visions of england

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VISIONS OF ENGLANDSymphony Hall, Birmingham Wednesday 9 June 2021, 2.00pm & 6.30pm

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Michael Seal – Conductor

Ian Bostridge – Tenor

Britten Nocturne 27’

Arnold Symphony No.5 31’

England’s dreaming… Benjamin Britten loved poetry, and his Nocturne summons the magic of a summer night to weave something wondrously rich and strange. No one alive sings this music better than Ian Bostridge – a tenor who charges everything he performs with drama – and it’s merely the prelude to the soaring melodies, gleaming colours and raw, heart-on-sleeve emotion of Malcolm Arnold’s magnificent Fifth Symphony. An online poll recently voted it one of the greatest of all British symphonies, but the best way to judge is to hear it for yourself – performed live by the CBSO and with Micheal Seal, a conductor who believes in it, heart and soul. Join us, and discover a masterpiece by a composer born 100 years ago.

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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Benjamin Britten (1913-76)

Nocturne for tenor solo, seven obbligato instruments and strings, Op.60

On a poet’s lips I slept – Very slow and soft

Below the thunders of the upper deep – Majestic

Encinctured with a twine of leaves – Slow waltz

Midnight’s bell goes ting, ting, ting – Very slow and soft

But that night when on my bed I lay – Steady march

She sleeps on soft, last breaths – Slow and regular

What is more gentle than a wind in summer? – Quick

When most I wink, then do mine eyes best see – Slow

Britten commented that he found dreams ‘strange and remote’; in Nocturne he explored them through an anthology of poems evoking their differing manifestations, be they fantastical or nightmarish, or self-revelatory, or consoling. Scored for tenor solo, seven obbligato instruments, and strings, Nocturne was commissioned for the Leeds Centennial Festival of 1958 and received its premiere on 16 October that year, performed by Peter Pears and the BBC Symphony Orchestra conducted by Rudolf Schwarz. The dedicatee was Alma Mahler.

The music is continuous and the texts not always self-contained, as several times Britten chose excerpts from longer poems. Binding the setting is a string ritornello (recurring passage) whose lulling character suggests not only slipping into slumber, but also the wakeful moments when dreams drift one into another. The tenor’s melodic line is often like an arioso, and tonally the music is in a state of flux between C and D flat major; Britten handles the tension between them in consummate fashion.

Over the omnipresent ritornello, the tenor sings lines from Shelley’s Prometheus Unbound. Britten described to his friend Donald Mitchell the importance he attached to dreams in the creative process and this is reflected here by the choice of text. At the words ‘nurseings of immortality’, the soloist has a rapt melismatic phrase that becomes a significant motif in the work.

The first obbligato instrument to be heard is the bassoon, its writhing melodic line vividly portraying the fearful monster of the deep, the Kraken, described in Tennyson’s eponymous poem. Over a ground bass, the strings punctuate the words with disjointed pizzicato and sinister trills. The final image of the Kraken dying on the surface of the ocean is eerily evoked by the bassoon playing in its highest register.

Coleridge left only the opening lines of a poem entitled The Wanderings of Cain with its lithe, graceful images of the ‘lovely Boy … plucking fruit’. These are realised in a slow, delicate waltz, the harp’s roulades derived from the tenor’s melody. With the lilt of the ritornello never far away, Britten exploits the onomatopoeic possibilities of the excerpt from Middleton’s Blurt, Master Constable. Voice and horn vividly evoke the sights and sounds of the poetry: the midnight bell, dogs howling, crickets hopping, and the mewing of cats.

The Wordsworth text comes from Book X of The Prelude. With an undercurrent of menacing timpani, this is the world of broken sleep, nightmarish fantasies and the fear of irrational, unstoppable forces. Significantly for a text dwelling on the horrors of the French Revolution and the September massacres, there is no hint of the soothing ritornello anywhere; instead at the climax the tenor launches into an anarchical march, the beating hooves of the horse reminiscent of Tarquinius’ ride in Britten’s opera The Rape of Lucretia.

In Owen’s The Kind Ghosts, the ‘she’ of the poem is a symbol for Britannia, who complacently accepts the doom of her young men for supposed succour of the nation. The cor anglais’ melancholic threnody weaves its way against hollow emotionless pizzicato chords. For the opening lines of Keats’ Sleep and Poetry, the strings are silent, leaving the filigree decorations of flute and clarinet to accompany the tenor’s mellifluous, airy melody. Magically the strings suddenly reappear on the word ‘sleep’ with a crystal-clear C major chord. As the ritornello returns, the tenor’s melisma heard from the Shelley setting returns, then all the obbligato instruments quietly outline a major third on D flat to ravishing effect.

Britten leaves his most powerful setting, Shakespeare’s Sonnet 43, with its affirmation of human love, until last. Against the richness provided by all the obbligato instruments, the string writing becomes impassioned and the wide, expressive melodic line overtly Mahlerian. As the tenor finally finds ‘heavy sleep’, the ritornello fades; C major and D flat major are fused as the poet is entwined with the beloved in dreams.

Programme note © Andrew Burn

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1. On a poet’s lips I slept

On a poet’s lips I sleptDreaming like a love-adeptIn the sound his breathing kept;Nor seeks nor finds he mortal blisses,But feeds on the aëreal kissesOf shapes that haunt thought’s wildernesses.He will watch from dawn to gloomThe lake-reflected sun illumeThe yellow bees in the ivy-bloom,Nor heed nor see, what things they be;But from these create he canForms more real than living man,Nurslings of immortality!

From ‘Prometheus Unbound’ by Percy Bysshe Shelley

2. Below the thunders of the upper deep

Below the thunders of the upper deep;Far, far beneath in the abysmal sea,His ancient, dreamless, uninvaded sleepThe Kraken sleepeth: faintest sunlights fleeAbout his shadowy sides: above him swellHuge sponges of millenial growth and height;And far away into the sickly light,From many a wondrous grot and secret cellUnnumber’d and enormous polypiWinnow with giant arms the slumbering green.There hath he lain for ages and will lieBattening upon huge seaworms in his sleep,Until the latter fire shall heat the deep;Then once by man and angels to be seen,In roaring he shall rise and on the surface die. From ‘The Kraken’ by Alfred, Lord Tennyson

3. Encinctured with a twine of leaves

Encinctured with a twine of leaves,That leafy twine his only dress!A lovely boy was plucking fruits,By moonlight, in a wilderness.The moon was bright, the air was free,And fruits and flowers together grewOn many a shrub and many a tree:And all put on a gentle hue,Hanging in the shadowy airLike a picture rich and rare.It was a climate where, they say,The night is more beloved than day.But who that beauteous boy beguil’dThat beauteous boy to linger here?Alone, by night, a little child,In place so silent and so wild –Has he no friend, no loving mother near? From ‘The Wanderings of Cain’ by Samuel Taylor Coleridge

4. Midnight’s bell goes ting, ting, ting

Midnight’s bell goes ting, ting, ting, ting, ting,Then dogs do howl, and not a bird does singBut the nightingale, and she cries twit, twit, twit;Owls then on every bough do sit;Ravens croak on chimneys’ tops;The cricket in the chamber hops;The nibbling mouse is not asleep,But he goes peep, peep, peep, peep, peep;And the cats cry mew, mew, mew,And still the cats cry mew, mew, mew. From ‘Blurt, Master Constable’ by Thomas Middleton

5. But that night when on my bed I lay

But that nightWhen on my bed I lay, I was most mov’dAnd felt most deeply in what world I was;With unextinguish’d taper I kept watch,Reading at intervals; the fear gone byPress’d on me almost like a fear to come;I thought of those September Massacres,Divided from me by a little month,And felt and touch’d them, a substantial dread:The rest was conjured up from tragic fictions,And mournful Calendars of true history,Remembrances and dim admonishments.“The horse is taught his manage, and the windOf heaven wheels round and treads in his own steps,Year follows year, the tide returns again,Day follows day, all things have second birth;The earthquake is not satisfied all at once.”And in such way I wrought upon myself,Until I seem’d to hear a voice that criedTo the whole City, “Sleep no more.” From ‘The Prelude, Book X’ by William Wordsworth

6. She sleeps on soft, last breaths

She sleeps on soft, last breaths; but no ghost looms Out of the stillness of her palace wall,Her wall of boys on boys and dooms on dooms.

She dreams of golden gardens and sweet glooms,Not marvelling why her roses never fallNor what red mouths were torn to make their blooms.

The shades keep down which well might roam her hall.Quiet their blood lies in her crimson roomsAnd she is not afraid of their footfall.

They move not from her tapestries, their pall,Nor pace her terraces, their hecatombs,Lest aught she be disturbed, or grieved at all.

From ‘The Kind Ghosts’ by Wilfred Owen

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7. What is more gentle than a wind in summer?

What is more gentle than a wind in summer? What is more soothing than the pretty hummer That stays one moment in an open flower, And buzzes cheerily from bower to bower? What is more tranquil than a musk-rose blowing In a green island, far from all men’s knowing? More healthful than the leafiness of dales? More secret than a nest of nightingales? More serene than Cordelia’s countenance? More full of visions than a high romance? What, but thee Sleep? Soft closer of our eyes! Low murmurer of tender lullabies! Light hoverer around our happy pillows! Wreather of poppy buds, and weeping willows! Silent entangler of a beauty’s tresses! Most happy listener! when the morning blesses Thee for enlivening all the cheerful eyes That glance so brightly at the new sun-rise. From ‘Sleep and Poetry’ by John Keats

8. When most I wink, then do mine eyes best see

When most I wink, then do mine eyes best see,For all the day they view things unrespected;But when I sleep, in dreams they look on thee,And darkly bright, are bright in dark directed.Then thou, whose shadow shadows doth make bright,How would thy shadow’s form form happy showTo the clear day with thy much clearer light,When to unseeing eyes thy shade shines so?How would, I say, mine eyes be blessed madeBy looking on thee in the living day,When in dead night thy fair imperfect shadeThrough heavy sleep on sightless eyes

doth stay?All days are nights to see till I see thee,And nights bright days when dreams do show thee me. Sonnet 43 by William Shakespeare

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Sir Malcolm Arnold (1921–2006)

Symphony No.5, Op.74 Tempestuoso

Andante con moto

Con fuoco

Risoluto

This symphony is in four movements and is written for a normal symphony orchestra with the addition of a celesta. The four movements are divided into two pairs, the first thematically related to the third, and the second to the fourth. It will be noted that in the second movement, the composer is unable to distinguish between sentiment and sentimentality.

It’s hard to imagine a programme note that says less than Malcolm Arnold’s own description of his Fifth Symphony – or that hints at so much more. The Cheltenham Festival had been a powerful champion of Arnold’s generation of post-War British symphonists, but its commission for a new symphony could hardly have come at a worse time for Arnold. His marriage was disintegrating and, on 28 September 1959, he had heard of the sudden death of one of his closest friends, the cartoonist and musical comedian Gerard Hoffnung, at the age of 34. Arnold reacted as best he could: with strong drink and hard work. Between two film scores (On the Fiddle and Whistle Down the Wind ), he wrote the symphony at high intensity between March and May 1961.

Arnold himself conducted the premiere with the Hallé Orchestra at Cheltenham on 3 July 1961. The audience cheered it to the rafters, but at least one London critic was seen at the phone, filing his review, before the end of the second movement. The headline of the Richmond Times summed up the general critical response: “A Black Mark for Putting a Tune in a Symphony”. Tunes were out of fashion in the early 1960s; but as Arnold had grappled with his personal anguish, he had written a symphony full of them. “It’s got the two things I stand for,” wrote the composer to the broadcaster Anthony Hopkins. “Simplicity and melody.”

Powerfully-built, brilliantly orchestrated and intensely personal, none of Arnold’s nine symphonies is more eloquent or heartfelt than the Fifth – something that audiences sensed immediately, even as irony-deaf critics derided its “almost unbelievable banality”. By the time the CBSO recorded it under the composer’s own direction in 1972, Arnold was effectively beyond the pale of the UK’s musical Establishment – just as more sensitive ears were starting to hear the Fifth as one of the greatest British symphonies since Vaughan Williams. It has yet to be performed at the BBC Proms.

The desolate opening of the first movement sounds at odds with its Tempestuoso marking – but not for long. “Without wishing to sound morbid,” wrote Arnold, “the work is filled with memories of friends of mine who died young.” Moments of glistening tranquillity or eerie calm are repeatedly and violently shattered. Only as the movement sinks towards its close does Arnold give free rein to his sense of loss, paying tribute to his lost friends in a series of expressive solos: Jack Thurston (clarinet), Dennis Brain (horn) and Hoffnung himself (tuba).

“We all, in great emotional crises, express ourselves in the simplest of clichés” was how Arnold explained the glorious string melody that opens the Andante. The fact remains that few living British composers could have written such a tune – and that this haunting movement, grounded on the notes AB (musical code for the initials of Hoffnung’s widow Annetta, to whom Arnold was intensely close) is actually entirely sincere.

The brassy savagery of the scherzo is easier to read: at its centre, Arnold throws us a lopsided smile, with a quirky melody that could have come straight out of one of his English Dances. It ends badly; and the defiant drum-and-fife march that opens the finale signals the start of a fight-back against impossible odds. At the peak of the struggle, the heavens open, and the great tune from the Andante sweeps resplendently back in. Glorious triumph – or just wishful thinking? In a shocking final gesture, Arnold makes the answer chillingly clear.

Programme note © Richard Bratby

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THE PERFORMERSMichael SealConductor

Michael Seal is the Associate Conductor of the CBSO, a unique appointment which recognises his work as Assistant Conductor, and the special relationship he has built with the orchestra.

His in-depth knowledge of orchestras from an insider’s position (he was a violinist with the CBSO early in his career) gives him a unique perspective, and he quickly builds rapport and trust with the orchestras he works with. His energy and enthusiasm are infectious and he has built a reputation for outstanding results, delivered with great charm and often on a typically British tight rehearsal schedule.

Seal has worked with many of the UK’s finest orchestras, frequently being invited as guest conductor with the BBC orchestras and Royal Liverpool Philharmonic orchestras, as well as with the Academy of St Martin in the Fields, Bournemouth Symphony Orchestra, Royal Philharmonic Orchestra, Royal Scottish National Orchestra, London Philharmonic Orchestra and Ulster Orchestra.

Internationally, he has conducted the Brussels Philharmonic, Frankfurt Radio Symphony Orchestra, KBS Symphony Orchestra, Norwegian Radio Orchestra, Odense Symphony Orchestra, Joensuu City Orchestra, Orquesta Académica del Instituto Superior de Arte del Teatro Colón, Orquesta Filarmónica de Buenos Aires, Trondheim Symphony Orchestra and both RTÉ Concert and National Symphony Orchestras.

Seal has a special bond with the CBSO Youth Orchestra, conducting them on numerous occasions, and being involved with them since their foundation.

His love of opera led to critically-acclaimed performances of Puccini’s Il Trittico at the Birmingham Conservatoire. He has also assisted both Sakari Oramo and Andris Nelsons in opera performances of Peter Grimes, Carmen, Der Rosenkavalier, Lohengrin, Tristan & Isolde and The Flying Dutchman.

Ian BostridgeTenor Ian Bostridge’s international recital career takes him to the foremost concert halls of Europe, South East Asia and North America. In opera, he has performed Tamino in Mozart’s Die Zauberflöte, Jupiter in Handel’s Semele and Aschenbach in Britten’s Death in Venice at English National Opera, Quint in Britten’s The Turn of the Screw, Don Ottavio in Mozart’s Don Giovanni and Caliban in Adès’ The Tempest for the Royal Opera House, Covent Garden, title role in Jephtha for Opera de Paris, Don Ottavio at the Wiener Staatsoper, Tom Rakewell in Stravinsky The Rake’s Progress at the Bayerische Staatsoper, Munich, Aschenbach in Death in Venice for the Deutsche Oper and Quint at Teatro alla Scala, Milan.

Future highlights include a recital and lecture series for the University of Chicago, Des Knaben Wunderhorn with Barcelona Symphony and Marta Gardolińska, Britten’s War Requiem with Kent Nagano and the Tonhalle-Orchester Zürich and with Philippe Jordan and the San Francisco Symphony, Evangelist in St Matthew Passion for Teatro Regio Torino, Bajazet in Tamerlano in concert for the Moscow State Philharmonic, Winterreise with Sir Antonio Pappano at the Pierre Boulez Saal Berlin and further performances with jazz pianist Brad Mehldau of his composition for Ian, The Folly of Desire.

His many recordings have won all the major international record prizes and been nominated for 15 Grammys. Ian’s latest recording for Pentatone of Schubert’s Winterreise with Thomas Adès won the Vocal Recording of the Year 2020 in the International Classical Music Awards. He was awarded a CBE in the 2004 New Year’s Honours. In 2016, he was awarded the The Pol Roger Duff Cooper Prize for non-fiction writing for his latest book, Schubert’s Winter Journey: Anatomy of an Obsession.

Photo © Eric Richmond Photo © Sim Canetty-Clarke

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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 IZsolt-Tihamer VisontayPhilip BrettClare ThompsonColin TwiggJane Wright Elizabeth Golding #

Colette Overdijk *Ruth Lawrence *

#

Stefano Mengoli *Julia Åberg *Wendy QuirkRobert BilsonAdam HillJessica Coleman

VIOLIN IIPeter Campbell-Kelly *

#

Moritz Pfister Catherine Arlidge *

#

Amy Jones * #

Emma LisneyCharlotte Skinner *Timothy BirchallGabriel Dyker *

#

Georgia Hannant *Heather Bradshaw *

#

Bryony Morrison *Kate Lindon

VIOLAChris Yates *

#

Michael Jenkinson * #

Catherine Bower * #

Angela Swanson #

Amy Thomas #

Jessica Tickle *Elizabeth Fryer *

#

Cheryl LawIsobel AdamsMark Gibbs

CELLOTim GillDavid Powell *

#

Kate Setterfield * #

Miguel Fernandes *Catherine Ardagh-Walter *

#

Helen Edgar * #

Joss BrookesTalulah Yunkers

DOUBLE BASSAnthony Alcock *Julian Atkinson *

#

Jeremy WattSally Morgan *

#

Mark Goodchild *#

Julian Walters * #

FLUTEMarie-Christine Zupancic *

#

Veronika Klirova *

PICCOLOJennifer George

OBOEEmmet Byrne *Ilid Jones

COR ANGLAISRachael Pankhurst *

CLARINETOliver Janes *Joanna Patton *

#

BASSOONNikolaj Henriques *

Margaret Cookhorn *

HORNElspeth Dutch *

#

Oliver JohnsonMark Phillips *

#

Jeremy Bushell *Martin Wright #

TRUMPETJonathan Holland *

#

Neil FultonStephen MurphyJonathan Sheppard

TROMBONERichard Watkin * Anthony Howe *#

BASS TROMBONEDavid Vines *

#

TUBAGraham Sibley *

#

TIMPANIMatthew Hardy *

PERCUSSIONAdrian Spillett *

#

Andrew Herbert *

HARPKatherine Thomas *

CELESTEBen Dawson

# Recipient of the CBSO Long Service Award

* Supported player


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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)


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


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


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


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 [email protected]

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-HuckleCo-Librarian William Lucas

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†


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