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SEASON FINALESymphony Hall, Birmingham Wednesday 7 July 2021, 2.00pm & 6.30pm

Supported by

Supported by

Joshua Weilerstein – Conductor

Alina Ibragimova – Violin

Weir Heroic Strokes of the Bow 15’

Prokofiev Violin Concerto No.1 23’

Beethoven Symphony No.7 40’

Master of the Queen’s Music and former CBSO Associate Composer Judith Weir pays colourful homage to the paintings of Paul Klee, and violinist Alina Ibragimova weaves her spell in Prokofiev’s fairy tale First Violin Concerto. With Beethoven’s Seventh Symphony to conclude, music doesn’t get wilder or more life-affirming. Contemporaries thought Beethoven had gone mad. Today, this white-knuckle ride of a symphony has never been more popular.

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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Judith Weir (b.1954)

Heroic Strokes of the Bow (1992) Ever since Mussorgsky wrote Pictures at an Exhibition, the idea of writing a musical composition inspired by a painting has been fairly commonplace. The work of one particular painter, the Swiss-born artist Paul Klee (1879-1940), has generated an extraordinary number of musical tributes; more than 550 to date have been catalogued by American scholar Stephen W.Ellis. Well known ‘Klee pieces’ by Maxwell Davies, Birtwistle and Gunther Schuller readily spring to mind.

Klee’s appeal to composers is easy to understand in biographical terms. The son of a music teacher, he became an accomplished violinist, and performed professionally in Berne’s Municipal Orchestra. It is said that before starting to paint each day, he would practise the violin for an hour. His large output includes many paintings and drawings with musical titles. (A random selection: Fugue in Red; Recital by a Large Tenor, Masterly Playing amidst a Bad Orchestra.)

The connection between the painting and the musical response of composers is harder to explain. My personal observation is that perhaps Klee himself was influenced in some of his work by the visual imagery of musical notation with which he was so familiar. To a musician’s eye, Klee’s geometrical shapes and regularly repeated simple patterns seem to release information directly into the mind; looking at a Klee picture feels like reading music.

The subject of my piece Heroic Strokes of the Bow (Klee’s original title was ‘Heroische Bogenstriche’) is a blue and black painting on pink newspaper, dating from 1938, now in the Museum of Modern Art, New York. Said to be a tribute to the famous violinist Adolph Busch, whom Klee knew personally, it seems to show a simple pattern of violin bows and pegs against a hypnotic blue background.

My piece is not principally meant as a depiction of the picture, but rather as a literal response to the title, with its suggestions of excessive physical energy applied to a small piece of wood. Accordingly, energetic violins predominate throughout the piece’s 15-minute duration. The first part of the piece builds up a restless momentum; a twittering ensemble of lower woodwinds finally puts the brakes on, leading to a broad, spacious close.

Heroic Strokes of the Bow was commissioned by the Sekretariat für gemeinsame Kulturarbeit in Nordrhein-Westfalen, and first performed by the Westdeutsche Sinfonie and their conductor Dirk Joeres in Leverkusen, Germany in 1992.

Programme note © Judith Weir

Sergei Prokofiev (1891–1953)

Violin Concerto No.1 in D major, Op.19Andantino – Andante assai Scherzo: Vivacissimo Moderato – Allegro moderato – Moderato – Più tranquillo

1917 was one of the most violent and terrifying years in Russia’s history. The country was already splitting apart from the catastrophic effects of its involvement in World War 1, when, in February, popular patience ran out and revolution erupted, overthrowing the Tsar and ushering in the rickety and chaotic Provisional Government. In October, after several further uprisings, Lenin and his Bolshevik Party seized power and the world’s first Communist state came into being.

Listening to the young Prokofiev’s music of this time, it seems impossible to imagine it was written under such circumstances. His two greatest achievements of this year – this first violin concerto and the evergreen Classical Symphony – overflow with the opposite qualities to those you might expect. They are works of child-like lyricism, playfulness and visionary high spirits. There is no hint of Revolution. If they are witness to anything at all, it is to their creator’s amazing ability to separate the inner world of his creative imagination from what swirled around him.

Prokofiev usually composed extremely fast, but also bit by bit. He would pick pieces up, doodle a few bars, put them down again and return to them years later. And so it was with this concerto. According to the composer himself, the first sketches dated from 1913. By 1915, he thought the result might be a small-scale ‘concertino’, even though, by this stage, nearly all the ideas for the concerto we now have had been roughed out. 1916 was mostly taken up with his first major opera, The Gambler (based on Dostoyevsky’s novel of that name), but at some point he broke off and made a detailed sketch of the Violin Concerto’s famously lyrical opening. Finally, in February 1917, in his flat in Petrograd (as St Petersburg had now been renamed), with uproar in the streets outside, he gathered his previous thoughts together and within a couple of weeks or so completed the short score (piano sketch) of the whole piece.

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One reason he was in a hurry to finish this concerto (and other projects including his wonderful cycle of piano pieces, Visions Fugitives) was that he had conceived a keenness for a young lady called Polina who lived in faraway Kharkov in the Ukraine. Wishing to pursue her and escape from revolutionary turmoil as soon as he had finished his musical projects, he took a perilous train-journey to see her and to try to persuade her to go on a foreign holiday with him, perhaps even to islands in the Pacific Ocean.

Polina was not impressed. Disappointed, Prokofiev returned to Petrograd, bought a very expensive telescope with money he had saved for the romantic holiday (he had just discovered astronomy) and some improving volumes of German philosopher Schopenhauer (another new enthusiasm). At the beginning of May he rented an isolated and half-empty farmhouse in the countryside to enjoy the Russian spring, orchestrate the Violin Concerto and begin the short score of the Classical Symphony.

As soon as he arrived, it unseasonably snowed. By day he worked on the first movement of the concerto, gazing out at the white countryside; by night he wrapped himself in all the clothes he had and sat on the freezing balcony studying the stars. Then spring returned and Prokofiev relaxed, thrilled by the peacefulness around him. Work went so well that he changed his plans yet again and, to the astonishment of his friends who feared for his safety, he booked himself on a holiday steamer down the Volga River. On the boat he finished the concerto and the bulk of the work on the symphony.

Even Prokofiev however could not remain completely indifferent to the tumult following Lenin’s Bolshevik Revolution in October. Still thinking of the planned trip with Polina, at the end of the year he left Russia for the Far East. He intended to make a concert tour of South America, though, as events unfolded, he ended up in New York. The score of the Violin Concerto was left behind and so its first

performance was delayed until 1924. That occasion, which took place in Paris, was only a partial success; but soon, especially once it was it was taken up by the great Josef Szigeti, the piece’s fortunes changed, and it is now one of the best loved violin concertos of the 20th century.

The first movement is an arch form made up of highly contrasted sections. The heavenly lyricism of the opening is answered by a sardonic and lively gavotte – always a favourite dance rhythm for Prokofiev – which is then twisted into strange and colourful shapes including one passage where the orchestra sounds like a village band. Then the wonderful opening melody returns, clothed in the shimmering colours of the very highest instruments in the orchestra.

Prokofiev was especially proud of the second movement, a brief whirlwind of a scherzo which presents great technical challenges for the soloist. Particularly impressive is the ending with its firework display of double-harmonics (sounds made by touching the strings so lightly with the tips of the fingers that the music seems to leap up almost beyond the threshold of human hearing).

The last movement begins with another favourite mannerism of this composer, a tick-tock in the orchestra like the sound of a demented clock, over which the soloist piles up ever more elaborate decorations, whirling and dancing in every direction. At the end, the beautiful melody from the first movement reappears once more, transformed and shimmering with the most glittering colours Prokofiev can find. No wonder that the young composer was so pleased to record in his diary at this time that one of his friends had introduced him to a stranger with the words: ‘This is Prokofiev, the magician of sounds!’

Programme note © Gerard McBurney

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Ludwig van Beethoven (1770–1827)

Symphony No.7 in A major, Op.92Poco sostenuto – Vivace

Allegretto

Presto – Assai meno presto – Presto – Assai meno presto – Presto

Allegro con brio

For much of his adult life, Beethoven was tormented by ill health. Aside from his famous deafness, he suffered from persistent ringing in the ears (tinnitus), headaches, abdominal disorders, rheumatic attacks and various other ailments, not all easily diagnosed. He was also prone to depression – not surprisingly, one might say, given all that pain and frustration. But he was clearly also constitutionally robust, fighting off infections and rising above other tribulations. Sometimes it was work that saved him – as Beethoven admits in his famous private confession, the so-called Heiligenstadt Testament.

At other times the experience of recovery gave new energy to composition. It was in just such a period of recuperation that Beethoven wrote his Seventh Symphony. In 1811, the prominent Viennese physician, Dr Giovanni Malfatti, recommended that Beethoven spend the summer in the Bohemian spa-town of Teplitz, famous for its ‘cure’. It was also a place of relative peace in troubled times. During the Napoleonic wars, diplomats from all sides met there, seeing it as neutral territory. The visit obviously gave Beethoven a personal and musical boost, as he returned to Vienna with plans for two symphonies. He began writing the Seventh almost immediately, while making notes about ‘a second symphony in D minor’. The latter did not fully materialise until twelve years later, as the choral Ninth Symphony; but as soon as Beethoven had finished No.7, in May 1812, he began work on the equally buoyant Eighth. Whatever else he may have been suffering from, there was no shortage of creative energy.

One has to be careful about making direct comparisons between Beethoven’s supposed mood at a particular time and the character of the music he produced then. When Beethoven wrote that despairing Heiligenstadt Testament he was also working on his Second Symphony – a work not without its struggles, but, most commentators agree, overwhelmingly positive and full of vitality. But it is hard to avoid the feeling that Beethoven’s renewed dynamism after his stay in Teplitz found direct expression in his Seventh Symphony – the symphony Wagner famously described as ‘the

apotheosis of the dance’. The sheer physical energy of the work – expressed in bracing muscular rhythms and brilliant orchestration – can, in some performances, border on the unnerving. Confronted with one of the Symphony’s many obsessively repeating passages (possibly the final build-up in the first movement), Beethoven’s younger contemporary Carl Maria von Weber pronounced him ‘ripe for the madhouse’. There are darker elements, expressed in the music’s recurring tendency to lean towards the destablising keys of C and F major. But the overall effect is of a spiritual victory. It is tempting to steal a title from one of Shelley’s poems and sum up the whole work as ‘The Triumph of Life’.

At first there seems to be little of the dance about the Seventh Symphony. Slow woodwind phrases are brusquely punctuated by chords from the full orchestra, but then faster string figures galvanise the music into physical action. Eventually this (relatively) slow introduction settles on a single note - an E, repeated by alternating woodwind and strings. But this soon develops into a sprightly dotted rhythm, and the Vivace begins. This rhythm – basically an emphatic long note followed by two short ones – not only dominates this first movement, but plays a crucial part in the other three movements. You can also hear it (in a slightly different form) in main theme of the following Allegretto, after the initial minor key wind chord calls us to attention. This magically atmospheric movement was such a success at its first performance that it had to be repeated. It left a huge imprint on the young Schubert, who echoed its slow, but strangely weightless tread in quite a number of his later works.

After the Allegretto, the Presto bursts into life. This has all the racing forward momentum of a typical Beethoven Scherzo. It is twice interrupted by a slower Trio section (with another version of the LONG, short-short rhythmic pattern in its main theme), and yet its vitality seems irrepressible: a third and final attempt to establish the slower Trio theme is magnificently dismissed by five crisp orchestral chords. The Scherzo is, however, in the ‘wrong’ key - the destablising F major. It is now the finale’s task to ram home the Symphony’s tonic key, A major. The result is magnificent bacchanal, pounding almost to frenzy at the Symphony’s seminal rhythmic pattern: LONG, short-short. The final build up culminates in two huge full-orchestra climaxes, both marked triple forte – fff – the first time such an extreme dynamic had been used in orchestral music, and entirely appropriate for an ending that is both logical and dazzlingly affirmative.

Programme note © Stephen Johnson

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THE PERFORMERSJoshua Weilerstein

Conductor

Joshua Weilerstein is the Artistic Director of the Orchestre de Chambre de Lausanne, where his contract has been extended through the 2020/21 season. Weilerstein enjoys a flourishing guest conducting career and has established a number of close relationships in both the US and Europe, including the Orchestre Philharmonique de Radio France, Deutsche Kammerphilharmonie Bremen, Bergen Philharmonic, Royal Stockholm Philharmonic, Finnish Radio Symphony, New York Philharmonic, and the symphony orchestras of Baltimore, Detroit and Milwaukee, among others. Praised for “intense, eloquently moving and spectacularly knife-edge” performances, Weilerstein is highly sought after and respected for his enthusiasm and profound insight into composers spanning from Gesualdo to Rouse.

Highlights of Weilerstein’s 2020/21 season include a return to the London Philharmonic Orchestra in a live-streamed performance, three live-streamed programmes with the Royal Liverpool Philharmonic Orchestra, his debut with the Gürzenich Orchestra Cologne, and return engagements with NDR Radiophilharmonie Hannover, Danish National Symphony, Oslo Philharmonic, Belgian National and Netherlands Philharmonic orchestras.

Over the past six seasons, the Orchestre de Chambre de Lausanne has thrived under Weilerstein’s leadership and cemented its reputation as one of Europe’s leading chamber orchestras. Weilerstein has greatly expanded the scope of the orchestra’s repertoire, and together they have released successful and critically acclaimed recordings, and toured throughout Europe, joined by soloists such as Juan Diego Florez, Lucas Debargue, and Albrecht Mayer.

Born into a musical family, Joshua Weilerstein’s formative experience with classical music was as a violinist on tour to Panama and Guatemala with the Youth Philharmonic Orchestra of Boston, where the orchestra performed for thousands of young people who had never heard a live orchestra concert. This sparked a desire in Weilerstein to pursue a career in classical music. While pursuing his Master’s degree in violin and conducting at the New England Conservatory, Weilerstein won both the First Prize and the Audience Prize at the Malko Competition for Young Conductors in Copenhagen in 2009. He was subsequently appointed as Assistant Conductor of the New York Philharmonic, where he served from 2012-15.

Weilerstein is deeply committed to programming both traditional and contemporary repertoire and endeavours to present music from under-represented composers at each concert. He hosts a wildly successful classical music podcast called “Sticky Notes” for music lovers and newcomers alike, which has been downloaded nearly a million times in 154 countries. An advocate for easy communication between the audience and the concert stage, Weilerstein encourages discussion about all aspects of classical music, programming, and the experience of concert-going.

Photo © Sim Canetty-Clarke

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THE PERFORMERSAlina Ibragimova

Violin

Performing music from baroque to new commissions on both modern and period instruments, Alina Ibragimova has established a reputation for versatility and the “immediacy and honesty” (The Guardian) of her performances. Highlights of the 2021/22 season include returns to the Royal Concertgebouw Orchestra, London Symphony and Philharmonia Orchestra; debuts with the Mahler Chamber Orchestra and St Petersburg Philharmonic; and appearances at Hamburg’s Elbphilharmonie and Vienna’s Konzerthaus and Wigmore Hall.

Recent seasons have seen Alina perform with the Symphonieorchester des Bayerischen Rundfunks, London Philharmonic, Chamber Orchestra of Europe, Swedish Radio Symphony, Seattle Symphony, Orchestra of the Age of Enlightenment, Deutsches Symphonie-Orchester Berlin and Tonhalle-Orchester Zürich; collaborating with conductors Vladimir Jurowski, Sir John Elliot Gardner, Jakob Hrůša, Robin Ticciati, Daniel Harding, Edward Gardner and Bernard Haitink.

In recital, Alina has appeared at Southbank Centre, Amsterdam’s Concertgebouw, Salzburg’s Mozarteum, Vienna’s Musikverein, Carnegie Hall, Pierre Boulez Saal and at the Royal Albert Hall, where she performed Bach’s Sonatas and Partitas for solo violin as part of the BBC Proms. Her longstanding partnership with pianist Cédric Tiberghien has seen the duo tour extensively worldwide and win acclaim for their traversals of sonatas by Mozart and Beethoven, both live and on record. Alina is also a founding member of the Chiaroscuro Quartet – one of the most sought-after period ensembles.

Alina’s discography on Hyperion Records ranges from Bach Concertos with Arcangelo through to Prokofiev Sonatas with Steven Osborne. Her 2020 album of Shostakovich Violin Concertos with Vladimir Jurowski and the State Academy Symphony Orchestra of Russia received a Gramophone Editor’s Choice, Diapason d’Or and was one of The Times’ Discs of the Year. Her 2021 recording of Paganini’s 24 Caprices topped the classical album charts on its release.

Born in Russia in 1985, Alina studied at the Moscow Gnesin School before moving to the UK where she attended the Yehudi Menuhin School and Royal College of Music. Her teachers have included Natasha Boyarsky, Gordan Nikolitch and Christian Tetzlaff. Alina’s many awards include the Royal Philharmonic Society Young Artist Award 2010, the Borletti-Buitoni Trust Award 2008, the Classical BRIT and Young Performer of the Year Award 2009. An alumnus of the BBC New Generation Artists Scheme (2005-07), she was made an MBE in the 2016 New Year Honours List. Alina performs on a c.1775 Anselmo Bellosio violin kindly provided by Georg von Opel.

Photo © Eva Vermandel

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CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

Under the baton of its Music Director Mirga Gražinytė-Tyla, the City of Birmingham Symphony Orchestra (CBSO) is the fl agship 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, fi lm 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 fi rst 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 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-how and passion for music with communities throughout the city. The CBSO Youth Orchestra gives that same opportunity to young instrumentalists aged 14-21, off ering 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 IIgor YuzefovichPhilip BrettImogen EastColin TwiggJane Wright Ruth Lawrence *

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Mark Robinson #

Julia Åberg *Kirsty Lovie *Stefano Mengoli *Colette Overdijk *Katharine Gittings

VIOLIN IIPeter Campbell-Kelly *

#

Moritz Pfister Catherine Arlidge *

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Amy Jones * #

Charlotte Skinner *Georgia Hannant *Timothy BirchallBryony Morrison *Gabriel Dyker *

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Heather Bradshaw * #

VIOLAChris Yates *

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David BaMaung *Angela Swanson

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Michael Jenkinson * #

Catherine Bower * #

Jessica Tickle *Amy Thomas #

Elizabeth Fryer * #

CELLOEduardo Vassallo *

#

Kate Setterfield * #

Miguel Fernandes *Jacqueline Tyler *

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Helen Edgar * #

Catherine Ardagh-Walter * #

Joss Brookes

DOUBLE BASSAnthony Alcock *Julian Atkinson *

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Damián Rubido GonzálezJeremy WattMark Goodchild *#

Julian Walters * #

FLUTEMarie-Christine Zupancic *

#

Veronika Klirova *

PICCOLOHelen Benson

OBOEEmmet Byrne *Rachael Pankhurst *

CLARINETOliver Janes *Joanna Patton *

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BASS CLARINETMark O’Brien *

BASSOONNikolaj Henriques *

CONTRABASSOONMargaret Cookhorn *

HORNElspeth Dutch *

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Jeremy Bushell *Mark Phillips *

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Martin Wright #

TRUMPETJonathan Holland *

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Jonathan Quirk * #

TUBAGraham Sibley *

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TIMPANIMatthew Hardy *

PERCUSSIONAndrew Herbert *Toby Kearney *

HARPKatherine Thomas *

# Recipient of the CBSO Long Service Award

* Supported player

List correct as at 5 July 2021

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