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HEAVEN AND HELLSymphony Hall, Birmingham Wednesday 2 June 2021, 2.00pm & 6.30pm

Supported by

Supported by

Chloé van Soeterstède – Conductor

Paul Lewis – Piano

Mozart Overture, Don Giovanni 7’

Beethoven Piano Concerto No.2 28’

Mendelssohn Symphony No.5 (Reformation) 30’

A living statue, a fearless seducer, and the gates of Hell itself…few operas end more dramatically than Mozart’s Don Giovanni, and you can hear it all: right there, in the very first notes of the opera’s barnstorming overture. It’s an electrifying way for conductor Chloé van Soeterstède to make her Birmingham debut, and the voltage only gets higher as she joins pianist Paul Lewis in Beethoven’s brightest piano concerto – known as his second, but actually his first, and sparkling with youthful joy. Finally, van Soeterstède and the CBSO set their sights on heaven itself, in Mendelssohn’s stirring Reformation symphony: turbulence and triumph, from a composer who was never happier than when he was in Birmingham!

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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twitter.com/thecbso

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Wolfgang Amadeus Mozart (1756-91)

Overture, Don Giovanni, K.527 Andante

Molto Allegro

Mozart’s first collaboration with Lorenzo da Ponte, Le nozze di Figaro, had been a runaway success at its Prague performances, and Pasquale Bondini, the impresario at the National Theatre, did what many promoters before and since have done with a winner on their hands: he went straight back to composer and librettist and commissioned a sequel. But with the domestic intrigues, the jealousies, tenderness and high spirits of Figaro still ringing in their ears, we can only guess at the astonishment the audience must have registered when they returned to the same theatre in October 1787 to hear the outcome of Bondini’s commission, The Libertine punished, or Don Giovanni. Over 200 years later, there is still no more awesome sound in the entire operatic repertoire than the first chord of the overture to this work: proud, commanding, irresistible, yet doomed, it seems in one moment to encapsulate every aspect of the hero himself. And there is no let-up throughout the rest of the overture – neither in the rest of the slow introduction, with its eerie scales, implacaable dotted rhythms and wrenching dissonances, nor in the major-key Molto Allegro, whose brilliant colours and fanfares dispel all thoughts of retribution, and appear to portray a Giovanni totally at one with his power and his charm.

But can one sound – that opening chord – really embody so many moods? Bernard Shaw certainly thought so, for he sensed that Giovanni’s destiny “is announced from the very first chord of the overture,” and his observation on the entire movement still rings true: “You cannot listen to the overture to Don Giovanni without being thrown into a complicated mood which prepares you for a tragedy of some terrible doom overshadowing an exquisite but Satanic gaiety.”

In the opera house the overture runs without a break straight into the first Act; the concert version inevitably sacrifices this integration but loses nothing in magnificence.

Programme note © Robert Meikle

Ludwig van Beethoven (1770-1827)

Piano Concerto No.2 in B flat major, Op.19 Allegro con brio

Adagio

Rondo: Allegro molto

One evening in Vienna in the mid-1790s, the composer and piano virtuoso Abbé Josef Gelinek (1758-1825) was invited to take part in a keyboard “duel” with an unknown young pianist. Gelinek was one of Vienna’s most fashionable virtuosi, and he was quietly confident, predicting that he’d give the upstart “a first-class drubbing”. The following day, he called on his friend Wenzel Czerny, father of the aspiring pianist (and future teacher of Franz Liszt) Carl Czerny. Carl recalled that he cut a rather more humble figure:

“I won’t forget last night in a hurry. That young fellow was full of the very devil! Never have I heard such playing! He improvised on a theme I had given him, and not even Mozart could have improvised as he did. Then he played compositions of his own which were supremely difficult and grandiose, and he displayed difficulties and effects on the piano beyond anything we’ve dreamt of!”

“Why?” said my father, astonished, “What is the man’s name?”

“He is a young man, small, ugly, dark and obstinate looking” replied Gelinek “and he is called Beethoven”.

We tend to forget about Beethoven’s performing career, but as an aspiring composer, he knew that his best chance of winning fame and fortune in Vienna was as a virtuoso pianist. Such a reputation needed careful maintenance, so it’s no real surprise that the work Beethoven finally published in 1801 as his First Piano Concerto was actually his third attempt in that form. (Confusingly, the work we know as his Piano Concerto No.2 was actually his first, though an even earlier concerto in E flat dating from 1784 – a “Concerto No.0”, if you like – has survived as a fragment). It’s possible that he had sketched parts of it as early as 1788 in Bonn; he seems to have worked on it during his studies with Haydn in Vienna in the early 1790s, and most probably performed it at the Burgtheater, Vienna, on 29 March 1795.

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It was a slightly fraught occasion. According to his friend Franz Wegeler, Beethoven completed the finale just two days before the concert, while suffering from colic. “In the anteroom sat four copyists to whom he handed sheet after sheet as it was finished” remembered Wegeler. “At the first rehearsal, which took place the following day in Beethoven’s room, the pianoforte was found to be tuned a semitone lower than the wind instruments. Without delay…Beethoven simply played his part a semitone higher”. After all that, the concert was a success; still, by the time he had the concerto published in December 1801, he had moved on. “A pianoforte Concerto, which I really do not give out for one of my best” was how he described it to the publisher Hofmeister of Leipzig – “Still, it will not in any way disgrace you to print it”. He offered it at a reduced price.

Beethoven was his own toughest critic, though he thought highly enough of the concerto to write a cadenza for it in 1809. Clearly, he expected it to survive – as well he might. The Second Concerto is a showpiece, designed to make an impact. For starters, it is in B flat major: a bright and brilliantly effective key both for piano and for the Mozart-sized orchestra that Beethoven uses. And it begins with a broad, rather martial procession of themes, before keeping the audience guessing as the piano makes its first appearance quietly, elegantly and with a completely different melody.

There’s something almost operatic, too, about the piano’s recitative-like entrance in the E flat major Adagio – plenty there to make Viennese ladies’ hearts pound. This is young man’s music, though – and there’s never been any composer, before or since, who could mix comedy and seriousness as energetically as Beethoven does in the concerto’s final Rondo. Beginning with a perky back-to-front melody for solo piano, Beethoven takes a cue from Haydn – toying with his audience with such charm and flair that even the crustiest of Viennese traditionalists would surely have had to admit that maybe there really was something to this Beethoven craze after all.

Programme note © Richard Bratby

Felix Mendelssohn (1809-1847)

Symphony No.5 in D major, Op.107 (Reformation) Andante – Allegro con fuoco

Allegro vivace

Andante –

Andante con moto – Allegro vivace – Allegro maestoso

Mendelssohn composed this Symphony in 1829 and 1830, after he had returned from his first trip to Britain – bearing the initial sketches for his Fingal’s Cave Overture and Scottish Symphony – to his family in Berlin. The work was intended to celebrate the tercentenary of the Diet of Augsburg of 1530, one of the key acts of the Reformation in that it established the central statement of faith of the Lutheran church, the Augsburg Confession. But it was not performed until 1832, and not published until after Mendelssohn’s death (which is why it bears the number 5, despite being the second of his mature symphonies). The choice of subject is an indication of Mendelssohn’s devout Lutheran faith: although descended from a famous Jewish family, he had had a Christian baptism and upbringing. But that this faith was not narrowly sectarian is emphasised by his use in the Symphony with equal reverence of the Catholic “Dresden Amen” (later quoted by Wagner in Parsifal) and Luther’s own hymn Ein’ feste Burg ist unser Gott (“A stronghold sure our God is still”).

The “Dresden Amen” is first heard in the slow introduction; its unexpected return at the end of the central development section of the stormy D minor Allegro, followed by the slow, hushed start of the recapitulation, is an effective moment, suggesting a peaceful interlude in the midst of a bitter religious struggle. The two middle movements are in the nature of interludes: the first is a lilting scherzo in B flat major, with an even more tuneful trio in G major; the second is a gentle “song without words” in G minor, scored only for strings, flutes and bassoons – until the last few bars, when additional instruments reinforce the sharp stab of a momentary reference back to the second theme of the first Allegro. This movement leads straight into a stark G major presentation of Ein’ feste Burg; then a transitional passage in quick 6/8 time leads in turn into the D major finale. This is both a sonata-form structure and an elaborate fantasia on Luther’s hymn, heard at first in various fragmentary forms, but as the movement goes on stated with increasing clarity and confidence.

Programme note © Anthony Burton

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THE PERFORMERSChloé van SoeterstèdeConductor

Chloé van Soeterstède is attracting the attention of orchestras across the globe for her intuitive, sensitive, expressive music making and her charming and positive presence on the

podium. She trained initially as a viola player before turning to conducting, and having established herself across UK and France in particular, her profile is widening further now with various debuts coming up in Germany and Spanish and North American debuts in the 2021/22 season.

Recent debuts with the Royal Philharmonic Orchestra and the BBC Scottish Symphony resulted in immediate re-invitations; other forthcoming debuts in the UK include the Philharmonia Orchestra, London Philharmonic Orchestra, the Royal Northern Sinfonia and the London Chamber Orchestra. In France van Soeterstède has conducted the Orchestre National de Lyon, Orchestre de Chambre de Paris, Orchestre National du Montpellier and Orchestre National de Lille amongst others and future projects include the Orchestre National de Lorraine, Orchestre National des Pays de la Loire and Orchestre de Pau Pays de Béarn.

Van Soeterstède received the Third Prize at the 2019 Deutscher Diringentenpreis in Cologne, as well as the Bärenreiter Prize for the best interpretation of a contemporary work, which led directly to interest from German orchestras, including the Bochum Symphony and Rheinische Philharmonic orchestras, whom she will conduct this season, as well as the Nuremberg Symphony and WDR Funkhaus orchestras in future seasons.

Van Soeterstède conducts a wide range of repertoire from Mozart and Mendelssohn through to Prokofiev, Vaughan Williams and Tchaikovsky, as well as contemporary repertoire and collaborations with other artforms. These have included the world premiere of Benjamin Attahir’s Syrian Voices, a new work by Anna Meredith with the Aurora Orchestra and a collaboration with the dance company Virgilio Sieni at the Bolzano Dance Festival with the Haydn Orchestra.

In 2012 she founded the Arch Sinfonia, a chamber orchestra based in London, which has been applauded for its vibrant and boundless energy, its wide range of repertoire and its initiatives to build bridges between artists and audience. Van Soeterstède also works regularly with young musicians: she is currently the Principal Conductor of the Hertfordshire Schools’ Symphony Orchestra and, in the coming season, will conduct the orchestras of Wells Cathedral and Chetham’s schools, and the Royal Northern College of Music Sinfonietta.

Van Soeterstède was born in 1988 in France. After studying viola at the Royal Academy of Music, she studied conducting at the Royal Northern College of Music (2015-17) with Clark Rundell and Mark Heron and where she was awarded the Kennedy scholarship and was also supported by the Derek Hill Foundation. In 2019, she was appointed the Taki Concordia Fellow 2019-21 by Marin Alsop.

Paul LewisPiano Paul Lewis is one of the foremost interpreters of the Central European piano repertoire, his performances and recordings of Beethoven and Schubert receiving universal critical acclaim. He was awarded the CBE for his services to music, and the sincerity and depth of his musical approach have won him fans around the world.

This global popularity is reflected in the world-class orchestras with whom he works, including the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, Royal Concertgebouw and Leipzig Gewandhaus orchestras. His close relationship with Boston Symphony Orchestra led to his selection as 2020 Koussevitzky Artist at Tanglewood.

With a natural affinity for Beethoven and relentless pursuit of understanding his works, Lewis has been central to celebrations of the composer’s 250th anniversary year around the world. He took part in the BBC’s three-part documentary Being Beethoven and was due to perform concerto cycles at Tanglewood, Tiroler Festspiele Erl, Palau de la Música Catalana and Palermo’s Teatro Massimo. He has performed the cycle all over the world, including with the Melbourne Symphony, São Paulo State Symphony and Royal Flemish Philharmonic orchestras, and was the first pianist to play the complete cycle in a single season at the BBC Proms in 2010.

Beyond many award-winning Beethoven recordings, his discography with Harmonia Mundi also demonstrates his characteristic depth of approach in Romantic repertoire such as Schumann, Mussorgsky, Brahms and Liszt.

In chamber music, he is a regular at Wigmore Hall, having played there more than 100 times, and was one of the artists selected to play at the hall’s Lunchtime Series at the start of the Coronavirus crisis. He works closely with tenor Mark Padmore in lied recitals around the world – they have recorded three Schubert song cycles together.

Lewis is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK. He is a passionate advocate for music education and the festival offers free tickets to local schoolchildren. He also gives masterclasses around the world alongside his concert performances. He himself studied with Joan Havill at Guildhall School of Music & Drama in London before going on to study privately with Alfred Brendel.

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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.

© Ben Ealovega

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VIOLIN IJonathan Martindale *Oscar PerksPhilip BrettAlexandra CaldonColette Overdijk *Kirsty Lovie *Stefano Mengoli *Mark Robinson #

Ruth Lawrence * #

Catherine ChambersRobert BilsonRose Hinton

VIOLIN IIPeter Campbell-Kelly *

#

Moritz Pfister Charlotte Skinner *Timothy BirchallSophie PhillipsGabriel Dyker *

#

Georgia Hannant *Heather Bradshaw *

#

Bryony Morrison *Bethan Allmand

VIOLAAdam Romer *

#

Michael Jenkinson * #

Catherine Bower * #

Angela Swanson #

Amy Thomas #

Jessica Tickle *Elizabeth Fryer *

#

Laura Galletta

CELLOEduardo Vassallo *

#

David Powell * #

Miguel Fernandes *Catherine Ardagh-Walter *

#

Helen Edgar * #

Jacqueline Tyler * #

DOUBLE BASSJulian Atkinson *

#

Damián Rubido GonzálezJeremy WattSally Morgan *

#

Mark Goodchild *#

FLUTEMarie-Christine Zupancic *

#

Veronika Klirova *

OBOEEmmet Byrne *Amy Roberts

CLARINETOliver Janes *Joanna Patton *

#

BASSOONNikolaj Henriques *

Catriona McDermid

CONTRABASSOONMargaret Cookhorn *

HORNMark Phillips *

#

Jeremy Bushell *Martin Wright #

TRUMPETJonathan Holland *

#

David Price

TROMBONERichard Watkin * Anthony Howe *#

BASS TROMBONEDavid Vines *

#

TUBAGraham Sibley *

#

TIMPANIAdrian Bending

# Recipient of the CBSO Long Service Award

* Supported player

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

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

City of Birmingham Orchestral Endowment Fund

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

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

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

Jerry Sykes

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

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

Charitable TrustWolfson Foundation

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

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

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

£100,000+Alison and Jamie Justham

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

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

concert programming (*Catherine Ardagh-Walter)

£25,000+Sir Dominic and Lady Cadbury

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

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

Dolores (*Richard Blake)

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

(*Peter Campbell-Kelly)Gill and Jonathan Evans

(*Charlotte Skinner)Stephen and Stephanie GoldsteinLen 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)Carol Miller

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 AyersMr and Mrs S V BarberJohn Bartlett and Sheila Beesley

(*Mark O’Brien)

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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Michael BatesTim 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 HaleIn memory of Harry and Rose JacobiTony and Shirley HallKeith and Mavis HughesLord Hunt of Kings HeathBasil JacksonMr 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 GreenMr Doug JamesDr 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 ParkinsPaul C Wynn

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 Mason

Anthony and Barbara NewsonRichard 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 WyattMr Paul 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 Davis

Kath DeakinDr J Dilkes and Mr K A Chipping

and familyBrian 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 HarbourPhil 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 KnechtBrian LangtonMrs D LarkamJennie Lawrence in memory of PhilipEmmanuel LebautM. E. LingMr J F and Mrs M J LloydProfessor David LondonGeoff and Jean MannCarmel and Anthony MasonGeoff 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 Helvert

Bob and Louise VivianStephen Vokes and Erica BarnettTim 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 Buckle

The late Miss Sheila Margaret Burgess Smith

Isabel ChurcherThe late Colin W ClarkeMr 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 PowellTony Davis and Darin QuallsThe 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 Thorne

John 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 KirkhamLinda 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 18 May 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