Music Stand: Winter 2022

Photo © Chris Lee

WELCOME

world. At a time when funding for the arts is a contentious issue (especially in the context of the government’s Levelling Up agenda), we are very grateful to Arts Council England for including us once again in their National Portfolio for 2023-26: albeit this is at a funding level which has been pretty much flat for a decade and a half, and is therefore especially challenging when inflation is so high.

As well as new music, we are also looking forward to welcoming other new beginnings: our new Section Leader Trumpet, a new conductor for SO Vocal, and the exciting new Shireland CBSO Academy, which opens in Sandwell next September (see pp.6 7).

INVESTING IN AMBITION, TALENT & HOPE

The impact and legacy of the CBSO’s Centenary Commissions 2

SHIRELAND CBSO ACADEMY UPDATE

Bringing opportunity and creativity to Sandwell and the West Midlands 6

GOING SOLO

CBSO musicians talk about their experiences of stepping into the spotlight 8

COAST TO COAST

Welcome to the Winter 2022 edition of Music Stand As always, I hope that reading through this magazine will encourage you to come to Symphony Hall (and perhaps some of the other places that the CBSO can be found) as often as possible over the coming months. The CBSO family is now as busy as ever, and there is so much to look forward to.

So far this season we have heard a number of wonderful performances in Birmingham, and the Orchestra has also completed a highly acclaimed tour of the USA – our first coast-tocoast tour there in nearly a quarter of a century. You can read about our players’ tour highlights on pp.10 13.

There is also a fascinating round-up by Richard Bratby (pp.2 4) of our CBSO Centenary Commissions, the last of which will be presented to you between now and Summer 2023. This has been such a massive undertaking – 20 large-scale new works from established composer, and 20 short pieces from emerging composers – and demonstrates once again why the CBSO is always regarded as one of the most forwardthinking and innovative orchestras in the

One departure we have recently announced is my own: after 23 and a half years as Chief Executive, I will be leaving the CBSO next April to become Principal at Royal Birmingham Conservatoire. feel very lucky to have been able to enjoy this role for so many years, and I plan to hand the organisation on to my successor in the best possible state: recovered from Covid in most respects, with a brilliant new Chief Conductor starting his tenure, a full diary of work, confirmed funding in place for the next few years and the new school about to open its doors. And I very much hope that in my new role I will be able to help develop even stronger connections between the CBSO and other key Birmingham music institutions.

But that is still some months away! In the meantime, I hope to see as many of you as possible at concerts and other events. From Kazuki conducting the Planets to Eugene’s Nielsen, to our traditional Christmas celebrations, there is so much to look forward to. Happy listening!

The 2022 US Tour has been a great success – for music, for the Orchestra and for Great Britain 10

LEARNING & ENGAGEMENT ROUND UP

The CBSO reaches beyond the concert hall to connect with young and old alike 14

CBSO PEOPLE

Joiners and leavers 16

MEMBERS’ NEWS

An update especially for Members 18

THANK YOU TO OUR MEMBERS

The music sounds better with you 18

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Stephen Maddock OBE

CBSO Chief Executive

INVESTING IN AMBITION, TALENT & HOPE

A CELEBRATION OF THE CBSO’S CENTENARY COMMISSIONS

In October 2022, Mirga and the orchestra toured Thomas Adès’ Exterminating Angel Symphony (premiered in Symphony Hall in August 2021) to cheering audiences across the USA; Thea Musgrave’s Trumpet Concerto (July 2019), Unsuk Chin’s SPIRA (January 2020), and Anna Thorvaldsdottir’s Catamorphosis (June 2022), to name just three, have already been performed around the globe.

Sharp-eyed (and -eared) CBSO followers will note a couple of Birmingham connections among those four pieces – though none, perhaps, as self-evident as the Five Polish Folksongs (March 2023) that Roxanna Panufnik adapted for the CBSO’s Youth and Children’s Choruses from works by her father Sir Andrzej Panufnik, the CBSO’s Chief Conductor from 1957 to 1959.

CBSO’S CENTENARY COMMISSIONS OFFER 20 REASONS WHY, A CENTURY ON, THIS CITY IS STILL CLASSICAL MUSIC’S WORKSHOP OF THE WORLD. ON 29 JANUARY, WE’LL BE FIRING UP THE FURNACES ALL OVER AGAIN. ..”

Adès had his first big orchestral break with a CBSO commission (Asyla) in 1997; now he’s written his first full-scale symphony for the CBSO, and international interest has been keen. Thea Musgrave is a living giant of British music who also scored an earlycareer success in 1968 with her Concerto for Orchestra – a Feeney Trust commission for the CBSO. Chin and Thorvaldsdottir, meanwhile are both major international names; artists that any orchestra would aspire to commission. The CBSO joined forces with (among others) the Berlin Philharmonic, New York Philharnonic and Orchestre de Paris to commission these composers – exactly the kind of company that one would expect the CBSO to keep.

None of this, in other words, happened by accident. “There’s always a bit of happenstance” says CBSO Chief Executive Stephen Maddock “I regularly meet with publishers anyway. I asked about Anna Thorvaldsdottir’s music because I’d really enjoyed what I’d heard of hers. And they said, ‘Look, we’ve got a piece that she’s doing for the Berlin Phil and New York Phil. Would you like to be part of that?’ That was the easiest decision that I ever made. And it’s a great piece”.

But certain basic principles guided the choice of composers. Naturally, there was a 50:50 gender split among the commissioned composers. And the aim was always to involve the whole CBSO “family” of ensembles: making a project like Brett Dean’s massive choral work In this Brief Moment (September 2022) an

CBSO IS HUGELY GRATEFUL TO THE JOHN ELLERMAN FOUNDATION AND THE FEENEY TRUST FOR SUPPORTING OUR CENTENARY COMMISSIONS

for performance in Australia. “I mean, it’s a really big undertaking” says Maddock. “My god, the chorus sweated blood to do it. But I saw one of the older baritones as I was walking home yesterday, and he said: ‘I have to tell you, I’m just so pleased we did that.’”

Grace-Evangeline Mason’s My Thoughts Fly In at Your Window (October 2020) was tailored to the Centre Stage chamber series at CBSO Centre, and is already finding a place on chamber programmes around the UK as a companion piece to its inspiration, Schubert’s Octet. Debbie Wiseman’s Carnival of the Endangered Animals (October 2021) was premiered in a Family Concert and looks set to delight listeners of all ages for years to come: a ready-made answer to the eternal concert-planner’s question of how to follow Saint-Saëns’ evergreen Carnival Stef Conner wrote Stella Maris (December 2019) as a Christmas present for the Selly Oak-based community choir SO Vocal; Bergrun Snaebjornsdottir is currently completing a showpiece for the CBSO Youth Orchestra for premiere in

On 10 November 1920, when Sir Edward Elgar conducted the City of Birmingham Orchestra in its first concert as a full symphony orchestra, not a single piece on the programme was more than ten years old. By any standards, it was a bold move – in fact, one of the three pieces that Elgar conducted that night was barely more than a year old. Its premiere in London, the previous October, had been coolly received. In Birmingham, all the evidence shows that this difficult, challenging and unfamiliar new piece was warmly applauded. Which just goes to show: the work in question was Elgar’s Cello Concerto.

Commissioning and playing new music is always something of a gamble, demanding imagination, open-mindedness and (as Elgar himself once put it) a “massive hope for the future”. Above all, it’s an investment in talent, and it’s been part of the CBSO’s

DNA since the first weeks of its existence. Whether it’s Holst’s Egdon Heath, Tippett’s Piano Concerto, Britten’s War Requiem or Thomas Adès’ Asyla, major premieres have punctuated the CBSO’s history. When the orchestra marked its Centenary in 2020, there was never any doubt that an ambitious programme of commissioning and premiering new music would be at the heart of the celebrations.

And ambitious is certainly the word: the plan was that over two Seasons, with support from the John Ellerman Foundation and the Feeney Trust, and other funders, the CBSO would give World or UK Premieres of no fewer than 20 Centenary Commissions by 20 of the most significant composers in the world today. And then, on top of that, it would offer an opportunity to 20 equally diverse emerging composers: to write a short piece for full orchestra, to be premiered as an encore during the celebration period. 40 premieres in all: an

almost unprecedented commitment to the future of music from a major symphony orchestra. And then… well, we all know that 2020 and 2021 didn’t exactly work out the way anyone expected. But the commissions went ahead anyway. The pace was slower than planned; there were cancellations, re-schedulings and performances given to socially-distanced audiences. You probably don’t need reminding.

Would the Centenary Commissions have drawn more attention if the original centenary plans hadn’t succumbed to Covid? Almost certainly. But the simple fact remains that the music was written, the music was played and the CBSO is now approaching the end of a landmark commissioning programme on a historic scale. That demands a celebration in its own right, not least because all the signs are that some of the Centenary Commissions are already entering the international concert repertoire.

Just some of our Centenary Commission composers: (left to right) Dani Howard, Thomas Adès, Thea Musgrave, Mark-Anthony Turnage, Brett Dean, Roxanna Panufnik, Unsuk Chin, Anna Thorvaldsdottir, Bent Sorensen.

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Sometimes, though, it’s just good to reconnect with old friends. Birmingham favourite Jonathan Dove composed In Exile a powerful song cycle for baritone Sir Simon Keenlyside and cellist Raphael Wallfisch (December 2021). From Jörg Widmann, a former Artist in Residence, came the song cycle Das heisse Herz

(December 2019), while another favourite collaborator, the pioneering harpsichord virtuoso Mahan Esfahani came to the CBSO with a proposal for a magical new concerto from the Danish composer Bent Sorensen (April 2022). “I just said yes straight away” says Maddock, whose one regret is that the pandemic frustrated a plan for a new choral work from Master of the King’s Music (and former CBSO Composer-in-Association) Judith Weir. But both of the CBSO’s other composers-in-association have contributed something to the festivities: Julian Anderson with the cello concerto Litanies (June 2021), and Mark-Anthony Turnage with the ebullient concert opener Go for It (September 2021).

“I asked Mark, ‘Could you do us something? And if you want to reflect on your time in Birmingham, that would be very nice’” recalls Maddock. “He just ran with it. It’s classic Turnage – an absolutely brilliant, condensed version of his language in an eight-minute concert opener. Just a joyful, riotous, fun piece. Honestly, it should be played by everyone! The Centenary Commissions took a lot of my time to plan, and the players have had to work very hard. But I think they’re all useful pieces in different ways. That was the other intention really: partly so that we could have a series

of beautiful things, made just for us. But also to try to add to the stock of worthwhile pieces in the concert repertoire. From my point of view, we’ve definitely had more hits than misses”.

And they’re not over yet – in fact, that isn’t even the half of it. At the time of writing, 15 of the 20 large-scale commissions have been premiered by the CBSO: works by Dani Howard (whose recent trombone concerto has caused a minor sensation), Freya Waley-Cohen and the Third Symphony (A Line Above the Sky) by the Austrian composer Thomas Larcher are all slated for the current season. And then, on Sunday 29 January, the CBSO takes this astonishing list and doubles it at a stroke. Remember those 20 encore commissions from 20 emerging composers, that were meant to be scattered like sonic Easter Eggs throughout the two centenary seasons? The best-laid plans, and all that. Instead, all 20 will be played (19 of them for the first time) in one bumper afternoonlong exploration of all that’s brightest, most imaginative and most vital in the next generation of orchestral composers.

CBSO WELCOMES NEW CONDUCTOR LUCY HOLLINS

Lucy Hollins is a conductor, animateur and presenter. Having studied in Birmingham and won several prestigious prizes in the UK and Canada, her leadership experience ranges across vocal and instrumental music-making with professional, amateur, youth and adult ensembles at the very highest level of each.

“I’m so delighted to be joining the CBSO family!”, says Lucy, who joins the team in November. “Being part of a team in which music brings people together and allows them to shine is a wonderful thing. Musical communities are very happy places to be – and they truly are a place where everyone belongs.”

SOUNDS

Chloe Knibbs

Kristina Arakelyan

Tyriq Baker

Stephane Crayton

Ryan Latimer

Florence Anna Maunders

Bethan

Morgan-Williams Ben Nobuto

“We thought: OK, is it possible to reconfigure this in a different way? Anna Melville (CBSO Head of Artistic Planning) suggested “Let’s do them all on one day and make it a big thing – a real pilgrimage for lovers of new music.” That is what we’re doing on the 29 January. They’re 20 exciting new voices, they’re all fairly young, and they’re short, impactful, snapshot, four minute pieces in a huge and varied smorgasbord of brand new music.

“It’s a laboratory as well as a showcase”. And there’s every reason to expect a breakthrough: the names of these composers may be unfamiliar at present, though anyone with their ear to the ground in recent years will be interested to hear what Tyriq Baker, Ryan Latimer, Bethan Morgan Williams or Yfat Soul Zisso has to say.

And of course (it’s been said before, but it can’t be said often enough) there was a time when audiences (in London, anyway) thought Elgar’s Cello Concerto was something of an experiment. For the last 100 years, here in Birmingham, we’ve done things differently. The CBSO’s Centenary Commissions offer 20 reasons why, a century on, this city is still classical music’s workshop of the world. On 29 January, we’ll be firing up the furnaces all over again. Come to Symphony Hall, and witness the music of the present and the future being forged right here, and at white heat.

By Richard Bratby © 2022

ALL ABOARD!

COULD YOU BRING A COACH LOAD OF PEOPLE TO A CONCERT?

Over the years, the CBSO has been incredibly fortunate and is very grateful that amazing individuals have worked with us as ambassadors for the Orchestra helping to persuade people to attend our concerts by organising coach trips from areas outside of Birmingham where lack of public transport can be a barrier to attendance.

These people have given freely of their time and in doing so have brought (and continue to bring) many thousands of people into the hall who otherwise might not have been able to attend.

As we seek to rebuild our audiences post pandemic, we’d love to hear from anyone who feels that they might have the time and organisational skills to join this group of wonderful volunteers to set up a coach scheme that would bring groups of people into the city to see our concerts. To assist with this, we would explain how the schemes work, what ticket discounts are available and put you in touch with other coach organisers who can talk you through how they run theirs.

If this sounds like something you think you could do, then we’d love to hear from you.

For a friendly chat and to find out more please contact Jenny Bestwick, Communications Officer, by email at jbestwick@cbso.co.uk, or by phone on 0121 616 6500.

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“

Featuring: Clark Rundell Conductor

CBSO Commissions by:

Anna Appleby

Nathan James Dearden

Benjamin Graves

Millicent B James

Joel Järventausta

Laurence Osborn

Rakhi Singh Angela Elizabeth Slater Aileen Sweeney Liam Taylor-West Héloïse Werner Yfat Soul Zisso

CBSO ACADEMY

In the previous edition of Music Stand, we introduced you to Shireland CBSO Academy, a new secondary school for Sandwell and the West Midlands that is the result of an exciting partnership between the CBSO and Shireland Collegiate Academy Trust. The Academy will open in September 2023 with places for 150 Year 7 students and 60 Year 12 students and is for all students with a passion or talent for music; its students will study the full national curriculum through the lens of music, enabling them to develop the skills that music teaches so effectively, such as empathy, teamwork and self-discipline.

Over the last few months, preparations for the opening of the new academy have continued at pace: We officially marked the beginning of the construction work with a ground-breaking ceremony on the site of the new sports facilities. The event was attended by Stephen Maddock, Chief Executive of the CBSO, Sir Mark Grundy, CEO of Shireland Collegiate Academy Trust, David Green, Principal Designate of the

Academy, and representatives from construction company Galliford Try, Sandwell Music Service and Shireland Collegiate Academy Trust. The whole ceremony was fittingly accompanied by CBSO violinists Bryony Morrison and Charlotte Skinner, who marked their first ever performance on a building site!

Since the ceremony, staff from the CBSO and the Trust have been lucky enough to visit the site several times and take tours of the building to see the amazing progress that has been made to transform the former BT call centre into a state-of-the-art secondary school with outstanding facilities. On our latest visit, the auditorium and bright, naturally-lit atrium were taking shape and we could start to make out the layout of the corridors and large classrooms on the upper floors.

Aside from the impressive progress being made on the buildings, there has been an important focus on recruiting our first cohort of students, with Year 7 and 12 open evenings taking place, a round of auditions for our Year 7 music aptitude programme, visits to local primary schools and youth orchestras, and an extensive social media campaign to raise awareness of this fantastic new opportunity for the region’s students.

Principal Designate David Green said: “Meeting prospective students and their families has been one of the most rewarding parts of the job so far, with their positive and enthusiastic reaction to the development of the Academy demonstrating that we are providing an opportunity that people have been desperate for – a school that will allow our

young people to excel both academically and musically.”

“Along with our colleagues at the CBSO, we are working hard to ensure that the Academy is more than a hidden gem for those in the know; it is for everyone with a passion or talent for music and we are committed to the Academy representing the communities that it serves.”

“One of the nuances of opening an academy is that in preparation for its first year, potential applicants for Year 7 are not limited by the national application deadline of 31 October: Shireland CBSO Academy can accept applications directly via its website throughout the year so if you are only just hearing about the Academy, it isn’t too late to apply for a place and applying in this way won’t prejudice any other applications that you may have made.”

The Academy promises to immerse its students in music: For students in Year 7, they will follow the Trust’s ‘Literacy for Life’ curriculum during which they are taught by the same teacher for 17 hours per week, easing the transition from primary to secondary school. This curriculum is taught thematically and has been so successful that, together with Hodder Education, the Trust has supported other schools around the country using this model. This thematic approach is particularly conducive to music,

as it allows students to make links between music and their other subject disciplines; the Trust has taken expert advice as to how to make these connections from luminaries such as Dame Evelyn Glennie.

Every child attending the school will receive vocal or instrumental lessons each week and, in addition to the exceptional facilities at the Academy, will also benefit from masterclasses from CBSO musicians and its guest soloists and the opportunity to hear the orchestra in action at the inspiring Symphony Hall.

It is well-established that, particularly within non-selective state schools, as Shireland CBSO Academy will be, take-up of music qualifications is low, particularly at Sixth Form level. David said: “Our Sixth Form will provide a special opportunity for collaboration with others, with every student expected to study at least one music A Level or equivalent qualification. In many schools, even where music is offered, students often find themselves in very small groups but at Shireland CBSO Academy, they will be part of a cohort of 60 – 120 by the beginning of their second year – with all the benefits that this can bring.”

Last month, David and some of the team spent a few days at CBSO Centre to deepen their understanding of how the Orchestra works and all of the roles that support it. He

said: “We really enjoyed our time at CBSO Centre and it was an honour to hear the orchestra rehearse and meet so many people who, together, make the CBSO the force that it is. In the time that I’ve been working with the CBSO, I’ve been struck by how every single person I’ve met is passionate about supporting the Academy and its aims to widen music participation and demonstrate that music is a key part of an exceptional education. With the Academy and the CBSO working in partnership, I truly believe that we are on to something special.”

If you would like to find out more about the Academy, including how to apply, please visit our website: shirelandcbso.org.uk

Follow our story on social media: ShirelandCBSOAcademy

@ShirelandCBSO @ShirelandCBSO

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“… WE ARE PROVIDING AN OPPORTUNITY THAT PEOPLE HAVE BEEN DESPERATE FOR – A SCHOOL THAT WILL ALLOW OUR YOUNG PEOPLE TO EXCEL BOTH ACADEMICALLY AND MUSICALLY.”

(left) CBSO Musicians taking part in an open day to promote the new Academy. Photo @ Hannah Fathers

(above) Charlotte Skinnner and Bryony Morrison on site for the Ground Breaking Ceremony. Photo @ Andrew Fox

Bryony Morrison, Second Violin, Sir Mark Grundy, CEO of Shireland Collegiate Academy Trust, David Green, Principal Designate of the Academy, Stephen Maddock, Chief Executive of the CBSO and representatives from construction company Galliford Try, Sandwell Music Service and Shireland Collegiate Academy Trust at the recent Ground Breaking Ceremony.

An architectural rendering of what the completed Academy will look like.

GOING SOLO

CBSO MUSICIANS STEP FORWARD

With the wealth of talent within the CBSO, it will come as no surprise that some players are now featuring as soloists. Elspeth Dutch (Horn), Oliver Janes (Clarinet), Eugene Tzikindelean (Violin) and Marie-Christine Zupancic (Flute) are all performing as soloists this Season, and we asked them how it felt to be stepping into the spotlight.

SECTION LEADER HORN

SOLO PERFORMANCE:

Date: Wed 14 June 2023

Concert: Season Finale – Kazuki conducts Elgar’s First Symphony

Piece:

Elspeth was born in Colchester, later moving to Reading. She started to learn the violin when she was six years old but decided she wanted to learn another instrument too. She says “I liked brass instruments because they were loud and shiny” and after her mum found a local teacher, Simon de Souza, she began to study the horn when she was nine years old.

Elspeth studied with Simon until she went to the Guildhall School of Music and Drama where she studied with Richard Bissill, Hugh Seenan and Jeff Bryant. She was on trial for 1st horn at RLPO at the same time as her trial with the CBSO during her last term at GSMD. She says “These trials were my first professional work along with a concert with the LSO playing offstage for about six bars!”

“It always feels a huge honour to perform as soloist with the CBSO –feeling the support of all my friends on stage with me makes the whole experience very special.

It’s been a dream of mine to perform the Britten with Ian Bostridge ever since I saw him perform it with the LSO when I was a student. His voice is so perfect for Britten and I’m so excited that we will get to perform together this Summer.

I love working with Kazuki so getting to perform as soloist in the Season Finale with him will feel very special.

The Britten is a really challenging but fun piece to play. It’s made up of lots of short movements, each with a completely different style and using a variety of techniques – including using natural harmonics in the opening and closing movements of the piece.”

Thank you! The CBSO is hugely grateful to those who generously support our players: Elspeth is supported by Isabel, Peter and Christopher in loving memory of Ernest Churcher. Oliver is supported by Diana and Peter Wardley and Mr D P Spencer.

Marie-Christine is supported by Basil & Patricia Turner

If you are interested in supporting one of our musicians please contact Amy Self, Memberships and Appeals Manager (Maternity Cover) on 0121 616 65 41 or by emailing aself@cbso.co.uk

SOLO PERFORMANCE:

Date: Wed 7 December 2022

Concert: Shostakovich’s Fifth Symphony

Piece: Nielsen’s Violin Concerto

Born into a musical family in Romania and educated in Bucharest and Paris, Eugene won top prizes in international competitions including the Enescu Competition in Romania, the Carl Nielsen International Competition in Denmark and France’s Long-Thibaud-Crespin Competition. After holding a position with the Orchestre du Capitole de Toulouse, he has been Leader of the Odense Symphony Orchestra in Denmark since 2012. He also keeps a busy schedule as a soloist, chamber musician and guest leader with ensembles around the world including the London Philharmonic Orchestra, BBC Philharmonic, Oslo Philharmonic, Trondheim Symphony Orchestra, Singapore Symphony Orchestra, Copenhagen Philharmonic, and Århus and Norrkoping Symphony Orchestras, and at the Mikhailovsky Theatre in St Petersburg. His most recent concerto appearance was a performance of Elgar’s Violin Concerto in Denmark in early March.

OLIVER JANES

SECTION LEADER CLARINET

SOLO PERFORMANCE:

Date: Wed 2 November 2022

Concert: Mozart’s Clarinet Concerto

Piece: Mozart’s Clarinet Concerto

Oliver, who was born and brought up in Manchester, took up the clarinet at the age of 15 in 2008. For ten years before that he had studied the violin but had decided it wasn’t the instrument for him. His grandfather, John Fuest, had played clarinet with the CBSO and convinced Oliver to give the instrument a go. The rest is history!

After two years of lessons with his grandfather, Oliver went to Chethams School of Music to study with Rosa Campos-Fernandez. He followed this with four years at the Royal Academy of Music with Mark van de Wiel. After graduation Oliver freelanced with some of the London orchestras before joining the CBSO as Principal Clarinet in December 2014, describing the months since that as ‘the time of my life’. He singles out the Beethoven Cycle in Bonn and Birmingham with Andris Nelsons as something he’ll never forget.

“I’ve always really enjoyed playing as a soloist with the CBSO and feel incredibly lucky to have the chance to do so. There are some fantastic pieces in the clarinet repertoire, but more than anything it’s about being able to perform it along with the best group of people! The support I felt walking to the front of the stage, looking into the audience and seeing more friends and colleagues is such an amazing feeling. I don’t really think of playing a concerto as much different to playing in the orchestra if I’m honest, it’s all chamber music and I’m just standing in a different place! The Mozart was really special for me as I’ve never actually played the whole piece with an orchestra before.”

SOLO PERFORMANCE:

Date: Thurs 6 October 2022

Concert: Sheku Kanneh-Mason plays Haydn

Piece: Weinberg Flute Concerto No.1

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Marie-Christine was born in Oberhausen, Germany and grew up in the Lower Rhine Area. When she was eight years old her Mum took her to a concert in the local music school where they introduced different instruments and Marie fell in love with the sound of the flute: ‘We went to talk to the teacher but he said I was too young because I didn’t have all my permanent teeth yet. I kept begging though and I became his youngest student!’ She went on to study in Cologne with Professor Robert Winn and at the Karajan Academy in Berlin, a training scheme for the Berlin Philharmonic Orchestra which included playing in the orchestra regularly and having lessons with their flute players at the same time – ‘a great learning experience!’ As Section Leader Flute, Marie-Christine’s highlights include the orchestra’s European tours, especially playing in famous concert halls like the Musikverein in Vienna or at the Lucerne Festival.

“ I am so grateful to Mirga for suggesting the Weinberg Flute Concerto to me – it was a real pleasure performing it with my colleagues in October. When we recorded it last year, public concerts were still prohibited because of Covid, so I am very grateful that I had the opportunity to perform it to our wonderful Birmingham audience this year. Thank you also to my colleagues who put their heart and soul into the music and accompanied me with such sensitivity. I could feel the support from every single person on stage which made it a very special evening.”

EUGENE TZIKINDELEAN LEADER

ELSPETH DUTCH

Britten’s Serenade for Tenor, Horn and Strings

With the Orchestra having recently returned from a critically acclaimed coast to coast US tour, we thought you might like to get their take on what it’s like being out on the road. So, we asked a selection of the musicians three quick questions:

1. What’s been the best thing about the tour for you?

2. Has there been a favourite venue so far or one that you’re most excited about performing in?

3. Which piece of music has been the one you’ve enjoyed performing the most and why?

MATTHEW HARDY TIMPANI

1 Aside from sharing our culture and music-making with new audiences, the best thing for me is being away with our colleagues. Everyone is away for the same reason and the atmosphere is great!

2 It was amazing to be in the Walt Disney and Carnegie Halls – such inspirational and world-renowned halls, but the concert in San Francisco was really special. The audience were great and for some reason it was just one of those concerts that had a particular buzz to it. It really worked!

EUGENE TZIKINDELEAN LEADER

1 Best thing about the tour? Being on tour with the band, playing amazing concerts in amazing places for fantastic public. For me personally – coming back to California, my favourite place.

2 Playing first time in Carnegie Hall – only in my dreams until now. But beautiful acoustics in Costa Mesa and great feeling on stage in San Francisco.

3 Debussy’s La mer – such an epic masterpiece. And each time we discover new details and colours. I can’t describe how immense his genius was.

The CBSO is hugely grateful to Mr. John Osborn cbe for his exceptional generosity in making this tour possible (in collaboration with Arabella Arts) and for the additional support provided by the Dunard Fund.

3 The Vaughan-Williams/Elgar Cello… because I wasn’t in them…! Seriously though, it has to be Adès’ Exterminating Angel, because it’s really hard, really well written and is amazing music.

RACHAEL PANKHURST COR ANGLAIS

1 I have loved visiting California having never been to the West Coast of America before. Spending 5 days in San Francisco was pretty incredible - we managed to fit in a lot of sightseeing such as cycling over the Golden Gate Bridge, visiting Alcatraz and watching the beautiful sunset over Ocean Beach.

2 I am very excited to be performing in famous halls such as Carnegie Hall in New York and the Disney Hall in LA. However, we have been lucky and all of the Halls we have visited so far have been fantastic. It’s always interesting when we are on tour because each stage is laid out slightly differently, so you hear different things in the music every evening. I love touring because I often end up playing in amongst the viola section which is a real treat.

3 I always enjoy playing La mer by Debussy and it’s a good touring piece because there is something for everyone to do in it but the audience reaction to The Exterminating Angel by Thomas Adès has been great and I hope it’s a piece we will play again and again.

Photo © Chris Lee

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA SHOWCASED ITS LUSH, REFINED SOUND… WITH PASSION AND A LUMINOUS, RICH STRING SONORITY.”

Voice of OC

MORITZ PFISTER SECOND VIOLIN

1 It has been immensely exciting to spend four nights in San Francisco. Rarely do we have this much time in one place while on tour. Being able to take in this beautiful, colourful and iconic city and explore its different quarters, culinary offerings as well as performing in Davies Symphony Hall made for an unforgettable few days!

2 Seeing the architecture of Frank Gehry’s iconic Walt Disney Hall in Los Angeles was very special of course. But for me personally, playing in Davies

Symphony Hall was somewhat even more special – knowing that my dad had performed on this very same stage all these years ago when on tour with his orchestra made for a special occasion. Undoubtedly, our visit to Carnegie Hall was another highlight if not THE highlight of this exciting tour!

3 Playing Haydn’s cello concerto with Sheku in Los Angeles may have been my highlight in terms of repertoire on this tour. This piece has so much beautiful freshness. The fact that it featured only once made it even more special!

KATHERINE THOMAS HARP

1 This tour has been a magical palette of colours. Not only musical, but in our surroundings too. Seeing the ocean while driving in California and the charm of Santa Barbara, the vibrancy of San Francisco and then the magical colours of the Autumn in Ann Arbor.

2 I’m often asked, “Do you take your harp on tour with you?” The answer, of course, is yes! After flying from the UK, the harp takes a little while to settle, but I think it finally settled in our concert in Ann Arbor. I didn’t break any strings for once, and we had such a warm ovation from a very appreciative audience. The interior of the hall was magnificent – only matched outside by the amazing colours of the Fall.

3 After so many false starts to its performing life (largely due to Covid), the orchestra has been touring Thomas Adès The Exterminating Angel Symphony. It’s always an exhilarating piece to perform owing to its rhythmical challenges in particular,

but I think it offers so much to both the listener and performer alike. I’m constantly hearing different things within the orchestral texture: it is a piece that never ceases to amaze!

OLIVER JANES

SECTION LEADER, CLARINET

1 Each stop has offered something totally different from having a beer on the beach watching surfers in Costa Mesa, seeing celebrity houses in LA, cycling across the Golden Gate Bridge in San Francisco to walking around the University of Michigan Campus in just 5 degrees (very hard tour to pack for! Definitely needed more warm clothes!).

2 It’s very hard to choose a favourite hall, the audiences have been so warm that the atmosphere has been amazing in all the halls. If I had to choose, it would have to be between the Davies Symphony Hall in San Francisco and the Segerstrom Hall in Costa Mesa.

3 I’ve actually really loved playing La mer on this trip, it’s a great touring piece. It’s been slightly different every night which has kept it really fresh, and I love the moment after the final loud note when you can hear the audience gasp or the odd ‘wow’!

JONATHAN MARTINDALE ASSOCIATE LEADER

1 The chance to see so much of America (my first time) whilst also sharing wonderful music with new audiences!

2 I was most excited about playing in Carnegie Hall but San Francisco was also a fantastic atmosphere and Disney Hall (LA) for its incredible architecture.

3 For me the Fantasia on a Theme of Thomas Tallis is always very special. Even more so as we shared this great music with new audiences.

3 I most enjoyed playing La mer. I think it’s a masterpiece of composition and orchestration and for me it’s the best piece of music of all time that was inspired by the sea.

MARGARET COOKHORN PRINCIPAL CONTRABASSOON

1 The best thing about the tour was being part of this incredible bassoon section, whether it be in rehearsal/ concert or having breakfast at a diner, we had a great time!

ANTHONY HOWE PRINCIPAL SECOND TROMBONE

1 The best thing about the tour was playing in loads of world-class concert halls in amazing cities with superb colleagues and friends.

2 My favourite venue was probably the Davies Symphony Hall in San Francisco, but the experience of playing in Carnegie Hall for the first time was equally as good.

2 I enjoyed playing in the Segerstrom Concert Hall, Costa Mesa, CA. Maybe it has something to do with this hall being built by the same architects that built Symphony Hall? Also it was wonderful being back in Carnegie Hall.

3 It’s been wonderful playing The Exterminating Angel Symphony by Thomas Adès – I’ve seen the opera online and was totally engaged throughout…his music is fascinating and very clever!

1 Experiencing new and different places, cultures, food, audiences and concert halls. It’s a real treat.

2 Most incredible hall acoustically was Costa Mesa, greatest warmth of audience was Santa Barbara, wow factor was Walt Disney Hall, greatest hospitality and welcome was at Mondavi Hall but my overall favourite hall was Davies Symphony Hall in San Francisco - you feel like you’re walking in the footsteps of some of the most adventurous and bold music-making in the US.

3 US audiences are incredibly appreciative across the board, standing ovations after pretty much every piece everywhere. We feel hugely valued and it’s a very special opportunity to be here. I have loved the Elgar with Sheku, hearing how the performance is growing show after show and how the different audiences help to create a different feeling in the piece every night.

CATHERINE ARLIDGE – SECOND VIOLIN

“THE

UP

New bursaries to support young musicians

Thanks to the support from the Leverhulme Trust, the CBSO is offering partial and full bursaries to young people

across our youth ensembles. We have recently recruited for our 22/23 Season Youth Orchestra, with young people

attending from across the West Midlands and beyond, and we are currently recruiting for Project Remix, our crossgenre training orchestra that starts in February 2023.

Currently, our full bursaries support young musicians from under-represented backgrounds in our industry, including Black, Asian, and ethnically diverse musicians, and those from lower socioeconomic backgrounds.

The Leverhulme Trust subsidises every young person’s participation in our Youth Orchestra, training orchestra Project Remix, Youth Chorus, and Children’s Chorus. We are looking forward to starting a recruitment drive for our choirs soon that will promote these bursary opportunities.

Our

work in schools

With a huge range of work taking place across the Learning & Engagement department, we’ve been excited to kick-start our 2022/23 work in schools across the West Midlands. This includes the return of our incredible project for young people with Profound and Multiple Learning Disabilities, Music & Ability, where musicians have been working in Special Educational Needs schools for the best part of a decade.

Carolyn Burton (Assistant Learning & Engagement Manager) and Katie Lucas (Head of Learning & Engagement) have been working with schools across Sandwell to bring about the next iteration of our Repertoire Project, this year focussed on Holst’s The Planets The project introduces school children to core orchestral repertoire through creative workshops and performances.

We are thrilled that we have been invited to submit another three-year bid to the JABBS Foundation for our upcoming project, Climate Funk that will fuse orchestral and funk and soul music to help share messages about our fragile climate. This will run from 2023 to 2025 with three schools across the West Midlands in areas of high deprivation and low cultural engagement.

Children’s Chorus numbers soar

Following a successful open day for prospective students and their families this September, preparations are well underway for the Shireland CBSO Academy’s opening in September 2023. David Green (Principal Designate) and Amy Danks (Vice-Principal Designate) recently visited CBSO Centre to meet staff, players and cellist Sheku Kanneh-Mason to tell them all about the new school.

Thank you…

CBSO Chorus

It’s been a busy summer for the CBSO Chorus with a performance of Mahler 2 at the BBC Proms with the London Symphony Orchestra, the World Premiere of Brett Dean’s In This Brief Moment with the CBSO and Beethoven’s 9th Symphony with the BBC Philharmonic in Manchester. The Chorus also performed Vaughan Williams’ Mystical Songs in November, and preparations are well underway for the Choral Christmas concerts with Alan Titchmarsh in December.

Youth Orchestra firing on all cylinders

The CBSO Learning & Engagement team, and players would like to say a massive thank you to all our Members and Supporters who help make our important work possible. Without this support we wouldn’t be able to deliver this life changing work for children and young people, communities and local people in our area.

Cuppa Concerts

Our first Cuppa Concert of the 2022/23 Season took place on Tuesday 18 October, with an ensemble led by cellist Jackie Tyler. Jackie and colleagues have worked closely with Helen Poulter (Learning & Engagement Officer) to produce a wonderful, relaxed, and open concert for those living with dementia, their carers and families.

Tom Spurgin (Director of Learning & Engagement) is working with the National Academy for Social Prescribing to help ensure that more people can benefit from our Cuppa Concerts and ensure that our programme is tailored to the needs of people living in our area.

The CBSO Youth Orchestra have recently been working towards their first performance of the 2022/23 Season with Randall Goosby on Sunday 30 October 2022.

We were extremely excited to work with Randall, who is enjoying international success and performances with a range of superb orchestras.

Although there has been a nationally-recognised drop in instrumentalists given the impact of Covid-19 and the cost of living crisis, Eben Gutteridge (Learning & Engagement Officer) and Katie Lucas (Head of Learning & Engagement) have led a successful recruitment round for this year’s activity and brought together a range of incredible young musicians.

Shireland CBSO Academy

Photo © Jeremy Mitchell

Alex Parker (Chorus Officer) and Poppy Howarth (Chorus Manager) have led an exceptional recruitment drive for our Children’s Chorus, which works with children aged 8 to 12. In the last few months, we have nearly doubled the number of singers in this choir, with over 50 singers now registered .

Photo

Image © Andrew Fox

Back in July of this year, everyone at the CBSO was very sad to hear the news that Wally Francis had passed away.

“Wally was a very long-standing supporter of the CBSO, having started attending concerts at the Town Hall in the late 1960s when he moved to Birmingham in his early 20s. From his seat perched above the double basses (later replicated in the Circle Right Ledge at Symphony Hall) he heard hundreds, possibly thousands of CBSO concerts over the years, most recently Mahler’s Resurrection Symphony in June. He rarely missed a concert, and over the last 23 years he was always my first reviewer, stopping at my seat to offer his instant take (usually very positive) on what we had just heard.

Wally was a huge enthusiast for classical music and opera, and something of an audiophile (with every CBSO CD and LP counted among his huge collection).

Wagner was perhaps his greatest musical

love (after the CBSO), and we shared many a good-natured disagreement over the merits of brevity versus the merits of Wagner! He always had an encouraging word for players and staff, and shared his considered opinions on past concerts regularly through his many years serving on our Artistic Forum.

He spent 10 years on the CBSO Board, latterly as Deputy Chairman, where his good sense, wisdom, kindness and the experience he had gained from his day job as a teacher (and later an examiner) were of immense value. One of his happiest and most useful roles was chairing the Search Committee that picked Andris Nelsons as our Music Director in 2007. He also served the CBSO as a Trustee of the Pension Fund, and most recently as a Trustee of the CBSO Development Trust. The hours he put into CBSO activities as a volunteer will probably never be surpassed, and his many acts of kindness included his annual pre-Christmas trips to the office with biscuits or chocolate for the players and staff.

I gained so much insight and support from our conversations over the last two decades and more, and his advice was always considered, insightful, well-meant and worth listening to. We all miss him hugely.”

CBSO Chief Executive Stephen Maddock

CBSO PEOPLE

As ever, it’s a mixture of CBSO hellos and goodbyes.

MOVING ON

NEW STAFF

RACHEL BOWDEN

SENIOR DEVELOPMENT MANAGER

Rachel joined us from the Royal Opera House, where over the last four years, she has had a key role in achieving the Trusts and Foundations target and working on the new Legacy and Endowment strategy.

REBECCA LE BROCQ

Director and will work with us two days a week to drive forward our corporate partnership work and engagement in the business sector.

AMY SELF MEMBERSHIPS AND APPEALS MANAGER

during her Maternity Leave to becomes our interim Assistant Events Manager.

SUNI DHEW RECEPTIONIST

COLIN TWIGG VIOLIN

After more than 30 years with the Orchestra, the CBSO bade a fond farewell to violinist Colin Twigg with Chief Executive Stephen Maddock stating “Colin has been a nearconstant presence in the CBSO’s magnificent first violin section since he joined the CBSO in February 1991. This was more than a decade into the Simon Rattle era, in the very last days of the Orchestra’s residency at the Town Hall - just a couple of months later, our splendid new home of Symphony Hall was opened, and the CBSO continued its upward trajectory with even greater energy and acclaim. In those 31 and a half years Colin has played everything from Adès to Zemlinsky, and Beethoven to Bollywood. And as any first violin will tell you, they always have the most note to learn - so the number of notes in total over that period must run into many millions! But Colin has also somehow found time to create some notes of his own - as you may know if you have attended one of his chamber works in our Centre Stage series, he is a very fine composer. As he now embarks on his well-earned retirement, I hope he will still find time to compose as well as to come and listen to his former colleagues. Thank you Colin!”

CORPORATE PARTNERSHIPS MANAGER

Rebecca joins us from the International Opera Awards & Opera Awards Foundation, where she has been their Development and Fundraising

Amy joins on 21 November as our Memberships and Appeals Manager to cover Eve Vines’ maternity leave. Some of our Members may remember Amy as she covered Eve’s maternity last time, so it is great to have her back with the team. Amy joins us from the Royal Birmingham Conservatoire where for the last two and a half years she’s been their Development Officer.

In addition,

CHARLIE WHEELER is stepping up to cover the events side of Meg Bradshaw’s post

JASON LEWIS, SECTION LEADER TRUMPET

Suni is a drama school graduate currently studying Psychology and Counselling. He is working towards assisting people with their mental health particularly within the Asian and LGBTQ communities alongside enjoying classical music and staying connected to the arts along the journey.

LUCY HOLLINS

SO VOCAL CONDUCTOR

We are delighted to have appointed Lucy as the new conductor of SO Vocal. You can find out more about her on page 5.

“I’m absolutely delighted and feel very privileged to be starting at the CBSO! I had the pleasure of joining the Orchestra on their European tour earlier this year and I can honestly say they are the nicest bunch of people you could possibly work with. There’s loads of repertoire I am looking forward to this season, especially as a brass player, with Petrushka, Mahler I, and the Planets all featuring in the coming weeks. I can’t wait to meet the CBSO audience in Symphony Hall and explore more of Birmingham and its surroundings!”

GARETH BEEDIE DIRECTOR OF MARKETING

AND COMMUNICATIONS

Gareth is leaving in late December and moving back to Glasgow to work for the National Theatre of Scotland as their Director of Audiences and Media.

JENNY NICHOLLS DIRECTOR OF CONCERTS

After 8 years with us as Director of Concerts, Jenny is leaving in December to join The Hallé as their Director of Concerts.

It’s

CBSO hello to Jason Lewis, who joins us as Section Leader Trumpet.

Jason Lewis completed his undergraduate degree at the Royal Welsh College of Music and Drama, studying under Philippe Schartz and gaining a First Class Honours. He then went on to complete a Master of Arts degree at the Royal Academy of Music in London. Jason is the current Associate Principal Trumpet with the Royal Scottish National Orchestra, having previously held the position of Principal Trumpet with the Orchestra of Scottish Opera until 2019.

Alongside his position at RSNO and busy freelance career, he has recently trialed for the position of Principal Trumpet in the London Philharmonic Orchestra, Royal Opera House and English National Opera.

Sub-Principal trials include Philharmonia Orchestra, BBC Scottish Symphony Orchestra, Royal Philharmonic Orchestra and others. Jason also successfully auditioned for the European Union Youth Orchestra for three years, and in 2015 gained a position in the Verbier Festival Orchestra.

By the age of 11 Jason was a member of the National Youth Brass Band of Wales. At the age of 13 he passed Grade 8 on both cornet and trumpet with distinction, and at 14 he successfully auditioned for a place

on the National Youth Orchestra of Wales, and gained a place on the prestigious LSO Academy studying under Rod Franks and James Watson.

Before starting his job in the Orchestra of Scottish Opera, Jason had been working as a freelance trumpet player with orchestras such as; BBC NOW, Welsh National Opera, BBC Philharmonic Orchestra, Philharmonia Or- chestra, Ulster Orchestra, CBSO, London Philharmonic Orchestra and Bournemouth Symphony Orchestra

Jason’s first day with the CBSO will be Tuesday 29 November, ahead of the performance of Street Music: Stravinsky, Ellington & Rota on Thursday 1 December conducted by Kevin John Edusei.

always a pleasure to welcome someone new to the Orchestra, so we are delighted to say a big

CBSO MEMBERS’ NEWS & EVENTS

Our 2022-23 Season is full of engaging Members’ Events, offering you the opportunity to discuss our concert programmes with like-minded Members, CBSO players, and visiting artists. See below for the events open to you from January to July 2023:

Monday 30 January

Annual Circles’ Dinner with Kazuki Yamada. Invitations to follow.

Thursday 16 February

Open Rehearsal Bartók’s Concerto for Orchestra 10.15am-1.15pm

Monday 6 March

Gold Patron’s Buffet and Rehearsal with Mirga Gražinytė-Tyla 10am-2pm.

Wednesday 8 March

Open Rehearsal Mirga conducts Elgar & Schumann 2.30pm-5.30pm and Members’ Reception 6:45pm (pre-concert and interval)

Thursday 13 April

Afternoon Tea with Kazuki Yamada and Daishin Kashimoto (post-concert)

Wednesday 10 May

Open Rehearsal Beethoven’s Seventh Symphony 2.30pm-5.30pm.

Wednesday 14 June

Open Rehearsal Season Finale: Kazuki conducts Elgar’s First Symphony 4pm-5.30pm and Members’ Reception 6.45pm (pre-concert and interval)

Behind the Music LIVE

WITH ALAN TITCHMARSH & FEATURING CBSO BRASS

CBSO Centre, Birmingham | Friday 16 December 2022, 10.30am – midday

Thursday 19 January

Open Rehearsal Tchaikovsky’s Violin Concerto, 3.30pm-5.30pm

Wednesday 25 January

Members’ Reception 1.30pm (pre-concert and interval) and Afternoon Tea with CBSO Musicians (post-concert)

Members’ Reception 6.45pm (preconcert and interval)

Wednesday 19 April

Open Rehearsal Beethoven’s Pastoral Symphony 10.15am-1.15pm.

Wednesday 3 May Legacy Donors’ Reception 1.30pm (pre-concert and interval) and

To join us at a Members’ event simply book online at cbso.co.uk/ memberevents or you can call Rachel Cooper on 0121 616 6510.

As ever, places at our Members’ Events are offered on a first-come, first-served basis, so please book early to avoid disappointment.

The CBSO is so grateful for your support and Membership is one of the best ways to get involved. Rather than hear us talk about how brilliant being a CBSO member is, here are some comments from our members themselves!

“This is by far the best arts membership that I belong to. Well organised, friendly and always welcoming”

Friend

“I do treasure the early booking facility my Friends membership gives me, particularly as I have a preferred seating area.”

Friend, about Priority Booking

“What could be better than a CBSO afternoon concert? A CBSO concert with a yummy Members’ Tea to follow! Yes there are cream cakes, but the real joy of the Afternoon Teas is meeting others who share our enthusiasm for great music and our marvellous CBSO. Add to that guest speakers and the pleasure of informally chatting to orchestra members and you have the icing on the cake”

Patrons, about Afternoon Teas

“It’s such a privilege to watch and listen to the orchestra in rehearsal. I love being able to observe the interactions between the conductor, leader, orchestra and soloist. Observing a rehearsal adds another dimension to the concert performance and furthers my huge admiration for the wonderful CBSO”

Gold Patron, about Open Rehearsals

“Of course I will be at the rehearsal next week - wouldn’t miss it! It’s such a privilege for CBSO to allow members to attend. Sublime music and an insight into the tweaks that are made and all the personal interactions not seen at a performance.”

Sue Reynolds, Friend

Join the CBSO Family today and be part of something special. Visit cbso.co.uk/ membership or call Rachel on 0121 616 6510 for more information.

“The work the orchestra do to bring music to school children has always been my principal motivation for supporting the CBSO but being able to support a musician gives me great pleasure.”

Concerto Circle Member, about our work in Schools and Communities

MEMBERS’ CONTACTS

RACHEL COOPER Development Administrator: 0121 616 6510 rcooper@cbso.co.uk

CHARLIE WHEELER Assistant Events Manager (Maternity Cover): 0121 616 6500 cwheeler@cbso.co.uk

Following the incredibly popular series of online events during lockdown, we’re thrilled to announce a new series of Behind the Music: Live at the Centre. Broadcaster Alan Titchmarsh will host a special one-off event on Friday 16 December where he’ll be joined by members of the CBSO Brass Section Leaders Elspeth Dutch, Jason Lewis and Richard Watkin for an engaging conversation. They’ll be discussing life as musicians, what it’s like to be a professional musician and what their highlights of the next year will be. Join us from 10.30am for an insightful and engaging conversation, followed by warming mulled wine and mince pies.

Tickets: £20 – open to all Book your tickets at cbso.co.uk/behindthemusic or by calling Rachel Cooper on 0121 616 6510.

Following the event on 16 December, the series will continue as an exclusive CBSO Members’ event from Spring 2023 onwards – details about future events will be released later in the year.

Book online at cbso.co.uk facebook.com/thecbso twitter.com/thecbso instagram.com/thecbso

“I have been thoroughly enjoying the Behind the Music interview sessions. They have been a wonderful way to keep us supporters interested and for us to get to know the CBSO “family” a bit better. Thank you!”

THANK YOU FOR BEING PART OF SOMETHING AMAZING…

The CBSO would like to express its deep appreciation to the large number of people and organisations that support wide reaching work of the orchestra, from performances on stage to projects in schools and pop up concerts across the city. Primary amongst these supporters are the CBSO’s major donors, members, legators, corporate partners and trusts and foundations which generously support all aspects of our work. We’re also grateful to The City of Birmingham Orchestral Endowment Fund and the members and supporters of the CBSO Development Trust, as well as the vital ongoing and exceptional support of the charity’s public funders, Arts Council England and Birmingham City Council.

EXCEPTIONAL SUPPORTERS

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

City of Birmingham Orchestral Endowment Fund

Rachel Baker Memorial Charity

The late Roy Collins Dunard Fund

John Osborn cbe Garfield Weston Foundation

Barclays

The late Miss G Brant

David and Sandra Burbidge

John Ellerman Foundation

Esmée Fairbairn Foundation

The John Feeney Charitable Trust

Charles Henry Foyle Trust

The JABBS Foundation

Alison and Jamie Justham

Barry and Frances Kirkham

Maurice Millward Clive Richards Foundation (Principal Supporter of the CBSO’s work with young people) Jerry Sykes

The late Mr P S Day

Deutsche Bank

The late Elnora Ferguson

The late Mrs Marjorie Hildreth

Peter How

The Helen Rachael Mackaness

Charitable Trust

The late Blyth and Myriam Major

Mrs Thelma Justham

The late Mr John Thomas Knight

The Leverhulme Trust

The LJC Fund

Chris and Jane Loughran

The late Martin Purdy

The late Norman Thomas

The late Sheri and Mrs Janet Tullah

The Roger and Douglas Turner

Charitable Trust

Wolfson Foundation

MAJOR DONORS

We are grateful to the following supporters for their major gifts this year and over the life of our Sound of the Future campaign.

£250,000+ John Osborn (*Gabriel Dyker) David and Sandra Burbidge Clive Richards Foundation (Principal Supporter of the CBSO’s work with young people)

£100,000+ Peter How (*Tim Birchall) Alison and Jamie Justham (*David Vines) Barry and Frances Kirkham Chris and Jane Loughran (*Jonathan Martindale)

£50,000+ Maurice Millward (*Chris Yates) Jerry Sykes in support of keynote concert programming (*Catherine Ardagh-Walter)

£25,000+ Sir Dominic and Lady Cadbury

MEMBERS

Over 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+)

Felonious Mongoose in memory of Dolores

SYMPHONY CIRCLE (£5,000+)

John Cole and Jennie Howe (*Peter Campbell-Kelly)

Gill and Jonathan Evans (*Charlotte Skinner)

Stephen and Stephanie Goldstein Anita and Wyn Griffiths

The Charlotte Heber-Percy Charitable Trust

Len Hughes and Jacquie Blake (*Anthony Alcock)

David Knibb in memory of Lorraine (*Jon Quirk)

Graham Russell and Gloria Bates (*Ruth Lawrence)

Sue and Graeme Sloan

CONCERTO CIRCLE (£2,500+)

Viv and Hazel Astling (*Graham Sibley)

The Barwell Charitable Trust Allan and Jennifer Buckle (*Helen Benson)

Mrs Jayne Cadbury

Jill S Cadbury (*Julia Åberg)

Isabel, Peter and Christopher in loving memory of Ernest Churcher (*Elspeth Dutch)

Gay and Trevor Clarke (*Bryony Morrison)

Charlie and Louise Craddock (*Kirsty Lovie)

Mike and Tina Detheridge (*Andrew Herbert)

Duncan Fielden and Jan Smaczny (*Matthew Hardy)

David Gregory (*Stefano Mengoli)

David Handford (*David Powell)

The Andrew Harris Charitable Trust Dr Allan Hough (*Arthur Boutilier)

Peter How (*Tim Birchall)

Cliff Hubbold

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 Miller

Frank North

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 Perkin

Margaret Rogers (*Moritz Pfister)

Gillian Shaw

Eleanor 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 Ward Diana 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 the Overture, Concerto and Symphony Circles, to whom we are very grateful:

Mark Goodchild

Joanna Patton

Mark Phillips

Adam Römer

Katherine Thomas Jeremy Watt

OVERTURE CIRCLE (£1,000+)

Jan Adams in memory of Mike (*Eduardo Vassallo)

Katherine Aldridge in memory of Chris Michael Allen in memory of Yvonne

Roger and Angela Allen Miss L Arthur (*Julian Walters)

Kiaran Asthana

Mr M K Ayers

John Bartlett (*Mark O’Brien)

Michael Bates

Peter and Jane Baxter Tim and Margaret Blackmore Christine and Neil Bonsall

Mrs Jennifer Brooks in memory of David (*Julia Åberg)

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

Dr Anthony Cook and Ms Susan Elias

Ann Copsey

John Cunningham-Dexter

Julian and Lizzie Davey

Tony Davis and Darin Qualls

Jenny Dawson

Dr Judith Dewsbury in memory of Tony (*Kate Setterfield)

Alan Faulkner

Elisabeth Fisher (*Colette Overdijk)

Wally Francis Mary and Tony Hale

Keith and Mavis Hughes

Lord Hunt of Kings Heath

Basil Jackson in memory of Harry and Rose Jacobi

Mr Michael and Mrs Elaine Jones John and Jenny Kendall

John and Lisa Kent (*Veronika Klírová)

Charles and Tessa King-Farlow

Jane Lewis

Richard Lewis

James and Anthea Lloyd

Tim Marshall (*Nikolaj Henriques)

David R Mayes obe

Philip Mills

Paul and Elaine Murray Ian C Norton

Andrew Orchard and Alan Jones

Roger and Jenny Otto in memory of Juliet

Rob Page

Sir Michael and Lady Joan Perry Dr John Peterson Julie and Tony Phillips (*Philip Brett)

Rosalyn and Philip Phillips Clive and Cynthia Prior Ian Richards David and Jayne Roper Dr Roger Shinton

Peter and Shirley Robinson

Mr A M and Mrs R Smith Mark and Amanda Smith Pam and Alistair Smith

William Smith

Colin Squire obe

Mr M and Mrs S A Squires

Jan and Peter Sterling and the Newport Music Coach (*Jeremy Bushall)

Brenda Sumner

Tenors of the CBSO Chorus (*Joanna Patton)

Alan Titchmarsh mbe (*Matthew Hardy)

Mr R J and Mrs M Walls

Mr E M Worley cbe and Mrs A Worley dl

Mike and Jane Yeomans in memory of Jack Field (*Michael Jenkinson) Richard and Emma Yorke

GOLD PATRONS

(£650+ per year)

Mike Bowden

Lady Cadbury Mr C J M Carrier Christine and John Carroll Tim Clarke and family

Professor and Mrs M H Cullen Roger and Liz Dancey

Robin and Kathy Daniels

Professor Sir David Eastwood

Sir Ian and Lady Dove

Mr G L and Mrs D Evans

Geoff and Dorothy Fearnehough Nicola Fleet-Milne

Susan and John Franklin

Mr R Furlong and Ms M Penlington

Averil Green in memory of Terry Green Tony and Shirley Hall

Dr M Kershaw

Neil Maybury Miss C Midgley

Nigel and Sarah Moores Andrew and Linda Murray Chris and Eve Parker Phillipa and Laurence Parkes Chris and Sue Payne

Canon Dr Terry Slater

Dr Barry and Mrs Marian Smith

Pam Snell

Ian and Ann Standing Rimma Sushanskaya Janet and Michael Taplin

Roger and Jan Thornhill

Bryan and Virginia Turner

Roy Walton

Revd T and Mrs S Ward

David Wright and Rachel Parkins

SILVER PATRONS

(£450+ per year)

Mr and Mrs S V Barber

Richard Allen and Gail Barron

Mr P G Battye

Paul Bond

Professor Lalage Bown

Mr A D and Mrs M Campbell

Peter and Jane Christopher Sue Clodd and Mike Griffiths

David and Marian Crawford-Clarke

Mrs A P Crockson

Dr. Margaret Davis and Dr. John Davis

Alistair Dow

Naomi and David Dyker Jane Fielding and Benedict Coleman Mrs D R Greenhalgh

John Gregory in memory of Janet Cliff Haresign

Mr and Mrs G Jones

Bob and Elizabeth Keevil

Rodney and Alyson Kettel

Rebecca King in loving memory of Ian Mr Peter T Marsh

James and Meg Martineau Peter and Julia Maskell Dr and Mrs Bernard Mason

Carmel and Anthony Mason Anthony and Barbara Newson Richard Newton Mrs A J Officer

Liz and Keith Parkes

Mr R Perkins and Miss F Hughes Dr and Mrs Plewes

The Revd. Richard and Mrs Gill Postill Kath and Mike Poulter

Eileen Poxton in memory of Reg Poxton Dr and Mrs R C Repp Ray Smith Sheila and Ian Sonley Andy Street John and Dorothy Tesh Professor and Mrs A Vale William and Janet Vincent Tony and Hilary Vines

Peter Walling Julie and Simon Ward Stephen Williams John and Daphne Wilson Geoff and Moira Wyatt Paul C Wynn

PATRONS

(£250+ per year)

Mrs Thérèse Allibon David and Lesley Arkell Val and Graham Bache Leon and Valda Bailey Andrew Baker Andrew Barnell Mr P and Mrs S Barnes Mr and Mrs Barnfield Di Bass Paul Beckwith Mr L Bednall Gareth Beedie Peter and Gill Bertinat Philip and Frances Betts Mrs Ann Billen Michael and Beryl Blood Bridget Blow cbe Anthony and Jenni Bradbury Dr Jane Flint Bridgewater and Mr Kenneth Bridgewater Mr Arthur Brooker M. L. Brown Ross Browning Ann Bruton

Mr and Mrs J H Bulmer Mr G H and Mrs J M Butler Benedict and Katharine Cadbury Jeannie Cadman Elizabeth Ceredig Carole and Richard Chillcott Dr J and Mrs S Chitnis Ann Clayden and Terry Thorpe Dr A J Cochran Dee and Paul Cocking Mrs S M Coote in memory of John D and M Coppage Luned Corser Mr Richard and Mrs Hilary Crosby Maurice and Ann Crutchlow

Judith Cutler and Keith Miles

Stephen and Hilary Daly

Sue Dalley and Martin Willis

Robert and Barbara Darlaston

Wilf Davey

Trevor Davis

Kath Deakin

John and Sue Del Mar Dr Dilkes

Brian and Mary Dixon

Barbara Donaldson

Terry Dougan and Christina Lomas Mr and Mrs C J Draysey

John Drury Catherine Duke Chris Eckersley Linda and William Edmondson Alex and Fran Elder Robert van Elst Miss E W Evans

Dr D W Eyre-Walker Jill Follett and John Harris Chris Fonteyn mbe

Alan and Christine Giles

Professor E Gilkison and Prof T Hocking

Stephen J Gill R and J Godfrey Jill Godsall

Godwin

Laura Greenaway in memory of David Richards

Paul Hadley

Roger and Gaye Hadley

Nigel and Lesley Hagger-Vaughan

Miss A R Haigh

Mr W L Hales

Malcolm Harbour Ian Hartland

Phil Haywood in memory of Ann Keith R Herbert Keith Herbert and Pat Gregory

Hanne Hoeck and John Rawnsley

Susan Holmes in memory of Peter Valerie and David Howitt

Penny Hughes David Hutchinson Henry and Liz Ibberson

Mr R M E and Mrs V Irving Ken and Chris Jones

Paul Juler Mrs P Keane

Clive Kerridge and Suzan van Helvert Mr and Mrs R Kirby

Mr A D Kirkby

Professor and Mrs R J Knecht Bill Lane

Brian Langton

Colin and Joan Lapworth Mrs D Larkam

Jennie Lawrence in memory of Philip Steve Leonard and Debbie Fuller M. E. Ling

Mr F and Mrs M J Lloyd Professor David London Geoff and Jean Mann Geoff and Jenny Mason

Mr A A McLintock

Patro Mobsby Norah Morton Geoff Mullett

P J and H I B Mulligan

Mrs M M Nairn

Richard and Shirley Newby

Richard Newton and Katharine Francis Brian Noake

Ms E Norton obe

In memory of Jack and Pam Nunn

Marie and John O’Brien

Mr and Mrs R T Orme

S J Osborne Nigel Packer

Rod Parker and Lesley Biddle

Book online at cbso.co.uk facebook.com/thecbso twitter.com/thecbso instagram.com/thecbso

C Predota

Roger Preston Eileen and Ken Price Richard and Lynda Price John Randall Dr and Mrs K Randle

Katy and David Ricks

Peter and Pauline Roe Jane and Peter Rowe Helen Rowett and David Pelteret Christopher and Marion Rowlatt Dr Gwynneth Roy Vic and Anne Russell Mrs L Sadler

Carole and Chris Sallnow Stephen Saltaire William and Eileen Saunders

Margaret and Andrew Sherrey Dr and Mrs Shrank Keith Shuttleworth

Elizabeth Simons

Mr N R Skelding

Ed Smith

Mary Smith and Brian Gardner in memory of John and Jen Matthew Somerville and Deborah Kerr

Lyn Stephenson

Robin and Carol Stephenson Anne Stock

Mr and Mrs B Stuffins

J E Sutton Barbara Taylor in memory of Michael Taylor Claire Tilt

John Turney in loving memory of Anne Mrs H Upward

Bob and Louise Vivian Stephen Vokes and Erica Barnett Tim and Wendy Wadsworth Kit Ward Ann Warne Neil Warren Mrs M L Webb

Elisabeth and Keith Wellings Mr and Mrs West

Roger and Sue Whitehouse

Mr William and Mrs Rosemary Whiting Pippa Whittaker

John and Pippa Wickson

Richard and Mary Williams Barry and Judith Williamson

John Winterbottom Ian Woollard

DONORS

Thank you to those who have chosen to make a gift to the CBSO this year.

Katherine Aldridge

Baltimore Friends of the CBSO

John Cole and Jennie Howe

Professor Dame Sandra Dawson

Naomi Dyker

Wally Francis Peter Graham

Ian McAlpine

Chris Morley

Members of the Newport Music Coach Mr and Mrs P Rawle Frances and Bob Young

…and thank you to all the anonymous supporters, donors and friends.

Graham and Bobbie Perry David and Julia Powell Gill Powell and John Rowlatt