelonious MongooseValerie FranklandJill GodsallThe late Colin GrahamDavid and Lesley HarringtonTricia HarveyThe late Mrs Marjorie HildrethMr Trevor and Mrs Linda IngramRobin and Dee JohnsonAlan Jones and Andrew OrchardMs Lou JonesThe late William JonesPeter MacklinThe late Mr and Mrs F. McDermott and

Mrs C. HallThe late Myriam Josephine MajorThe late Joyce MiddletonPhilip MillsThe late Peter and Moyra MonahanThe late Arthur MouldThe late June NorthStephen OsborneGill PowellThe late Mrs Edith RobertsPhilip RothenbergThe late Mr Andrew RoulstoneThe late Thomas Edward ScottMrs C E Smith and Mr William SmithPam SnellThe late Mrs Sylvia StirmanThe late Mrs Eileen SummersMiss K V Swift John TaylorMr D M and Mrs J G ThorneJohn VickersMrs Angela and Mr John WattsPhilip WilsonAlan Woodfi eld

and our other anonymous donors.

ENDOWMENT DONORSWe are grateful to all those who have given to the CBSO Development Trust’s private endowment fund, thus enabling the orchestra to become more self-suffi cient for the long term.Mike and Jan AdamsArts for AllViv and Hazel AstlingThe Barwell Charitable TrustIn memory of Foley L BatesBridget Blow cbeDeloitteMiss Margery ElliottSimon FaircloughSir Dexter HuttIrwin Mitchell SolicitorsThe Justham TrustMrs Thelma JusthamBarry and Frances KirkhamChris and Jane LoughranLinda Maguire-BrookshawMazars Charitable TrustAndrew Orchard and Alan JonesJohn OsbornMargaret PaytonRoger Pemberton and Monica PirottaDavid PettPinsent MasonsMartin PurdyPeter and Sally-Ann SinclairJerry SykesAlessandro and Monica TosoPatrick VerwerR C and F M Young Trust

* Player supporter

Credits correct as of 9 June 2021

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.

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

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Corporate Partners

Trusts and Foundations29th May 1961 Charitable TrustABO Trust’s Sirens ProgrammeMiss Albright Grimley CharityThe Andor Charitable TrustThe Lord Austin TrustThe John Avins TrustBackstage TrustThe Rachel Baker Memorial CharityBite Size PiecesThe Boshier-Hinton FoundationBritish Korean SocietyThe Charles Brotherton TrustThe Edward & Dorothy Cadbury TrustEdward Cadbury Charitable TrustThe George Cadbury FundThe R V J Cadbury Charitable TrustCBSO Development TrustCity of Birmingham Orchestral Endowment FundThe John S Cohen FoundationThe George Henry Collins CharityThe Concertina Charitable TrustBaron Davenport’s CharityThe D’Oyly Carte Charitable TrustDunard FundThe W E Dunn TrustJohn Ellerman FoundationThe Eveson Charitable TrustThe John Feeney Charitable TrustGeorge Fentham Birmingham CharityAllan and Nesta Ferguson Charitable SettlementFidelio Charitable TrustThe Garrick Charitable TrustThe Golsoncott FoundationGrantham Yorke TrustThe Grey Court TrustThe Grimmitt TrustThe Derek Hill FoundationThe Joseph Hopkins and Henry James Sayer CharitiesJohn Horniman’s Children’s TrustThe Irving Memorial TrustThe JABBS Foundation

Lillie Johnson Charitable TrustThe Kobler TrustJames Langley Memorial TrustThe Leverhulme TrustLG Harris TrustLJC FundLimoges Charitable TrustThe S & D Lloyd CharityThe Helen Rachael Mackaness Charitable TrustThe McLay Dementia TrustThe James Frederick & Ethel Anne Measures CharityThe Anthony and Elizabeth Mellows Charitable TrustMFPA Trust Fund for the Training of Handicapped

Children in the ArtsMillichope FoundationThe David Morgan Music TrustThe Oakley Charitable TrustThe Patrick TrustThe Misses C M Pearson & M V Williams

Charitable TrustPerry Family Charitable TrustThe Bernard Piggott Charitable TrustPRS Foundation’s The Open Fund for OrganisationsThe Radcliffe TrustThe Rainbow Dickinson TrustThe Ratcliff FoundationClive & Sylvia Richards CharityRix-Thompson-Rothenberg FoundationThe M K Rose Charitable TrustThe Rowlands TrustRVW TrustThe Saintbury TrustThe E H Smith Charitable TrustF C Stokes TrustSutton Coldfield Charitable TrustC B & H H Taylor 1984 TrustG J W Turner TrustThe Roger & Douglas Turner Charitable TrustGarfield Weston FoundationThe Wolfson FoundationThe Alan Woodfield Charitable Trust

Supporter of Schoolsʼ Concerts

Public Funders

www.prsformusicfoundation.com

G lobe f l ow

Partners in Orchestral Development

William King Ltd

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

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 sfairclough@cbso.co.uk

Thank you also to our Major Donors, Benefactors, Circles Members, Patrons and Friends for their generous support.

Education Partners

In-kind supporters

Funders

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BOARD Chair David Burbidge cbe DLDeputy Chair David RoperElected Trustees Tony Davis Jane Fielding Susan Foster Joe Godwin Emily Ingram Sundash Jassi Chris Loughran Lucy Williams

Birmingham City Council Nominated Trustees Cllr Sir Albert Bore Cllr Alex Yip

Player Nominated Trustees Elspeth Dutch Helen Edgar

Additional Player Representative Margaret Cookhorn

Hon Secretary to the Trustees Mark Devin

CBSO DEVELOPMENT TRUST Chair Chris Loughran DL

Trustees Charles Barwell Obe Gordon Campbell Wally Francis John Osborn cbe David Pett

Hon Secretary to the Trustees John Bartlett

CAMPAIGN BOARDChair David Burbidge cbe, DL Susan Foster Peter How Jamie Justham Her Honour Frances Kirkham cbe Chris Loughran DL John Osborn cbe

Honorary Medical Advisors:

Dr Rod MacRorie. Association of Medical Advisors to British Orchestras/BAPAM

Professor Sir Keith Porter. Consultant, University Hospitals Birmingham

PLAYERS’ COMMITTEEChair Jo Patton Vice Chair Mark Phillips Richard Watkin Andy Herbert Kirsty Lovie Colette Overdijk Heather Bradshaw Matthew Hardy* Recipients of the CBSO Long Service Award † Part-time employee # Volunteer

MANAGEMENTChief Executive Stephen Maddock Obe*PA to Chief Executive Niki Longhurst*†

Head of Orchestra Management (Maternity Cover) Adrian RutterOrchestra Manager Claire Dersley*Assistant Orchestra Manager Alan JohnsonPlatform Manager Peter Harris*Assistant Platform Manager Robert HowardLibrarian Jack Lovell-Huckle

Head of Artistic Planning Anna MelvillePlanning & Tours Manager Hannah Muddiman†Project Manager Claire Greenwood†Assistant Planning Manager Maddi Belsey-Day

Director of Learning & Engagement Lucy GalliardLearning & Participation Manager Katie LucasCommunity Projects Offi cer Adele FranghiadiYouth Ensembles Offi cer Rebecca NicholasSchools Offi cer Carolyn Burton Chorus Manager Poppy HowarthChildren’s & Youth Chorus Offi cer Ella McNameeResearch Assistant Adam Nagel*†

Director of Marketing & Communications Gareth Beedie CRM & Insight Manager Melanie Ryan*†Publications Manager Jane Denton†Assistant Marketing Manager Harriet GreenDigital Content Producer Hannah Blake-FathersMarketing Volunteer Christine Midgley*#

Director of Development Simon FaircloughHead of Philanthropy Francesca SpickernellMembership & Appeals Manager Eve Vines†Events & Relationship Management Executive Megan BradshawDevelopment Operations Offi cer Melanie AdeyDevelopment Administrator Bethan McKnight†Trust Fundraiser Fiona Fox

Director of Finance Annmarie WallisFinance Manager Dawn DohertyPayroll Offi cer Lindsey Bhagania†*Assistant Accountant Graham IrvingFinance Assistant (Cost) Susan PriceHR Manager Hollie DunsterCBSO Centre Manager Niki Longhurst*†Technical & Facilities Supervisor Tomoyuki MatsuoAssistant CBSO Centre Manager Peter Clarke*Receptionist Sev Kucukogullari†

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA