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DIGITAL CONCERTS

PEER GYNT AND THE SEA This concert forms part of the CBSO Symphonic Collection, and was filmed at Symphony Hall, Birmingham

Mirga Gražinytė-Tyla – Conductor

Klara Ek – Soprano

Norman Perryman – Artist

CBSO Chorus

Čiurlionis The Sea (UK premiere) 35’

Grieg Peer Gynt: Incidental Music 50’

Peer Gynt is a prankster, an adventurer and a rogue, and everyone knows some of the wonderfully memorable music that Grieg wrote to accompany his exploits. But Mirga Gražinytė-Tyla has another story to tell – a beautiful rarity from her native Lithuania – and another dimension to share, as Birmingham-born artist Norman Perryman creates colours and images to complement the music. This concert was originally filmed in front of a live audience in November 2018, and includes unseen footage of The Sea.

This concert is available to view online from Tuesday 30 March to Wednesday 30 June 2021

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

We are grateful to the Rachel Baker Memorial Charity for its generous support of the concert at which this film was recorded.

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Mikalojus Konstantinas Čiurlionis (1875–1911)

The Sea (Jūra), PoemUK Premiere

Musically speaking, La Manche/the English Channel as transfigured in the “three symphonic sketches” of Debussy’s La Mer, and the North Sea caught in the various moods of Britten’s Four Sea Interludes from Peter Grimes figure most prominently in the marine stakes of the 20th-century orchestral repertoire. There is room for other sea-pictures, though, and especially for Čiurlionis’s hugely ambitious tone poem of 1903, begun around the same time as Debussy’s but not premiered until 1936, 25 years after his untimely death in a psychiatric hospital at the age of 35, and not performed in its original version until 1990.

Although the sea was a creation of the imagination for Čiurlionis, as it was for Debussy, and a symbolic presence, in a more literal sense the waves in question belong not to the shoreline of his native Lithuania but to the much warmer climate of the Black Sea (though a snatch of a Lithuanian folksong, ‘Močiute mano’, appears on the oboes in the sea drift following the first big swells). There Čiurlionis apparently received his first inspiration as a guest of his patron Bronislawa Wolman and her family at her Crimean summer residence in Anapa. The Sea was five years in the making, completed in 1907.

Čiurlionis’s roots were as various as his talents (he devoted the second half of his all too short creative life to his unique form of painting). Born in Varėna, a village in southeastern Lithuania which was then part of the Russian empire, he spoke the language most favoured by cultured Lithuanians, Polish, at home; an attempt to learn his mother tongue came with a growing national consciousness in his maturity, encouraged above all by the woman who became his wife in 1907, art critic Sofija Kymantaitė. With the financial support of a Polish prince, he pursued his musical studies in Warsaw from 1894 to 1899 and then for a crucial year (1901-02) at the Leipzig Conservatoire.

It was in Leipzig, that musical mecca, that he attended the Gewandhaus concerts of the great Artur Nikisch, and heard the recent scores of the leading late romantic master Richard Strauss. Landlocked Bavarian Strauss only tried to ‘paint’ the sea once, in the magical Beach at Sorrento movement of his 1889 “symphonic fantasia” Aus Italien. The Sea has more in common with An Alpine Symphony – though that came many years later – and Also sprach Zarathustra, Strauss’ poetic response to Nietzsche (whose writings were also very influential on Čiurlionis while he was in Leipzig). While the fresh breeze of upward-swirling harp and descending ‘nature-theme’ intervals of woodwind right at the start of The Sea, met by rising gentle waves from lower strings, make an interesting parallel with the dawn of Debussy’s La Mer, the three climactic sunrise statements are clearly indebted to the opening of Zarathustra.

This bright E major all harmonises well with a sentence in the opening paragraph of the prose-poem Čiurlionis wrote to accompany his work, reproduced in this programme: ‘the sky envelops your waves with its blue, while you, full of grandeur, breathe calmly and peacefully…’ Yet Čiurlionis has his own instinctive sea journey to follow. A more mysterious sequel, seeing the depths as it were, could align with ‘you frown, your blue face is as if discontented’. Yet we have a distance to cover before the wind whips up a storm. Here the best thing is to succumb to the rapidly changing impressionism, and swoon to the ecstatic strings in thirds which inevitably remind us of the Night Wanderer’s incandescence in Zarathustra, until a rocking figure in the bass finally leads to the shaping of a crucial theme, a descending portion of the scale with a triplet figure (a coincidental half-resemblance to the downward motion of the ‘night’ theme in An Alpine Symphony).

Its rhythms pulse ominously on a single note; chromatic flurries tell us a storm is on the way. Like Strauss’ on his way down the mountain, this one commandeers an organ for its grandeur, but the real resemblance, and this time the influence, has to be with the battle sequence of Ein Heldenleben (A Hero’s Life, 1899). Indeed, Čiurlionis’s prose-poem describes the windwhipped waves as row upon row of a self-sacrificing army at the bidding of a capricious general: ‘the wind has ordered them to crush rocks hundreds of miles away, and they rush forward, confident, howling, dashing their weak chests against solid stone and perishing; new ranks rise behind them and also perish’.

Yet just as Strauss’ hero reasserts his humanism after a mighty welter, critic-adversaries routed, the full majesty of the sunlit sea breaks forth to dazzle at the climax. The aftermath is masterly, and individual, with hints of Čiurlionis’s description of the sea collecting fragments of waves, mourning as it does so; the composer is very much his own man in the gentle flurries, rockings and trills which steer us gently, perhaps under a starlit sky, to a barcarolle (Čiurlionis knew his Chopin, and if his own piano nocturnes are indebted to the master’s example, they can be memorable, too). We could be left, contented, to drift in this subtly evolving dream; but Čiurlionis must have his peroration, and so we get a final E major apotheosis.

The Sea was one of only two major orchestral works Čiurlionis completed. Before it, in 1901, he captured what he later described to his fiancée as ‘the mysterious talk of the woods’ with his other tone poem In the Forest before he turned to ‘rolling waves’. There’s a tantalising title which crops up in a triptych of 1908, A Sonata of the Sea, but this turns out to be a series of paintings, respectively titled Allegro, Andante and Finale. His last years were dominated by his visual art before a deep depression led to his being hospitalised in a Polish psychiatric institution. He died there of pneumonia on 10 April 1911, having never seen his baby daughter. The shining optimism of The Sea was snuffed out in real life. But this magnificent testimony to a major figure who until recently didn’t even feature in many musical reference works now has a new lease of life thanks to another inspirational Lithuanian, Mirga Gražinytė-Tyla, who as a child studied at the National MK Čiurlionis School of Art in Vilnius and decided at the age of 11 that her future lay in music.

Programme note © David Nice

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The SeaPowerful sea. Great, infinite, boundless. The sky envelops your waves with its blue, while you, full of grandeur, breathe calmly and peacefully, since you know that there are no limits to your power and your grandeur, your existence is infinite. The great, powerful, wonderful sea! Half the world is looking at you at night, distant suns drown their blinking, mysterious, slumbering glances in your depths, while you, eternal queen of giants, breathe peacefully and quietly, you know that there is only you and nobody reigns over you.

You frown, your blue face is as if discontented. You frown? Could it be wrath? Who could dare, o sea, incomprehensible in infinite grandeur, who could dare to go against you?

And from the sea came the answer, murmuring faintly, swaying the shore-grass, whispering: ‘It is the wind, wind, wind.’

Wind is a nothing, it is a transient entity, a homeless vagabond, evanescent and colourless, which is growling like a loathsome jackal, thrashing and devastating forests, diving in the dust, stirring fires, kicking down old crosses in graveyards, and tearing apart small, poor cottages.

Slender willows bow low before it, while the modest frail flowers press themselves to the ground scared by its rage. They are weak and feeble.

And you – you frown and are wrathful, the eternal queen of giants, stretching here for thousands of centuries, lit by the blinking suns of the universe, always cold and tranquil, you are wrathful.

Is it because your waves are no longer in your power?

The wind is already reigning over them and driving them like a herd of sheep.

Look, just look how willingly they are all running with the wind, each and every one, and there are millions of them, and still more coming. Hold at least one of your subjects, o queen!

What a horrid hoard! Waves, waves and only waves stretch from horizon to horizon.

Look, your giants are rising, but even they are no longer in your power. You are foaming, o great sea!

The wind has ordered them to crush rocks hundreds of miles away, and they rush forward, confident, howling, dashing their weak chests against solid stone and perishing; new ranks rise behind them and also perish.

The wind keeps driving new hoards, eventually it grows bored and, abandoning it all, sweeps away whistling.

While you are foaming, o sea, majestic and powerless.

The wind has long since gone. You are collecting your waves, your fragments, you can hardly hold them and lament mournfully like a child. Why do you lament, o sea?

Do you grieve for your zealous waves, of which nothing but foam has survived?

Do not grieve for them! The time will come when the wind will blow again and new waves will rise on the distant shore, the wind will again drive them wherever it wishes and there will abound zealous giants, until again nothing remains of them but foam. Mikalojus Konstantinas Čiurlionis

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Edvard Grieg (1843–1907)

Peer Gynt: Incidental MusicAct I:Prelude: At the Wedding

Act II:Prelude: The Abduction of the Bride – Ingrid’s LamentIn the Hall of the Mountain King

Act III:The Death of Åse

Act IV:MorningArabian DanceAnitra’s DanceSolveig’s Song

Act V:Prelude; Peer Gynt’s HomecomingWhitsun HymnSolveig’s Cradle Song

In 1874, the 31-year old Edvard Grieg found himself approached by one of his heroes, the Norwegian playwright Henrik Ibsen, with a commission for theatre music for his verse drama Peer Gynt. Understandably Grieg was thrilled to receive such a request but, as he soon realised, it was quite a burden of responsibility. For Scandinavians, the character of Peer Gynt is as rich in resonances as Shakespeare’s Falstaff is for Englishspeakers. For the American critic Harold Bloom he is without parallel in 19th-century literature:

‘Dickens, Tolstoy, Stendhal, Hugo, even Balzac have no single figure quite so exuberant, outrageous, vitalistic as Peer Gynt. He merely seems initially to be an unlikely candidate for such eminence: what is he, we say, except a kind of Norwegian roaring boy, marvelously attractive to women, a kind of bogus poet, a narcissist, absurd self-idolator, a liar, seducer, bombastic self-deceiver? But this is paltry moralizing, all too much like the scholarly chorus that rants against Falstaff. True, Peer, unlike Falstaff, is not a great wit. But in the Yahwistic Biblical sense, Peer the scamp bears the Blessing: more life.’

Grieg soon found that living up to such a character creatively was a hugely difficult task. ‘Peer Gynt progresses slowly,’ he grumbled to a friend in August 1874, ‘and there’s no chance of it being finished by autumn. It’s such a terribly unmanageable subject.’ Even after the huge success of the premiere in 1875, Grieg was still grumbling about it all: he was, he said, ‘compelled to do patchwork’, thwarted at every stage by the very precise demands of the theatre company, especially when it came to timing: ‘In no case had I the opportunity to write as I wanted... hence the brevity of the pieces.’

But artists aren’t always the most objective judges of their own creative processes. Grieg’s wife Nina had a different perspective on it all. As she watched her husband grow more and more immersed in the play and its captivating poetry, she saw him realise as he worked ‘that he was the right man for a work of such witchery and so permeated with the Norwegian spirit’. In any case, despite his grander ambitions Grieg was by nature a miniaturist of genius. With the exception of the justly famous Piano Concerto, Grieg’s greatest successes are almost entirely on a small scale – and thus it is with the exquisite chain of movements that makes up his Peer Gynt incidental music.

The movements selected here distil key moments from Ibsen’s story with a power, colour and poignancy out of all proportion to their modest durations. At the Wedding sets the scene for one of Peer’s more outrageous adventures, which we then hear, alongwith its sorrowful consequences, in The Abduction of the Bride – Ingrid’s Lament. In the Hall of the Mountain King is a magnificently sustained crescendo built on varied repetitions of a deliciously sinister tune – just the thing for the entertainment of the hideous King of the Trolls. The Death of Åse is in complete contrast: Peer stands at the bedside of his dying mother, trying to ease her passage to the next world by telling her tales. But Peer Gynt is always on the move, emotionally as well as physically: Morning Mood is as its title suggests: a hymn to the newly-risen sun and to re-awakened life. The exotically-flavoured Arabian Dance transports us from the cold North to the hot Middle East where, in Anitra’s Dance, the daughter of a Bedouin chief dances alluringly for Peer. Meanwhile, back in Norway, the faithful Solveig waits for Peer’s return in Solveig’s Song. Peer Gynt’s Homecoming (Stormy Evening at Sea) is a stirring nature picture that clearly left its mark on the Finnish composer Jean Sibelius. Whitsun Hymn celebrates Peer’s arrival back in his homeland, where he is forgiven by Solveig, now old and nearly blind. Finally, in Solveig’s Cradle Song, she sings him tenderly to sleep.

Programme note © Stephen Johnson

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Peer GyntI Dovregubbens Hall

Slagt ham! Kristenmands søn har dåret Dovregubbens veneste Mø!Slagt ham!

Arabisk Dans

Profeten er kommen!Rör Flöjten og Trommen!Profeten, Herren, den Alting vidende,Til os er han kommen over Sandhavet ridende.Profeten, Herren, den aldrig fejlende,til os er han kommen gjennem Sandhavet sejlende.Rör Flöjten og Trommen! Profeten er kommen!

Solveigs sang

Kanske vil der gå både Vinter og Vår,og næste Sommer med, og det hele År; —men engang vil du komme, det véd jeg vist;og jeg skal nok vente, for det lovte jeg sidst.

Gud styrke dig, hvor du i Verden går!Gud glæde Dig, hvis du for hans Fodskammel står!Her skal jeg vente til du kommer igjen;og venter du hist oppe, vi træffes der, min Ven!

Pinsesalme

Velsignede Morgen, da Gudsrigets Tungertraf Jorden som flammende stål.Fra Jorden mod Borgen nu Arvingen sjungerpå Gudsrigets Tungemål.

Solveigs vuggessang

Sov, du dyreste Gutten min!Jeg skal vugge dig, jeg skal våge.

Gutten har siddet på sin Moders Fang.De to har leget hele Livsdagen lang.

Gutten har hvilet ved sin Moders Brysthele Livsdagen lang. Grud signe dig, min Lyst!

Gutten har ligget til mit Hjerte tæthele Livsdagen lang. Nu er han så træt.

Sov, du dyreste Gutten min!Jeg skal vugge dig, jeg skal våge.

In the Hall of the Mountain King

Slay him! The Christian’s son has led astrayThe fairest maid of the Mountain King!Slay him!

Arabian Dance

The prophet is here!Sound the flute and the drum!The prophet, blessed with all wisdom,He has come to us trotting over land and sea.The prophet, the great one, ever righteous,He has come to us sailing across the sea.Sound the flute and the drum! The prophet is here!

Solveig’s Song

The winter may go, and the spring disappear,The summer may fade, and the whole year pass; –But you will find your way back to me, of that I’m certain,You will be mine, I promise, and I will wait faithfully for you.

God strengthen you where you go in the world,God bless you whenever you kneel before him;Here shall I wait until you come again,And if you should wait for me in Heaven, there will we meet!

Whitsun Hymn

O blessed morning, when the tongues of the kingdom of Godtouch the earth like swords of fire,your heirs sing in the language of the kingdom of God,from down on earth up to the Heavenly castle.

Solveig’s Cradle Song

Sleep, my sweet child!I will rock you, I will keep watch over you! The boy was seated on his mother’s knee.Both of them played all day long.

The boy rested upon his mother’s breast,every day of his life. May God bless you, my joy!

The boy pressed himself to my heartevery day of his life. Now he is so weary.

Sleep, my sweet child!I will rock you, I will keep watch over you!

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CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

VIOLIN IBenjamin GilmorePhilip BrettClare ThompsonEmily DavisColin TwiggColette Overdijk*Julia Åberg*Elizabeth GoldingRuth Lawrence#*Mark RobinsonKate OswinKirsty Lovie*David Gregory#Katharine GittingsRobert BilsonAdam Hill

VIOLIN IIPeter Campbell-Kelly*Kate Suthers*Moritz PfisterAmy Marshall#*Charlotte Skinner*

Gabriel Dyker*Bryony Morrison*Timothy BirchallAmy LittlewoodWendy QuirkAmanda WoodsBethan AllmandZhivko Georgiev

VIOLASChristopher Yates#*Adam Römer*Michael Jenkinson*Catherine Bower*Angela SwansonJessica TickleElizabeth Fryer*Louise ParkerAmy ThomasBen NewtonHelen RobertsIsobel Adams

CELLOSJonathan WeigleDavid Powell#*Kate Setterfield#*Miguel Fernandes*Catherine Ardagh-

Walter#*Helen Edgar*Jacqueline Tyler#*Joss BrookesLorenzo Meseguer

LujánAbigail Hyde-Smith

BASSESAnthony Alcock*Julian Atkinson#*Damián Rubido

GonzálezJeremy WattSally Morgan#*Julian Walters*Mark Goodchild#*David Burndrett

FLUTESMarie-Christine

Zupancic*Veronika Klírová*

PICCOLOJanet Richardson

OBOEEmmet Byrne*

COR ANGLAISRachael Pankhurst*

CLARINETSOliver Janes*Joanna Patton*

BASS CLARINETMark O’Brien#*

BASSOONSNikolaj Henriques*Richard Ion

CONTRA BASSOONMargaret Cookhorn*

HORNSElspeth Dutch*Kartik Alan JairaminMark Phillips#*Jeremy Bushell*Martin Wright#Joseph RyanJonathan Bareham

TRUMPETSJonathan Holland#*Alan Thomas*Richard Blake*Jonathan Quirk#*

TROMBONESRichard Watkin*Anthony Howe#*

BASS TROMBONEBarry Clements

TUBAGraham Sibley*

TIMPANIMatthew Perry

PERCUSSIONAdrian Spillett*Andrew Herbert*Toby Kearney*Daniel Martinez

HARPSMarkus ThalheimerRosanna Rolton

CELESTE/ORGANJulian Wilkins

# Recipient of the CBSO Long Service Award * Supported player

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, the ochestra gives 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, right here 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 orchestra 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 the 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 eight. 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. Now in its Centenary year, the CBSO, more than ever, remains the beating heart of musical life in the UK’s Second City.

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THE PERFORMERS

Mirga Gražinytė-TylaOsborn Music Director

Mirga Gražinytė-Tyla was named Music Director of the City of Birmingham Symphony Orchestra in February 2016 following in the footsteps of Sir Simon Rattle, Sakari Oramo and Andris Nelsons. Her Music Directorship was extended through the 2020-21 season.

Recent highlights include numerous European tours with the City of Birmingham Symphony Orchestra, performances with the New York Philharmonic, NDR Elbphilharmonie Orchestra, Swedish Radio Orchestra, Filharmonica della Scalla, Los Angeles Philharmonic, and the National Symphony Orchestra.

Gražinytė-Tyla has electrified audiences as a guest conductor all over the world. In Europe, she has collaborated with the Lithuanian National Symphony Orchestra, the Beethoven Orchestra Bonn, the Deutsche Radiophilharmonie, the Choir of the Bavarian Radio Symphony Orchestra, the MDR Symphony Orchestra, as well as the Chamber Orchestras of Vienna, the Danish National Symphony Orchestra, the Mozarteum Orchestra and the Camerata Salzburg, and the Orchestra of the Komische Oper in Berlin. At the Kremerata Baltica, she has enjoyed a dynamic collaboration with Gidon Kremer on numerous European tours. She has led operas in Heidelberg, Salzburg, Komische Oper Berlin, and Bern, where she served as Kapellmeister. In North America, she has worked with the orchestras of Philadelphia, Seattle and San Diego and has led the Metropolitan Opera Orchestra at Carnegie Hall.

With the Los Angeles Philharmonic, Gražinytė-Tyla was a Dudamel Fellow in the 2012-13 season, Assistant Conductor (2014-16), and Associate Conductor (2016-17). She was the Music Director of the Salzburg Landestheater from 2015 until 2017. Winner of the 2012 Salzburg Festival Young Conductors Award, she subsequently made her debut with the Gustav Mahler Youth Orchestra in a symphonic concert at the Salzburger Festspiele.

Gražinytė-Tyla was discovered by the German Conducting Forum (Deutsches Dirigentenforum) in April 2009. A native of Vilnius, Lithuania, she was born into a musical family. Before pursuing her studies at the Music Conservatory in Zurich, she studied at the Music Conservatory Felix Mendelssohn-Bartholdy in Leipzig and at the Music Conservatory in Bologna, Italy. She graduated with a bachelor’s degree in choral and orchestral conducting from the University of Music and Fine Arts, Graz, Austria. Mirga has participated in numerous masterclasses and conducting workshops, and has worked with many established conductors and professors, such as Christian Ehwald, George Alexander Albrecht, Johannes Schlaefli, Herbert Blomstedt, and Colin Metters.

Klara EkSoprano

Possessing a voice of remarkable clarity and beauty, Klara Ek has distinguished herself with many of the world’s leading conductors and orchestras.

Highlights have included Peer Gynt with the Gothenburg Symphony on tour under Alain Altinoglu, Handel’s Samson with Festival de Beaune conducted by Leonardo García Alarcón, and Schumann’s Szenen aus Goethes Faust with the Danish National Symphony Orchestra conducted by Michael Schønwandt. On stage she made her debut at Staatsoper Hamburg as Handel’s Edilia (Almira) and gave standout performances as Melia (Apollo et Hyacinthus) with Classical Opera. This season Ek joins the Royal Northern Scottish National Orchestra for Mahler’s Symphony No.4 under Thomas Søndergård, and Pacific Symphony for Messiah conducted by Christopher Warren-Green.

Ek is much in demand by the world’s principal early music ensembles. With the Academy of Ancient Music she has sung the roles of Oriana (Amadigi di Gaula) under Christopher Hogwood and Arminda (La finta giardiniera) under Richard Egarr, and she has collaborated with Pablo Heras-Casado and Compañía y Orquesta Barroca de Aranjuez in the first modern performance of Bonno’s L’isola disabitata. In addition with Alan Curtis and Il Complesso Barocco, she has recorded Jommelli’s Ezio, Scarlatti’s Tolomeo e Alessandro and Handel’s Berenice.

Notable symphonic debuts include Mahler’s Symphony No.4 with the Chicago Symphony Orchestra, London Symphony Orchestra and Tonhalle-Orchester Zürich – all under Bernard Haitink, Mahler’s Symphonies Nos.2 and 4 with the Orquesta Sinfónica Simón Bolívar and the Los Angeles Philharmonic under Gustavo Dudamel, Die Schöpfung with Washington’s National Symphony Orchestra and Helmuth Rilling, Bach’s Magnificat with the Berliner Philharmoniker and Ton Koopman, and Schumann’s Szenen aus Goethes Faust with Gewandhausorchester Leipzig and Christopher Hogwood. Most recently Ek made her BBC Proms debut in Mahler’s Symphony No.4 under Thomas Søndergård and Beethoven’s Symphony No.9 with the Hallé under Nikolaj Znaider.

On stage, Klara Ek’s most recent debuts include Lisetta (Il matrimonio segreto) and Rosmonda in a rare staging of Porpora’s Il Germanico in Germania for the Innsbruck Festival under Alessandro De Marchi, Climene in Hasse’s Leucippo for Oper Köln, Despina (Così fan tutte) for Danish National Opera under Benjamin Bayl and Contessa Almaviva (Le nozze di Figaro) at the Hokuptopia Festival, Japan.

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Norman PerrymanArtist

Born in Birmingham in 1933, Norman Perryman was educated at the Royal Grammar School Worcester then, at the age of 16, began his studies at the Birmingham College of Art & Crafts.

Norman graduated with First Class Honours in Painting, but it was his love for music that inspired him to dedicate his life to translating music into visual rhythms, colour and line. His many watercolours include the large Birmingham Symphony Hall Collection of great musicians, including the violinist Yehudi Menuhin.

In the early 1970s Norman was encouraged by Menuhin to create a new performing art form, using his paintbrush as an instrument live in orchestral performances, with his overhead-projectors providing a painting platform. These magnified images projected above and behind the orchestra create an ethereal synchronicity between colour and sound. “Perryman makes music with his paintbrush,” Menuhin declared, after a performance together.

Perryman has performed in this way with many musicians and ensembles, including pianist Pierre-Laurent Aimard, violinist Daniel Hope, The Royal Concertgebouw Orchestra, the Rotterdam Philharmonic, The Nederlands Dans Theater, the Belgian National Orchestra and the Bergen Philharmonic Orchestra. It was Sir Simon Rattle who invited Norman to perform with the City of Birmingham Symphony Orchestra in 1993, a performance and documentary televised by BBC as Concerto for Paintbrush and Orchestra.

Twenty-five years later CBSO Music Director Mirga Gražinytė-Tyla brought Norman back to his birthplace to create and perform a visual harmony inspired by the Symphonic Poem The Sea, by Čiurlionis, whose life’s ambition was also to bring these two art forms together. Norman has memorised the score and created a visual choreography for his own fluid lyrical expressionist images, that enlighten and underscore the music.

Norman moved to the Netherlands as a young man, exhibited throughout Europe and travelled widely as an art educator to create the Visual Arts Syllabus for the International Baccalaureate. He has performed worldwide and now lives in Amsterdam.

CBSO ChorusSimon Halsey CBE – Chorus DirectorJulian Wilkins – Associate Chorus Director

The CBSO Chorus is one of the world’s great choirs – 180 people from all walks of life who come together to sing symphonic choral music. Trained for over 30 years by Simon Halsey cbe, its main role is to perform with the City of Birmingham Symphony Orchestra on tour and at its home, Birmingham’s Symphony Hall. But it is also an ensemble with a global reputation in its own right, a hard-working team of ‘amateur professionals’ who give up their own time to perform the most challenging works in the choral repertoire to the highest international standard.

The Chorus was founded in 1973 at the instigation of the CBSOʼs music director Louis Frémaux, and gave its first concert – a performance of Berliozʼs The Damnation of Faust – in January 1974. In 1983, Simon Halsey became chorus master, forming a close musical partnership with the CBSO’s then music director Simon Rattle, and beginning an enduring relationship with the Chorus which would see it travel the world with the CBSO and perform works ranging

from Mahler’s Resurrection Symphony and Janačék’s Glagolitic Mass to Henze’s The Raft of the Medusa and John Adams’s Harmonium.

The Chorus has been at the centre of the CBSO story throughout: singing at the official opening of Symphony Hall in 1991, at Rattle’s final concert in Birmingham in 1998, and giving centenary performances of all three of Elgar’s great choral works: The Dream of Gerontius, The Apostles and The Kingdom under Sakari Oramo. It gave the 40th anniversary performance of Britten’s War Requiem at Coventry Cathedral in 2002, and returned in 2012 to give the 50th anniversary performance under Andris Nelsons – an occasion that was broadcast live to 17 countries. As versatile as it is virtuosic, the CBSO Chorus regularly takes part in the CBSO’s concert performances of operas – ranging from Gilbert and Sullivan to Wagner, Puccini and Richard Strauss. And of course, every year it leads Birmingham’s Christmas celebrations, when Simon Halsey conducts the CBSO’s annual carol concerts.

The CBSO Chorus is in demand far beyond Birmingham. It has sung and toured with some of the greatest orchestras in the world, including the Vienna Philharmonic, Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Royal Concertgebouw Orchestra, Czech

Philharmonic, Helsinki Philharmonic and the Cleveland Orchestra, and has built a special relationship with the BBC Philharmonic. The Chorus is a regular guest at the BBC Proms, and has toured to Europe, Asia, North America and Australia, where in 2000 it sang in Mahler’s Eighth Symphony for the opening concert of XXVII Olympic Games in Sydney. The Chorus has made over 50 recordings, winning four Gramophone awards, as well as numerous other international accolades.

All this has been achieved by amateur singers from Birmingham and the Midlands, aged from 18 years old, whose day-jobs range from students to nurses, teachers and engineers. The entry requirements are demanding, and with weekly rehearsals and up to 30 performances a year, the commitment is huge. But members of the CBSO Chorus are repaid with a lively social life and the unforgettable experience of singing great music to the highest standard with some of the world’s finest conductors, orchestras and soloists.

“the best chorus in the land”Hilary Finch, The Times

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CHORUS MASTER

Julian Wilkins

SOPRANOS

Anna Allsop*Monika ArharMartha BarnesSally Bateman*Rachael Baylis*Felicity BealSarah Beedle*Rachel BennettWillow BurdenSarah CharistaDi Charles***Helen Davies*Sheila Davies***Kate DoddsLaura DuthieIsobel Edgar**Carly EdwardsJo EdwardsLisa Elkington-Bourne**Lynne Evans**Catherine Foster**Elizabeth HainesEmma HancoxPrue Hawthorne***Daisy HibberdEmma HudsonRobyn Jennings**Rosie KatMadeline KirbyCatherine LanderAlexandra LewisGillian Machin**Sarah MainwaringEluned MansellCatherine Mason**Val Matthews****Claire McGinnElla McNameeEmily MilburnAlison NeedhamClare Noakes*Sarah Packer*Emily Peverelle*Nicole PlowmanKate RiemerMariana RosasJennifer Scholes***Jean Scott***Helen Smallwood**Claire SpencerWendy Spinner*Sophie SteersAllison Taylor*Chloe UnderwoodEmma WarrenKatherine Woolley

ALTOS

Rachel BarnardMartina BiguzziAlison Bownass***Kath Campbell****Meredith CardewChristine Chadwick**Helen Chamberlain*Emily CobbDina Cole****Yukimi DauleLouise DavisBecky DrewCatherine Duke**Sarah Ennis****Rosie FergusonGill Fletcher*Sylvia Fox***Judy Frodsham***Christine Giles***Miranda HeggieJessica HollandAnnie Howell-JonesHazel Hughes****Barbara Hulse**Sheila Koch**Clare Langstone*Emelia LavenderVal Lewis*Joan LilburnKate Marriott*Bryony MartinMolly MatthewsJosephine Mesa Bandrés**Moyra Morton*Chika NwankwoAnna ParkerElizabeth Parkin*Elizabeth RoxburghSarah Russell***Diane Todd***Helena TownsendSarah Trinder**Belinda WadsworthChristina Warner****Hannah WatsonRosemary Watts**Jeanette WongToni Wright**Alison York***

TENORS

Scott BlanceMillar Bownass***Josh BruellRahul ChotaiRichard Cook***James DavidPete Davies*Jamie FarrowDavid Fletcher*Harry HextallRichard JacksonNeavan LobbanHoward Marriott*Allen Roberts*Daniel RollasonDavid RoperHarpreet Sandhu*Daniel SmithRob SotilloNeil SouterBen SquireEd SykesCallum ThompsonHugh Thomson**Philip TownleyAlan Winwood*David Young*

BASSES

Alistair AktasSteven BacheLawrence Bacon***Phil Beynon*Rob Cleal**Tom ConsidineJulian Davey*Lawrence DeanMike Dernie**Julian EdwardsRichard Fullbrook*Steve Gibbs**Ben HeslamHugh Houghton*Ian HowarthDamon HuberAnthony JonesJohn Keast***Alastair LeggPeter Leppard**Chris O’Grady*Andrew Packer****Neil ParkerAndrew Parker*Andrew Parkes**Charles PottsRichard Prew***Phil Rawle****David RiceMike Smith***Barnabas StevensGordon Thornett***Phil UttleyTony Whitehouse*Teddy Woolgrove

* CBSO Chorus Bronze 10 Year Long Service Award ** CBSO Chorus Silver 20 Year Long Service Award *** CBSO Chorus Gold 30 Year Long Service Award**** CBSO Chorus Ruby 40 Year Long Service Award

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MEMBERS AND SUPPORTERS

EXCEPTIONAL SUPPORTWe are particularly grateful for theexceptional support of the following people this year:

£50,000+David and Sandra BurbidgeAlison & Jamie Justham (*David Vines)Barry and Frances KirkhamChris & Jane Loughran

(*Jonathan Martindale)Maurice Millward (*Chris Yates)John Osborn in support of the Osborn

Music DirectorshipClive & Sylvia Richards Charity(Principal Supporter of the CBSO’s

work with young people)Jerry Sykes in support of keynote

concert programming (*Catherine Ardagh-Walter)

£20,000+Peter How

BENEFACTORS (£10,000+)Lady Alexander of WeedonVivian and Hazel AstlingValerie Lester (*Jacqueline Tyler mbe)Felonious Mongoose in memory of

Dolores (*Richard Blake)

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

(*Peter Campbell-Kelly)Lord Digby & Lady Patricia Jones

of BirminghamGill & Jonathan Evans

(*Charlotte Skinner)Len Hughes & Jacquie Blake

(*Anthony Alcock)Sue & Graeme Sloanand our other anonymous supporters.

CONCERTO CIRCLE (£2,500+)Viv & Hazel Astling (*Graham Sibley)The Barwell Charitable TrustAllan & Jennifer Buckle

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

memory of Ernest Churcher (*Elspeth Dutch)

Charlie & Louise Craddock (*Kirsty Lovie)

Mike & Tina Detheridge (*Andrew Herbert)

The ENT Clinic (*Alan Thomas)Duncan Fielden & 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)Paddy & Wendy Martin

Carol MillerPatrick & Tricia McDermott

(*Helen Edgar & Rachael Pankhurst)Carole McKeown & David Low

(*Miguel Fernandes)Carol MillerFrank North (*Kate Suthers)Angela O’Farrell & Michael Lynes

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

(*Julian Atkinson)Robert PerkinGraham Russell & Gloria Bates

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

(*Marie-Christine Zupancic)Howard & Judy Vero (*Richard Watkin)Michael WardDiana & Peter Wardley (*Oliver Janes)John Yelland obe & 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 Römer

OVERTURE CIRCLE (£1,000+)Mike & Jan Adams (*Eduardo Vassallo)Katherine Aldridge in memory of ChrisMichael Allen in memory of YvonneRoger & Angela AllenMiss J L Arthur (*Julian Walters)Kiaran AsthanaMr M K AyersMr & Mrs S V BarberJohn Bartlett & Sheila Beesley

(*Mark O’Brien)Michael BatesTim & Margaret BlackmoreChristine & Neil BonsallMrs Jennifer Brooks in memory of

David (*Julia Åberg)Helen Chamberlain in memory of Allan

Chamberlain (*Sally Morgan)Gay & Trevor Clarke (*Bryony Morrison)Dr Anthony Cook & Ms Susan EliasJohn Cunningham-DexterJulian & Lizzie DaveyAnita Davies (*Jeremy Bushell)Tony Davis & Darin QuallsJenny DawsonDr Judith Dewsbury in memory of Tony

(*Kate Setterfield)Alan Faulkner

Elisabeth Fisher (*Colette Overdijk)Wally FrancisJ GodwinAnita & Wyn GriffithsMary & Tony HaleIn memory of Harry and Rose JacobiTony Hall & Shirley LivingstoneKeith & Mavis HughesLord Hunt of Kings HeathBasil JacksonMr Michael & Mrs Elaine JonesMrs T Justham in memory of David

(*Michael Seal, Associate Conductor)John and Jenny KendallJohn & 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 MillsNigel & Ann MundyPaul & Elaine MurrayIan C NortonAndrew Orchard & Alan JonesRoger and Jenny Otto in memory

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

(*Joanna Patton)Alan Titchmarsh mbe

(*Matthew Hardy)Mr R J & Mrs M WallsRobert Wilson (*Emmet Byrne)Mr E M Worley cbe & Mrs A Worley dlMike & Jane Yeomans in memory of

Jack Field (*Michael Jenkinson)Richard and Emma Yorkeand our other anonymous supporters.

GOLD PATRONS(£650+ per year)Peter & Jane BaxterMike BowdenLady CadburyMr C J M CarrierChristine & John CarrollTim CherryTim Clarke & familyProfessor & Mrs M H CullenRoger and Liz Dancey

Robin & Kathy DanielsJohn and Sue Del MarProfessor Sir David EastwoodMr G L & Mrs D EvansGeoff & Dorothy FearnehoughNicola Fleet-MilneSusan and John FranklinMr R Furlong & Ms M PenlingtonAveril Green in memory of Terry GreenMr Doug JamesDr M KershawMiss C MidgleyNigel & Sarah MooresAndrew & Linda MurrayMagdi & Daisy ObeidChris & Eve ParkerPhillipa & Laurence ParkesChris and Sue PayneProfessor & Mrs A RickinsonCanon Dr Terry SlaterMr A M & Mrs R J SmithDr Barry & Mrs Marian SmithPam SnellIan and Ann StandingRimma SushanskayaJanet & Michael TaplinRoger & Jan ThornhillRoy WaltonRevd T & Mrs S WardDavid Wright & Rachel ParkinsPaul C Wynnand our other anonymous supporters.

SILVER PATRONS(£450+ per year)Mr & Mrs S V BarberRichard Allen & Gail BarronMr P G BattyePaul BondProfessor Lalage BownRoger and Lesley CadburyMr A D & Mrs M CampbellSue Clodd and Mike GriffithsDavid & Marian Crawford-ClarkeMrs A P CrocksonDr. Margaret Davis & Dr. John DavisMark DevinAlistair DowJane Fielding & Benedict ColemanMrs D R GreenhalghJohn Gregory in memory of JanetCliff HaresignMr & Mrs G JonesBob and Elizabeth KeevilRodney and Alyson KettelRebecca King in loving memory of IanMr Peter T MarshJames & Meg MartineauPeter and Julia MaskellDr & Mrs Bernard MasonAnthony & Barbara NewsonRichard NewtonMrs A J OfficerLiz & Keith ParkesMr R Perkins & Miss F HughesDr and Mrs PlewesThe Revd. Richard & Mrs Gill Postill

We are grateful to the following major supporters of The Sound of the Future campaign:

David & Sandra BurbidgeJohn Osborn cbe

Sir Dominic & Lady CadburyJamie & Alison JusthamChris & Jane LoughranPeter How

Frances & Barry KirkhamMaurice MillwardJerry SykesKatherine Aldridge

Baltimore Friends of the CBSOProfessor Dame Sandra Dawson dbeAnd other donors who prefer to remain anonymous.

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Credits correct as of 22 March 2021

For details of all our membership schemes please go to cbso.co.uk/support-us/membership. Your support will help us continue our work whilst you enjoy a range of exclusive benefits …

Kath & Mike PoulterEileen Poxton in memory of

Reg PoxtonDr & Mrs R C ReppRay SmithSheila & Ian SonleyAndy StreetJohn & Dorothy TeshProfessor & Mrs J A ValeWilliam & Janet VincentTony & Hilary VinesPeter WallingJulie & Simon WardStephen WilliamsJohn & Daphne WilsonGeoff & Moira WyattMr Paul C Wynnand our other anonymous supporters.

PATRONS (£250+ per year)Mrs Thérèse AllibonDavid and Lesley ArkellVal and Graham BacheLeon & Valda BaileyAndrew BarnellMr P & Mrs S BarnesMr & Mrs BarnfieldDi BassPaul BeckwithMr I L BednallPeter & Gill BertinatPhilip and Frances BettsMrs Ann BillenMichael & Beryl BloodBridget Blow cbeAnthony and Jenni BradburyDr Jane Flint Bridgewater& Mr Kenneth BridgewaterMr Arthur BrookerM. L. BrownAnn BrutonMr & Mrs J H BulmerMr G H & Mrs J M ButlerBenedict & Katharine CadburyPeter & Jeannie CadmanElizabeth CeredigCarole & Richard ChillcottDr J & Mrs S ChitnisPeter and Jane ChristopherAnn Clayden and Terry ThorpeDr A J CochranDee & Paul CockingMrs S M Coote in memory of JohnD & M CoppageLuned CorserMr Richard and Mrs Hilary CrosbyMaurice & Ann CrutchlowJudith Cutler and Keith MilesStephen & Hilary DalyRobert & Barbara DarlastonWilf DaveyTrevor DavisKath DeakinDr J Dilkes & Mr K A Chipping & familyBrian & Mary DixonTerry Dougan and Christina LomasMr and Mrs C J DrayseyJohn DruryCatherine DukeNaomi & David DykerChris EckersleyLinda & William Edmondson

Alex & Fran ElderRobert van ElstMiss E W EvansDr D W Eyre-WalkerJill Follett and John HarrisChris Fonteyn mbeJack & Kathleen FoxallSusan & John FranklinAgustín Garcia-SanzB & C GardnerAlan and Christine GilesProfessor J E Gilkison & Prof T HockingStephen J GillR & J GodfreyJill GodsallLaura Greenaway in memory of

David RichardsPaul HadleyRoger & Gaye HadleyNigel & Lesley Hagger-VaughanMiss A R HaighMr W L HalesMalcolm HarbourPhil Haywood in memory of AnnKeith R HerbertKeith Herbert & Pat GregoryHanne Hoeck & John RawnsleySusan Holmes in memory of PeterValerie & David HowittPenny HughesDavid HutchinsonHenry & Liz IbbersonMr R M E & Mrs V IrvingKen & Chris JonesMr M N JordanPaul JulerMrs P KeaneMr & Mrs R KirbyMr A D KirkbyProfessor & Mrs R J KnechtMrs D LarkamJennie Lawrence in memory of PhilipEmmanuel LebautM. E. LingMr J F & Mrs M J LloydProfessor David LondonGeoff & Jean MannCarmel and Anthony MasonGeoff & Jenny MasonNeil MayburyMr A A McLintockPatro MobsbyNorah MortonP J & H I B MulliganMrs M M NairnRichard & Shirley NewbyRichard Newton and Katharine FrancisBrian NoakeMs E Norton obeIn memory of Jack & Pam NunnMarie & John O’BrienMr & Mrs R T OrmeS J OsborneNigel PackerRod Parker & Lesley BiddleGraham and Bobbie PerryGill Powell & John RowlattC PredotaRoger PrestonEileen & Ken PriceRichard and Lynda PriceJohn Randall

Dr and Mrs K RandleKaty and David RicksTrevor RobinsonPeter & Pauline RoeDavid & Jayne RoperJane and Peter RoweHelen Rowett & David PelteretChristopher and Marion RowlattDr Gwynneth RoyVic & Anne RussellMrs L J SadlerCarole & Chris SallnowStephen SaltaireWilliam and Eileen SaundersMargaret and Andrew SherreyDr & Mrs ShrankKeith ShuttleworthElizabeth SimonsMr N R SkeldingEd SmithMary Smith & Brian Gardner

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

Michael TaylorBryan & Virginia TurnerJohn & Anne TurneyMrs J H UpwardClive Kerridge & Suzan van HelvertBob & Louise VivianStephen Vokes & Erica BarnettTim & Wendy WadsworthKit WardAnn WarneNeil WarrenMrs M L WebbElisabeth & Keith WellingsMr & Mrs J WestRoger & Sue WhitehouseMr William & Mrs Rosemary WhitingPippa WhittakerJohn and Pippa WicksonRichard and Mary WilliamsBarry and Judith WilliamsonJohn WinterbottomIan Woollardand our other anonymous supportersand our Friends.

LEGACY DONORSIn memory of Chris AldridgeThe late Terence BaumThe late Elizabeth Bathurst BlencoweThe late Mr Peter Walter BlackAllan & Jennifer BuckleThe late Miss Sheila Margaret Burgess

SmithIsabel ChurcherThe late Colin W ClarkeMr and Mrs P CockingThe late Roy CollinsDavid in memory of Ruth Pauline

HollandTony Davis & Darin QuallsThe late Mr Peter S. DayMark Devin

Alistair DowThe late Mary FellowsFelonious MongooseValerie FranklandJill GodsallTricia HarveyThe late Mrs Marjorie HildrethMr Trevor & Mrs Linda IngramRobin & Dee JohnsonAlan Jones & Andrew OrchardMs Lou JonesThe late William JonesPeter MacklinThe late Mr & Mrs F. McDermott &

Mrs C. HallThe late Myriam Josephine MajorThe late Joyce MiddletonPhilip MillsThe late Peter & Moyra MonahanThe late Arthur MouldThe late June NorthStephen OsborneGill PowellTony Davis & Darin QuallsThe late Mrs Edith RobertsPhilip RothenbergThe late Mr Andrew RoulstoneThe late Thomas Edward ScottMrs C E Smith & Mr William SmithPam SnellThe late Mrs Sylvia StirmanThe late Mrs Eileen SummersMiss K V SwiftJohn TaylorMr D M & Mrs J G ThorneJohn VickersMrs Angela & Mr John WattsAlan Woodfieldand our other anonymous donors.

ENDOWMENT FUND DONORSMike & Jan AdamsArts for AllViv & Hazel AstlingThe Barwell Charitable TrustIn memory of Foley L BatesBridget Blow cbeDeloitteMiss Margery ElliottSimon FaircloughSir Dexter HuttIrwin Mitchell SolicitorsThe Justham TrustMrs Thelma JusthamBarry & Frances KirkhamLinda Maguire-BrookshawMazars Charitable TrustAndrew Orchard & Alan JonesJohn OsbornMargaret PaytonRoger Pemberton & Monica PirottaDavid PettPinsent MasonsMartin PurdyPeter & Sally-Ann SinclairJerry SykesAlessandro & Monica TosoPatrick VerwerR C & F M Young Trust

* Player supporter

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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 CharityMFPA 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

Strategic Partners

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 difference 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.

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BOARDChair 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 TRUSTChair 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 Howard Librarian Jack Lovell-Huckle Co-Librarian William Lucas

Head of Artistic Planning Anna MelvillePlanning & Tours Manager Hannah MuddimanProject Manager Claire GreenwoodAssistant Planning Manager Maddi Belsey-Day

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

Marketing Consultant Katy Raines Director of Marketing and Communications Gareth Beedie Interim Head of Marketing Maria HowesCRM and Insight Manager Melanie Ryan*†Publications Manager Jane Denton†Digital Content Producer Hannah Blake-Fathers Marketing Volunteer Christine Midgley*#

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

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

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA