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MIRGA CONDUCTS WEINBERGSymphony Hall, Birmingham Wednesday 23 June 2021, 2.00pm & 6.30pm

Supported by

Supported by

Mirga Gražinytė-Tyla – Conductor

Karen Cargill – Mezzo Soprano

Weinberg Rhapsody on Moldavian Themes 13’

Mahler Rückert-Lieder 18’

Weinberg Symphony No.3 33’

When Mirga Gražinytė-Tyla and the CBSO’s recording of Weinberg’s 21st Symphony won Recording of the Year at the 2020 Gramophone Awards, the judging panel described it as “overwhelming”. Now, she returns to the emotionally-charged music of this neglected 20th century composer with his powerful Third Symphony. “With Weinberg, each piece is just greater than the next” says Mirga, and if you love Shostakovich and Mahler, it’ll sweep you off your feet – especially coming after the sheer loveliness of Mahler’s own Rückert-Lieder. “I am lost to the world” goes the last of these heart-rending songs, sung today by the great British mezzo Karen Cargill. Prepare to be transported.

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.

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Mieczysław Weinberg (1919–1996)

Rhapsody on Moldavian Themes, Op.47, No.1 Mieczysław Weinberg had a remarkable life story, even by the standards of those many composers whose careers were buffeted by the storms of mid-20th-century Europe. He was born in Warsaw in 1919, and his early musical experiences were as pianist and ensemble leader at a Jewish theatre where his father was composer and violinist. In 1939 he fled the German occupation of Poland to Belorussia, where in the capital city of Minsk he attended the composition classes of Vasily Zolotaryov, one of Rimsky-Korsakov’s numerous pupils. Then, following the Nazi invasion of the USSR in June 1941, he was evacuated to Tashkent in Uzbekistan. Two years later, when the war had turned in favour of the Allies, he moved again – this time at the invitation of Shostakovich, who had been impressed with the score of his First Symphony – to Moscow, where he settled from September 1943.

His tribulations were not over. In 1948, in common with many prominent Soviet composers, Weinberg fell foul of the ‘anti-formalism’ campaign spearheaded by Party functionary Andrey Zhdanov. This campaign was designed to warn composers of the dangers of internationalism and to remind them of their civic duties. Again in common with his colleagues, Weinberg penned a large number of works based on folk- or folk-like material as part of his rehabilitation.

Composed in 1949, the Rhapsody on Moldavian Themes, Op.47 No.1 is one of the most successful examples of its kind, and certainly one of Weinberg’s most immediately appealing works. The choice of themes from Moldavia may have been connected with the fact that his mother originated from Kishinyov, the capital of what was then the Russian territory of Bessarabia, which would later became the Moldavian Soviet Republic, now the Republic of Moldova. Bessarabian musical folklore was strongly influenced by the huge Jewish population in the area, and the musical language of the Rhapsody has many Jewish-sounding inflexions, as well as an overall slow-fast structure characteristic of several central-European traditions (Bartók being its best-known advocate in the concert-hall repertoire).

The Rhapsody’s early reception in the Soviet Union was complicated by Stalin’s ‘anti-cosmopolitan’ (read ‘anti-Semitic) campaign that was already under way by the end of 1948 and which would see Weinberg tailed by the secret police and eventually arrested and sent to the Lubyanka and Butyrka prisons, thankfully for a relatively short period. Nevertheless the Rhapsody’s tunefulness and energy eventually won through, and the work was evidently deemed worthy of export, at least within the Eastern bloc, since there were reports in 1952 of successful performances in East Germany, Bulgaria and Romania. It has since

become one of his popular and often-performed scores. Apart from the orchestral version, Weinberg made transcriptions for violin and piano, and for violin and orchestra. It was in the small hours following a performance of the latter in February 1953, with David Oistrakh as soloist, that Weinberg’s arrest took place. He was saved by Stalin’s death the following month, and was officially rehabilitated shortly afterwards.

Programme note © David Fanning

Gustav Mahler (1860-1911)

Rückert-Lieder

I. Blicke mir nicht in die Lieder (Look not into my songs)

II. Ichatmet’einenlindenDuft(Ibreathedagentlefragance)

III. Um Mitternacht (At midnight)

IV. LiebstduumSchönheit(Ifyouloveforbeauty)

V. IchbinderWeltabhandengekommen(Iamlosttotheworld)

Mahler’s music and life go hand in hand, with each informing the other. In the summer of 1901, when he began these songs, Mahler had already started his fifth symphony. In November he met Alma Schindler. Their whirlwind romance culminated in an engagement on 23 December, and on 9 March 1902 Alma and Mahler married at the vast baroque Karlskirche in Vienna. Having been obsessed with the naïve poetry of DesKnabenWunderhorn, his music now became increasingly complex. The fifth symphony is a petulant struggle to glory (echoing ‘Um Mitternacht’), while the sixth is overtly tragic. These settings of Rückert’s poetry are a final backward glance to a more innocent time. They mirror Mahler’s more introspective temperament, confirmed in the final words of ‘Ich bin der Welt abhanden gekommen’. Using the poetry of the past, Mahler conjures something of an uncertain future.

Above a run of shivering quavers, the first song opens with a hesitant vocal line. Snatches of horn can be heard through the accompaniment (echoing the murmuring of the bees mentioned in the text). It makes for a hushed opening song, telling of Mahler’s hesitation to share his work with others. The same constant accompaniment continues into ‘Ich atmet’ einen linden Duft’ – a lazy but tender melody. In Mahler’s transparent orchestration, the heady fragrance of the lime trees seems to hover overhead. A bassoon lends a more melancholic air, while a modulation up a semitone in the final verse heightens the passion.

The order of the final trio of songs has been in flux since they were published. ‘Um Mitternacht’ is a fittingly dark mid-point to the cycle. Depicting a crisis, Mahler paints in sombre tones. The repeated call of

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a pair of clarinets and the wailing slide of the oboe are decidedly menacing, while the absence of the string section robs the orchestra of its natural warmth. With each repeat of ‘Um Mitternacht’ the singer becomes more obsessive, until an invocation of God moves the music into a thrilling and powerful coda.

‘Liebst du um Schönheit’ is the only song not written in 1901. Composed after their marriage, it is Mahler’s openhearted love song to Alma. Mahler never orchestrated this private statement and when, in 1910, C.F. Kahnt published the five songs together, it had to be arranged by the publisher’s house orchestrator, Max Puttman. Its rising phrases – a glorious pause on ‘Frühling’ [spring], a long-spun phrase on ‘immer’ [always] – show Mahler in a rare happy mood.

While ‘Ich bin der Welt abhanden gekommen’ was composed in 1901, it too has strong links with Alma. Mahler directly recalls the song in the famous Adagietto of the Fifth Symphony, another supposedly unambiguous hymn to Alma. From the opening solitary phrase, we are in markedly different territory. Like ‘Der Abschied’ at the end of Das Lied von der Erde, Mahler suggests an enduring sense of loneliness ‘in my heaven, in my love and in my song’. Poised, melancholic and sustained, the song never rises above a hushed dynamic. Like all of Mahler’s work, this whispered music seems to speak directly to each of us.

Programme note © Gavin Plumley

RÜCKERT-LIEDER – TRANSLATIONS

Blicke mir nicht in die Lieder:Look not into my songs!

Look not into my songs!My eyes I lower,as if I’ve been caught in an evil deed.I can’t even trust myself to watch them grow. Your curiosity is a betrayal!

Bees, when they build their cells, also do not let anyone observe them; even themselves.When the rich honeycombs are brought out to the light of day,then you shall taste them before everyone else!

Ich atmet’ einen linden Duft I breathed a gentle fragrance!

I breathed a gentle fragrance!In the room stood a sprig of linden,a gift from a dear hand.How lovely was the fragrance of linden!

How lovely is the fragrance of linden!That twig of linden you broke off so gently! Softly I breathe in the fragrance of linden, the gentle fragrance of love.

Um Mitternacht At midnight

At midnight I awoke and gazed up to heaven; No star in the entire mass did smile down at me at midnight.

At midnight I projected my thoughts out past the dark barriers. No thought of light brought me comfort at midnight.

At midnight I paid close attention to the beating of my heart; One single pulse of agony flared up at midnight.

At midnight I fought the battle, O Mankind, of your suffering; I could not decide it with my strength at midnight.

At midnight I surrendered my strength into your hands!Lord! over death and life You keep watch at midnight!

Liebst du um SchönheitIf you love for beauty

If you love for beauty,Oh, do not love me!Love the sun, She has golden hair!

If you love for youth,Oh, do not love me!Love the spring;It is young every year!

If you love for treasure,Oh, do not love me!Love the mermaid;She has many clear pearls!

If you love for love,Oh yes, do love me!Love me ever, I’ll love you evermore!

Ich bin der Welt abhanden gekommenI am lost to the world

I am lost to the world with which I used to waste so much time,It has heard nothing from me for so long that it may very well believe that I am dead!

It is of no consequence to meWhether it thinks me dead;I cannot deny it, for I really am dead to the world.

I am dead to the world’s tumult,And I rest in a quiet realm! I live alone in my heaven, In my love and in my song!

Translations by Emily Ezust & David Kenneth Smith

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Mieczysław Weinberg (1919–1996)

Symphony No.3 in B minor, Op.45

1. Allegro – Tempo 1 – Largo

2. Allegro giocoso – Andante sostenuto – Tempo 1

3. Adagio – Doppio movimento – Tempo 1

4. Allegro vivace – Moderato – Tempo 1

During his first four years in Moscow, from October 1943 to the end of 1947, Weinberg composed a succession of masterpieces for chamber ensemble (notably String Quartets Nos.3–6), along with a Second Symphony – for string orchestra – that marked a return to the symphonic genre but with something of the new-found subtlety and individuality of those chamber works grafted on.

Before he had a chance to consolidate and build on his achievement as a symphonist he was hit by the ‘anti-formalism’ campaign spearheaded by Andrey Zhdanov in the first months of 1948, which exhorted all Soviet composers to produce music for the People, i.e. in a broadly comprehensible language, positive in outlook, and preferably drawing on folk material and idioms. Aside from vocal and choral works to unimpeachably Socialist Realist texts, this was a time for Soviet composers in the field of instrumental music, where the young Weinberg had made his mark, to curb their artistic ambitions: to cultivate sonatinas, concertinos, and sinfoniettas rather than sonatas, concertos, and symphonies. During the five years that remained of Stalin’s rule, these changes of emphasis are as marked in Weinberg’s output as in that of his peers and elders.

In fact he had additional, more personal reasons to be on his guard. Almost simultaneously with the Zhdanov affair, his father-in-law, the renowned Jewish actor Solomon Mikhoels, was murdered: under Stalin’s orders, as it later transpired. From that point until his arrest and incarceration five years later, Weinberg was tailed by the secret police.

Like so many of his colleagues, he nevertheless strove to turn the events of 1948 to some kind of creative advantage. Symphonies incorporating folk or folk-like material had long since had a place of honour in the Russian/Soviet tradition, and its appearance in such works can by no means always be ascribed to external pressure. The fact that there was now a need to accentuate the positive caught Weinberg at a not inopportune time in his career. He had gained considerable experience in chamber media but still had only two symphonies to his name: the First (1943) had been a slightly over-ambitious graduation piece, the Second (1946) a chamber symphony in all but name. To allow folk elements to act as a catalyst for a new full-scale symphony would prove a fruitful learning experience at the very least. In his new work, which he began to compose in March 1949 and finished in June the following year, he placed a Belorussian folksong (‘What a moon’) as a contrasting theme in his first movement (heard quietly on the cellos, then more assertively on the violins) and a mazurka-like Polish one (‘Matek has died’) at the corresponding point in the second movement (on violins and violas). The latter tune is eventually transformed to become the main theme of the finale, and many of the symphony’s other ideas bear some genetic relationship to it.

This nod in the direction of official recommendations for folkloristic style proved insufficient to ensure a performance. The premiere of the Third Symphony was scheduled to take place in Moscow but then postponed. It was said that the composer himself had discovered a number of ‘errors’ during the rehearsals, and that this had brought on his decision not to present the work in public. Whether this was a case of genuine self-criticism, apprehensive self-censorship or official pressure cannot be proved; but it seems scarcely coincidental that the same fate had recently befallen his Cello Concerto. At any rate, Weinberg returned to the score ten years later, cutting redundant material and recomposing episodes, especially in the outer movements. The revised version was premiered on 23 March 1960 in the Great Hall of Moscow Conservatoire, performed by the All-Union Radio and Television Symphony Orchestra, conducted by Alexander Gauk.

In terms of craftsmanship Weinberg’s first movement represents a considerable advance on its counterpart in the First Symphony. The harmonic language is now more stable, while considerable agility of thought is shown as the initial accompanying figure becomes thematic in its own right. Greater transparency of texture also helps to keep the central development section moving on, so that the entire structure gains a more satisfying overall contour. Among the passages that were apparently rewritten in 1959 is the mysterious Adagio coda.

The Scherzo, originally placed third but then swapped with the slow movement, is more conflictive and grapples impressively with the age-old problem of how to reconcile folk material with symphonic argument. It too has an unexpected ending, which in this case pretends to add an ethereal version of the main theme before dismissing the idea with a smile.

After all this energetic tussling, the relatively calm slow movement – folk-like both in its melodic turns and in its variable metre – seems to have more modest ambitions, until it takes a darker course towards an intense climax at the point of restatement.

The Allegro molto finale makes considerable efforts to balance its more or less obligatory positive, heroic elements with metamorphoses of material from previous movements that is associated with darker expressive worlds. Its generally unsettled character is unlike anything in Weinberg’s other ethnically tinged works from this time, perhaps in deference to the implicit demands of the symphonic genre. As in the Scherzo, the much-revised ending is a complex affair, at first suggesting a cyclic return to the opening of the first movement but then shying away into something much more stoical and personal.

Programme note © David Fanning

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THE PERFORMERSMirga Gražinytė-Tyla

Conductor

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. 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.

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

Mirga 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 led the Metropolitan Opera Orchestra in her Carnegie Hall debut in May of 2018.

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.

An exclusive Deutsche Grammophon Artist since 2018, her first album on the yellow label features Symphony No.2 for string orchestra and Symphony No.21 Kaddish, by the Polish composer Mieczysław Weinberg, recorded with Gidon Kremer, the CBSO and Kremerata Baltica, and released in May 2019 to coincide with celebrations of the composer’s centenary. Mirga was nominated for a GRAMMY and the album received numerous accolades from the press and was awarded with a Grammophone Award at the Grammophone Classic Music Awards as well as as an Opus Klassik Award in 2020. On her next release, Mirga went on to present music by her compatriot Raminta Šerkšnytė with the Lithuanian National Symphony Orchestra, Vilnius Municipal Choir and Kremerata Baltica followed by an album of works by British composers with the CBSO as the orchestra celebrated its Centenary in 2020.

Mirga 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.

Photo © Frans Jansen

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Karen Cargill

Mezzo Soprano

Scottish mezzo-soprano Karen Cargill studied at the Royal Conservatoire of Scotland and was named winner of the 2002 Kathleen Ferrier Award.

Recent highlights include La Damnation de Faust for Deutsches Symphonie-Orchester Berlin and Robin Ticciati; Elgar’s Sea Pictures with Danish National Radio Symphony Orchestra and Thomas Sondergard; Bach’s B minor Mass for Philadelphia Orchestra and Yannick Nézet-Séguin; and Judith in Bartók’s Bluebeard’sCastle for both Opera North and Sian Edwards, and London Symphony Orchestra and Sir Simon Rattle.

Future plans include appearances with the Scottish Ensemble, the Royal Scottish National Orchestra, the Deutsches Sinfonie-Orchester Berlin, the Orquestra de la Comunitat Valenciana, and Orchestre de la Suisse Romande. On the opera stage, Karen will be returning to Scottish Opera and Glyndebourne Festival.

Karen regularly sings with the Boston, Cleveland, Philadelphia, Chicago, Rotterdam and Berlin Philharmonic Orchestras, Dresden Staatskapelle, London Symphony and Philharmonic Orchestras, Bavarian Radio Symphony Orchestra, Danish Radio Sympohony

Orchestra and the Royal Concertgebouw Orchestra working with conductors including Donald Runnicles, Yannick Nézet-Séguin, Bernard Haitink, Sir Simon Rattle, Daniele Gatti, Esa-Pekka Salonen, Daniel Harding, Robin Ticciati, Edward Gardner, Mariss Jansons and Mirga Gražinytė-Tyla.

Opera highlights have included appearances at the Royal Opera, Covent Garden; Metropolitan Opera, New York; Deutsche Oper Berlin; Montpellier Opera; Glyndebourne Festival and Edinburgh Festival, with roles including Waltraute in Götterdämmerung; Erda in Das Rheingold and Siegfried; Brangaene in Tristan and Isolde; Mère Marie inDialoguesoftheCarmelites and Judith in Bluebeard’sCastle. Karen appears regularly at the BBC Proms and the Edinburgh International Festival.

Highlights with her regular recital partner Simon Lepper include appearances at Wigmore Hall London, the Concertgebouw Amsterdam, Kennedy Centre in Washington and Carnegie Hall, as well as regular recitals for BBC Radio 3. With Simon she recently recorded a critically acclaimed recital of lieder by Alma and Gustav Mahler for Linn Records for whom she has also recorded Berlioz’s Les nuits d’été and LamortdeCléopâtrewith Robin Ticciati and the Scottish Chamber Orchestra.

In July 2018 Karen was awarded an Honorary Doctorate from the Royal Conservatoire of Scotland. She is also Patron of the National Girls’ Choir of Scotland.

Photo © Nadine Boyd Photography

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CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

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

Based in Symphony Hall, Birmingham, in a normal year the orchestra performs over 150 concerts each year in Birmingham, the UK and around the world, playing music that ranges from classics to contemporary, fi lm music and even symphonic disco. With a far-reaching community programme and a family of choruses and ensembles, it is involved in every aspect of music-making in the Midlands. But at its centre is a team of 75 superb professional musicians, and a 100-year tradition of making the world’s greatest music in the heart of Birmingham.

That local tradition started with the orchestra’s very fi rst symphonic concert in 1920 – conducted by Sir Edward Elgar. Ever since then, through war, recessions, social change and civic renewal, the CBSO has been proud to be Birmingham’s orchestra. Under principal conductors including Adrian Boult, George Weldon, Andrzej Panufnik and Louis Frémaux, the CBSO won an artistic reputation that spread far beyond the Midlands. But it was when it discovered the young British conductor Simon Rattle in 1980 that the CBSO became internationally famous – and showed how the arts can help give a new sense of direction to a whole city.

Home and Away

Rattle’s successors Sakari Oramo (1998-2008) and Andris Nelsons (2008-15) helped cement that global reputation, and continued to build on the CBSO’s tradition of fl ying the fl ag for Birmingham. As the only professional symphony orchestra based between Bournemouth and Manchester, the orchestra tours regularly in Britain – and much further afi eld. The CBSO has travelled to Japan and the United Arab Emirates in previous seasons, and in December 2016 made its debut tour of China. And its recordings continue to win acclaim. In 2008, the CBSO’s recording of Saint-Saëns’ complete piano concertos was named Best Classical Recording of the last 30 years by Gramophone.

Now, under the dynamic leadership of Mirga Gražinytė-Tyla, Associate Conductor Michael Seal and Assistant Conductor Jaume Santonja Espinós, the CBSO continues to do what it does best – playing great music for the people of Birmingham and the Midlands.

Meet the Family

The CBSO Chorus – a symphonic choir made up of “amateur professionals”, trained by Simon Halsey CBE – is famous in its own right. The CBSO Children’s Chorus and Youth Chorus showcase singers as young as six. Through its unauditioned community choir – CBSO SO Vocal in Selly Oak – the CBSO shares its know-how and passion for music with communities throughout the city. The CBSO Youth Orchestra gives that same opportunity to young instrumentalists aged 14-21, off ering high-level training to the next generation of orchestral musicians alongside top international conductors and soloists.

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

Photo © Ben Ealovega

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VIOLIN IAnia SafonovaJonathan Martindale *Doriane GablePhilip BrettColin TwiggJane Wright Mark Robinson #

Julia Åberg *Elizabeth Golding #

Ruth Lawrence * #

Kirsty Lovie *Colette Overdijk *Stefano Mengoli *Catherine Chambers

VIOLIN IIPeter Campbell-Kelly *

#

Moritz Pfister Catherine Arlidge *

#

Amy Jones * #

Sophie PhillipsCharlotte Skinner *Heather Bradshaw *

#

Gabriel Dyker * #

Bryony Morrison *Timothy BirchallGeorgia Hannant *Wendy Quirk

VIOLAChris Yates *

#

Adam Romer * #

Michael Jenkinson * #

Angela Swanson #

Catherine Bower * #

David BaMaung *Elizabeth Fryer *

#

Amy Thomas #

Jessica Tickle *Cheryl Law

CELLOEduardo Vassallo *

#

David Powell * #

Kate Setterfield * #

Miguel Fernandes *Jacqueline Tyler *

#

Helen Edgar * #

Catherine Ardagh-Walter * #

Joss Brookes

DOUBLE BASSAnthony Alcock *Julian Atkinson *

#

Damián Rubido GonzálezJeremy WattMark Goodchild *#

Julian Walters * #

FLUTEMarie-Christine Zupancic *

#

Veronika Klirova *

PICCOLOHelen Benson

OBOEKyeong Ham Emmet Byrne *

COR ANGLAISRachael Pankhurst *

CLARINETOliver Janes *Jillian Allan

E FLAT CLARINETJoanna Patton *

#

BASS CLARINETMark O’Brien *

BASSOONNikolaj Henriques *

Cerys Ambrose-Evans

CONTRABASSOONMargaret Cookhorn *

HORNElspeth Dutch *

#

Oliver JohnsonMark Phillips *

#

Jeremy Bushell *Fabian van de GeestJack SewterMartin Wright #

TRUMPETJonathan Holland *

#

Jonathan Quirk * #

Tim Barber

TROMBONERichard Watkin * Anthony Howe *#

BASS TROMBONEDavid Vines *

#

TUBAGraham Sibley *

#

TIMPANIMatthew Hardy *

PERCUSSIONAdrian Spillett *

#

Andrew Herbert *Danny MartinezSophie Hastings

ORGANJulian Wilkins

HARPKatherine Thomas *

PIANO/CELESTEJames Keefe

# Recipient of the CBSOLongServiceAward

* Supported player

List correct as at 21 June 2021

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

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

City of Birmingham Orchestral Endowment Fund

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

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

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

Jerry Sykes

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

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

Charitable TrustWolfson Foundation

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

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

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

£100,000+Alison and Jamie Justham

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

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

concert programming (*Catherine Ardagh-Walter)

£25,000+Sir Dominic and Lady Cadbury

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

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

Dolores (*Richard Blake)

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

(*Peter Campbell-Kelly)Gill and Jonathan Evans

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

Charitable TrustLen Hughes and Jacquie Blake

(*Anthony Alcock)Sue and Graeme Sloan

and our other anonymous supporters.

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

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

Charlie and Louise Craddock (*Kirsty Lovie)

Mike and Tina Detheridge (*Andrew Herbert)

The ENT ClinicDuncan Fielden and Jan Smaczny

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

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

(*David BaMaung)

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

Carole McKeown and David Low (*Miguel Fernandes)

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

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

(*Julian Atkinson)Robert PerkinGraham Russell and Gloria Bates

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

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

(*Catherine Bower)

and our other anonymous supporters.

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

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

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

(*Mark O’Brien)Michael Bates

The Sound of the Future is a £12.5m fundraising campaign – launched to mark the CBSO’s centenary – which will ensure the orchestra’s recovery from the pandemic and redefi ne its future for the benefi t of everyone across Birmingham and the West Midlands.

THANK YOU

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

(*Julia Åberg)Helen Chamberlain in memory of Allan Chamberlain (*Sally Morgan)

Gay and Trevor Clarke (*Bryony Morrison)

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

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

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

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

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

(*Joanna Patton)Alan Titchmarsh MBE

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

Jack Field (*Michael Jenkinson)Richard and Emma Yorke

and our other anonymous supporters.

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

and our other anonymous supporters.

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

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

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

and our other anonymous supporters.

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

Dr J Dilkes and Mr K A Chipping and family

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

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

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

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

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

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

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

and our other anonymous supportersand our Friends.

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

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

SmithIsabel ChurcherThe late Colin W Clarke

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

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

and our other anonymous donors.

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

* Player supporter

Creditscorrectasof9June2021

Get closer to the music, the orchestra and its musicians – we’d love you to be part of it.

Joining as a member will not only provide vital support to help the CBSO recover from the Covid crisis but your gift will also be matched pound for pound thanks to the generous support of a CBSO member of our campaign board.

Visit cbso.co.uk/membership for more information and to join online.

To make a donation, to join us as a member or for more information on the many ways by which you can support the CBSO, please visit cbso.co.uk/support-us

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Corporate Partners

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

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

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

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

Supporter of Schoolsʼ Concerts

Public Funders

www.prsformusicfoundation.com

G lobe f l ow

Partners in Orchestral Development

William King Ltd

THANK YOU The support we receive from thousands of individual donors, public funders, businesses and private foundations allows us to present extraordinary performances and to create exciting activities in schools and communities. Your support makes such a diff erence and is much appreciated.

For more information on how your organisation can engage with the CBSO, please contact Simon Fairclough, CBSO Director of Development, on 0121 616 6500 or sfairclough@cbso.co.uk

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

Education Partners

In-kind supporters

Funders

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

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

Player Nominated Trustees Elspeth Dutch Helen Edgar

Additional Player Representative Margaret Cookhorn

Hon Secretary to the Trustees Mark Devin

CBSO DEVELOPMENT TRUST Chair Chris Loughran DL

Trustees Charles Barwell OBE Gordon Campbell Wally Francis John Osborn CBE David Pett

Hon Secretary to the Trustees John Bartlett

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

Honorary Medical Advisors:

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

Professor Sir Keith Porter. Consultant, University Hospitals Birmingham

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

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

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

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

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

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

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

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

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA