BEETHOVEN’S PASTORAL SYMPHONYSymphony Hall, Birmingham Wednesday 6 October 2021, 7.30pm & Thursday 7 October 2021, 2.15pm

Finnegan Downie Dear – ConductorJames Ehnes – Violin

Miller La Donna (UK Premiere) (6 October only) 10’

Mozart Idomeneo Overture (7 October only) 6’

Britten Violin Concerto 32’

Interval

Beethoven Symphony No.6 (Pastoral) 40’

Even Beethoven needed to relax sometimes, and from cheerful opening to serene finish, his lovely “Pastoral” symphony is pure refreshment for the spirit. It’s quite a contrast to Britten’s powerful violin concerto, performed by the fearless James Ehnes. On Wednesday, we’re making history: as Finnegan Downie Dear conducts the UK premiere of Cassandra Miller’s extraordinary La Donna. And on Thursday, we set the scene with the overture to Mozart’s splendid and dramatic Idomeneo.

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.

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PROGRAMME NOTES

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BEETHOVEN’S PASTORAL SYMPHONY (Wednesday 6 October only)

Cassandra Miller (b.1976)

La Donna (UK premiere) 10’

(Thursday 7 October only)

Wolfgang Amadeus Mozart (1756-91)

Idomeneo Overture, K.366 6’

Benjamin Britten (1913-76)

Violin Concerto 32’

Moderato con moto

Vivace – Largamente –

Passacaglia

Interval Ludwig van Beethoven (1770-1827)

Symphony No.6 in F major Op.68, “Pastoral” 40’

Awakening of happy feelings upon arriving in the country: Allegro ma non troppo.

Scene by the brook: Andante molto moto.

Peasants’ merry-making: Allegro –

Thunderstorm: Allegro –

Shepherds’ song, happiness and thanksgiving after the storm: Allegretto.

Names, notes and nature

Beethoven didn’t often give his compositions names. We talk today of the Moonlight sonata or the Emperor concerto but these are all nicknames applied by fans and publishers, sometimes without Beethoven’s approval, and often without his knowledge. The Pastoral Symphony is an exception. It is one of the few titles that Beethoven himself is known to have given to one of his works. But it comes with a proviso. He added a subtitle to the Pastoral symphony, now rarely printed – “More an expression of feeling than a painting (mälerey)”.

It’s a useful reminder. When a composer – or any artist – draws on a time, a place or a story as material for their art, they remake it: filtering their experience through their own thoughts and feelings and translating it into sounds that convey those feelings to us. What we hear is not just a “painting”, a simple reproduction of a familiar sound (though Beethoven knew that these could play a part), but an “expression of feeling”. And as we all know, small things can release huge emotions.

Zooming in(Wednesday’s performance only) For the Canadian composer Cassandra Miller, the process of writing and recording music is an inspiration in itself. After all, no two musicians ever play the same notes the same way twice. And if you look at something familiar from a new perspective – very close up, say, or from underneath – it can appear entirely different. Miller has often created wondrous, playful and startling new things from existing music: a recording of Maria Callas singing Puccini, for example, or a particular viola player’s performance of a Bach partita. In La Donna she started with a vintage field recording of a piece of Italian urban folksong. And then – well, here’s what she says. You’re about to hear how it sounds (and how it feels):

“In Genoa, groups of men gather to sing in the ‘Trallalero’ style. Typically, there are nine in the group: five are basses, two mimic guitars, one sings the melody while leading the group, and the highest voice (sometimes referred to as la donna) sings in a florid falsetto. The vibrato is extravagant, and the resonance is bright and vibrant. This composition celebrates these elements by magnifying (zooming into) a transcription of La Partenza da Parigi as recorded by Alan Lomax in 1954. The names of the singers have unfortunately been lost to history.

PROGRAMME NOTES

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This work was commissioned and first performed by Orquestra Simfònica de Barcelona i Nacional de Catalunya, conducted by Maestra Ruth Reinhardt, 30 April 2021. La Donna is dedicated to Justin Christensen in memory of a Genovese adventure.”

Gods and trumpets(Thursday’s performance only) Sometimes it’s just a matter of knowing what’s expected. Idomeneo was the greatest opportunity of the young Mozart’s career: an opera commissioned by the powerful Elector of Bavaria, to be performed in his capital of Munich during the Carnival season of 1781, and played by the word-famous Mannheim court orchestra (recently relocated, and full of Mozart’s closest musical friends and admirers). This was a heaven-sent chance for a 25-year old court organist from the depressingly provincial city of Salzburg. “How happy and relieved I felt when I arrived here”, he wrote to his father Leopold on reaching Munich on 8 November 1780. Their correspondence over the next few weeks shows a young genius boiling over with inspiration and ambition, as he created an opera seria of unprecedented invention, splendour and dramatic power.

The overture’s job is to set the scene. Mozart was young, but he had been writing operas since the age of 11 and he knew exactly what needed to be done. This was a grand, festive occasion for an opulent and cultured court, and Idomeneo is an epic drama, set in the aftermath of the Trojan war, and telling of gods and mortals; of love, sacrifice and courage. So he deploys trumpets and drums, begins with a martial swagger, and then lays out his stall using the full power of the most brilliant orchestra in Europe. The opening flourish silences the chattering audience, and then Mozart builds anticipation with thrilling crescendos and rocketing scales, as well as weaving in a few teasers for the romance, pathos and suspense to come. And he ends, not with a bang, but with an expectant hush, as the curtain rises and the real adventure begins…

New worlds, old troubles

In the summer of 1939, as the world careered towards war, the 25-year-old Benjamin Britten and his partner Peter Pears were on an adventure of their own. Ambitious, gifted, and in the first flush of love they had traded an old world for a new one. In May 1939, they had sailed from Britain to Canada and found themselves (as Britten put it), “a log cabin at the side of a hill overlooking a grand lake & lots of forest”. There, he worked on a concerto for the Spanish violinist Antonio Brosa, who had premiered Britten’s Suite for violin and piano in 1936, and whose playing, in Britten’s opinion, was “simply superb”. The summer pushed on; they fled the mosquitoes of the Canadian wilderness for New York, and finally a house owned by German friends at Amityville, Long Island, where he

completed the Concerto. “So far it is without question my best piece”, he wrote to his publisher, back in England. “It is rather serious, I’m afraid – but it’s got some tunes in it!”

By then, of course, Britain (but not America) was at war, and the question of how to respond to that fact would come to dominate Britten and Pears’ stay in America. The joy of creation, and of their shared adventure, was potent. But an artist rarely does anything as simple as translate their own life directly into art. When Britten said that “it is rather serious, I’m afraid”, he makes it sounds almost as if the concerto had a life of its own – something deeper and less manageable than his cheery letters home might imply. In late September 1939, the mask almost slips in a letter to his ex-boyfriend Wulff Scherchen: “It is at times like these that work is so important – that humans can think of other things than blowing one another up”.

Meditations for an age of anxiety

In the Violin Concerto, the mask is off from the very beginning: the quiet, anxious taps of the timpani that begin the first movement; the anguished sigh from the strings, and the restless rhythms that prevent the music from ever quite settling down, no matter how beautifully the violin sings. It is nothing quite so obvious as a distant echo of war (though for Britten, the fact that Brosa was Spanish, in that decade of civil war, was hard to forget). This is an expression of feeling, after all – not a painting. Like a downpour from a summer stormcloud, the tension is released in a fast, fierce, and dazzlingly difficult second movement (Vivace). Here, too, the distant drums thunder and surreal and sinister musical shapes loom up on the low brass and flash across the woodwinds.

After an agonised outburst, the soloist stands alone in an unaccompanied cadenza. As they gradually struggle towards the light, the trombones quietly enter – “like a great ship at sea sounding its foghorn in warning”, in the words of Britten’s biographer Paul Kildea. It’s the start of a melancholy passacaglia, evolving as the violin sings, declaims, and dances before crying out like a solitary bird over the uneasy quiet of the final notes. Brosa premiered the concerto in New York on 28 March 1940. The applause was enthusiastic, though one critic noted that the awkward, shabbily-dressed 26-year-old Britten “didn’t look like the composer of his D minor concerto”. His art seemed to be coming from a wholly different place. It often does.

“It is rather serious, I’m afraid – but it’s got some tunes in it!”

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PROGRAMME NOTES

War and peace

Ludwig van Beethoven sometimes sought a new start, too. At the beginning of the 19th century, Vienna was surrounded by villages, vineyards and spa-towns, nestling amid the rolling hills of the Danube valley. Beethoven took particular solace in these rural retreats, where the peace and solitude offered a respite for his declining hearing – and, of course, an escape from the political turmoil of the time. Vienna was bombarded and captured by Napoleon in November 1805, and again in May 1809. Beethoven sheltered in a cellar as the explosive shells rained down, a pillow clamped to his ears against the sheer pain of the noise.

No wonder the countryside meant so much to him. His servant Michael Krenn tells of him roaming the fields from six in the morning until ten at night “sketch book in hand, waving his arms, completely carried away by inspiration”. One of his sketchbooks, from 1803, shows him trying to write down the sound of a stream near Heiligenstadt in musical notation, and the three-bar fragment of music that resulted bears an unmistakable resemblance to the rippling figure for two cellos that flows through the Andante of the Pastoral Symphony. “The broader the stream”, he observed, “the deeper the note”.

Bagpipes and village bands

Beethoven’s love of the countryside blossomed into this symphony between the summers of 1807 and 1808 – at exactly the same time as he was writing the volcanic Fifth Symphony (in fact, both works were premiered in the same marathon concert on 22 December 1808). The opening is deceptively simple. Violas, cellos and bases lay down a quiet drone, like a hurdy-gurdy or bagpipe, and the violins try out a modest country-dance melody. You would never guess that (like the first movement of the Fifth Symphony) this will evolve into a tightly constructed sonata form movement built up from the shortest of themes and motifs. But the lively rhythms and bright scoring of the themes give the character of folk music, while those long-held hurdy-gurdy notes give the whole movement a sense of glorious space and freedom.

Nothing disturbs the tranquillity of the Scene by the Brook, its graceful melodies borne gently onward by the flow of the stream (two muted cellos). At the very end of the movement Beethoven added tiny solos for nightingale (flute), quail (oboe) and cuckoo (clarinet) – he wrote the birds’ names in the score. Now imagine a headlong Beethoven Scherzo played by an overenthusiastic village band: oboe and horn enter off the beat and the bassoonist is so sure they’re right that they belt out his utterly unimportant bass part at a ridiculous volume. The dance is cut short by a sudden hush, a rumble of thunder and the shattering cloudburst of the Thunderstorm. Trombones and piccolo enter for the first time in the symphony. As the storm moves off, the sun re-emerges and a lovely, arcing phrase for oboe shines like a rainbow over the final rolls of thunder.

And now a shepherd’s call is heard, first on clarinet, then on horn. It’s the start of the Shepherds’ Song : an expansive and exultant rondo, moving in such broad, leisurely paragraphs that every key-change seems like the opening-out of a new and more beautiful vista. As the symphony draws to a close the music grows hymn-like, with hushed strings and woodwinds answering each other like a prayer and response. But Beethoven never labours his point: the flow of the music resumes, and, with a final horn-call, the symphony winds off into the blue distance.

Programme note © Richard Bratby

GLOSSARYopera seria: an Italian musical term which refers to the noble and “serious” style of Italian opera that predominated in Europe in the 1700s.

passacaglia: an old Italian or Spanish dance tune; the same basic melody, repeated again and again by the orchestra.

“Beethoven’s love of the countryside blossomed into this symphony between the summers of 1807 and 1808…”

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Beethoven’s FuneralMozart’s Requiem

0121 289 6333 | www.excathedra.co.uk

EX CATHEDRA Choir & Classical Orchestra THE CONCERT TROMBONE QUARTETTE Jeffrey Skidmore conductor Quintin Beer associate conductor Katie Trethewey soprano Martha McLorinan mezzo soprano James Robinson tenor Lawrence White bass

Sun 17 Oct, 4pmSymphony Hall

That Mozart’s last work was a Requiem for the dead is remarkable: that he should die whilst composing it has made it the stuff of legends. It is powerful music – sometimes full of dread, always humanity.

Just 36 years after Mozart was buried in an unmarked grave 20,000 people lined the streets of Vienna for Beethoven’s funeral procession. Ex Cathedra reconstruct this event - in the comfort of Symphony Hall - with a rare performance of the music heard that day.

OUR CAMPAIGN FOR MUSICAL LIFE IN THE WEST MIDLANDSThese 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

7

BIOGRAPHIES

FINNEGAN DOWNIE DEAR CONDUCTORWinner of the Mahler Competition 2020, Finnegan Downie Dear is increasingly recognised for his fine musicianship, his command of complex scores, and his intense and mature performances. Born in London, he is now based in Berlin.

Following a week conducting the Bamberger Symphoniker in a variety of repertoire, the jury of the Mahler Competition were unanimous in their decision to award Downie Dear the First Prize. He subsequently led a final concert which included the world premiere of Miroslav Srnka’s move 04 ‘Memory Full’ and Mahler’s Symphony No.4, with soloist Barbara Hannigan.

Downie Dear recently made concert debuts conducting the Swedish Radio Symphony Orchestra, Gothenburg Symphony Orchestra, Luxembourg Philharmonic, Korea Symphony Orchestra, Munich Radio Orchestra, Haydn Orchestra, Ensemble Resonanz, Klangforum Wien, the State Philharmonic of Kosice, the BBC Concert Orchestra and the RTÉ National Symphony and Concert Orchestras. Future symphonic engagements include performances with the London Philharmonic Orchestra, Sinfonieorchester Basel, Deutsches Symphonie-Orchester Berlin, NDR Elbphilharmonie Orchestra, Melbourne Symphony Orchestra, Sydney Symphony Orchestra and the Baltimore Symphony Orchestra.

In September 2020 Downie Dear returned to Bamberg, stepping in at the last minute to lead the Bamberger Symphoniker in rehearsals for their season opening concerts. Music Director Jakub Hrůša subsequently invited him to share the podium with him for those performances, as part of the Momentum initiative. He returns this season to lead the orchestra in subscription concerts as well as fully staged performances of Oliver Knussen’s Where the Wild Things Are.

Recent operatic highlights include engagements at the Royal Opera House, Covent Garden (Gerald Barry’s Alice’s Adventures Under Ground), Nevill Holt Opera (Don Giovanni), Polish National Opera (Die Tote Stadt), Deutsche Oper am Rhein (Hänsel und Gretel ), Korean National Opera (Hänsel und Gretel ) and Scottish Opera (Greek). Future plans Le nozze di Figaro at the Royal Swedish Opera as well as productions at Deutsche Staatsoper Berlin and Theater an der Wien.

In 2020 Downie Dear was nominated in the ‘Newcomer’ category at the International Opera Awards. As Music Director of award-winning Shadwell Opera, he collaborates with the UK’s finest young singers and instrumentalists, bringing stagings of seminal 20th-century and contemporary works to new audiences. His performances with Shadwell Opera have received consistent acclaim, featuring works by Benjamin, Maxwell Davies, Turnage, Schoenberg and Stravinsky. In 2019 Shadwell Opera’s most ambitious project to date saw it tour with its orchestra and ensemble to the Mariinsky Theatre, St. Petersburg, for the Russian premiere of Where the Wild Things Are.

Downie Dear studied musicology at Cambridge and piano at the Royal Academy of Music, graduating from both with distinction. He subsequently worked as a conducting assistant to Simone Young, Thomas Adès, Daniel Harding, Matthias Pinscher and Richard Baker with many of the finest European orchestras and opera houses. In 2017 he was elected an Associate of the Royal Academy of Music.

“… thanks to his precise, inspiring

and masterful conducting, we could immerse

ourselves in the perfection

of Beethoven’s musical thinking.”

Opera Slovakia

Photo © Frank Bloedhorn-Finn

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BIOGRAPHIES

JAMES EHNES VIOLINJames Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest of many of the world’s most respected conductors including Vladimir Ashkenazy, Marin Alsop, Andrew Davis, Stéphane Denève, Mark Elder, Iván Fischer, Edward Gardner, Paavo Järvi, Juanjo Mena, Gianandrea Noseda, David Robertson and Donald Runnicles. Ehnes’ long list of orchestras he has worked with include the Boston, Chicago, London, NHK and Vienna symphony orchestras, the Los Angeles, New York, Munich and Czech philharmonic orchestras, and the Cleveland, Philadelphia, Philharmonia and DSO Berlin orchestras.

In response to the COVID-19 pandemic and subsequent closure of concert halls, Ehnes announced the launch of a new online recital series entitled Recitals from Home in June 2020. Ehnes recorded the six Bach Sonatas and Partitas and six Sonatas of Ysaÿe from his home with state-of-the-art recording equipment and released six episodes over the period of two months. These recordings have been met with great critical acclaim by audiences worldwide and Ehnes was described by Le Devoir as being “at the absolute forefront of the streaming evolution”.

Recent orchestral highlights include the MET Orchestra at Carnegie Hall with Gianandrea Noseda, Gewandhausorchester Leipzig with Alexander Shelley, San Francisco Symphony with Marek Janowski, Frankfurt Radio Symphony with Andrés Orozco-Estrada, London Symphony with Daniel Harding, and Munich Philharmonic with Jaap van Zweden. In 2017, Ehnes premiered the Aaron-Jay Kernis Violin Concerto with the Toronto, Seattle and Dallas symphony orchestras, and gave further performances of the piece with the Deutsches Symphonie-Orchester and Melbourne Symphony Orchestra. Throughout the 2020/21 season, Ehnes is named as Artist in Residence with the National Arts Centre of Canada.

Alongside his concerto work, Ehnes maintains a busy recital schedule. He performs regularly at Wigmore Hall, Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Chaise-Dieu, the White Nights Festival in St Petersburg, Verbier Festival, Festival de Pâques in Aix, and in 2018 he undertook a recital tour to the Far East, including performances in Hong Kong, Shanghai, Singapore and Kuala Lumpur.

As part of the Beethoven celebrations, Ehnes was invited to perform the complete cycle of Beethoven Sonatas at London’s Wigmore Hall in 2019/20 and throughout 2020/21 will perform the Grieg sonatas on tour with Orion Weiss. In 2016, Ehnes undertook a cross-Canada recital tour, performing in each of the country’s provinces and territories, to celebrate his 40th birthday.

As a chamber musician, he has collaborated with leading artists such as Leif Ove Andsnes, Renaud Capuçon, Louis Lortie, Nikolai Lugansky, Yo-Yo Ma, Antoine Tamestit, Jan Vogler, Inon Barnatan and Yuja Wang. In 2010, he formally established the Ehnes Quartet, with whom he has performed in Europe at venues including Wigmore Hall, Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix, amongst others. Ehnes is the Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography and has won many awards for his recordings, including a Grammy Award (2019) for his live recording of Aaron Jay Kernis Violin Concerto with the Seattle Symphony and Ludovic Morlot, and a Gramophone Award for his live recording of the Elgar Concerto with the Philharmonia Orchestra and Andrew Davis. His recording of the Korngold, Barber and Walton violin concertos won a Grammy Award for ‘Best Instrumental Soloist Performance’ and a JUNO award for ‘Best Classical Album of the Year’. His recording of the Paganini’s Caprices earned him universal praise, with Diapason writing of the disc, “Ehnes confirms the predictions of Erick Friedman, eminent student of Heifetz: ‘there is only one like him born every hundred years’.” Recent releases include sonatas by Beethoven, Debussy, Elgar and Respighi, and concertos by Walton, Britten, Shostakovich, Prokofiev and Strauss, as well as the Beethoven Violin Concerto with the Royal Liverpool Philharmonic Orchestra and Andrew Manze, released in 2017 on Onyx Classics.

Ehnes began violin studies at the age of five, became a protégé of Canadian violinist Francis Chaplin aged nine, and made his orchestra debut with L’Orchestre symphonique de Montréal aged 13. He continued his studies with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category.

Ehnes plays the “Marsick” Stradivarius of 1715.

“… a thinker of the violin as well

as a supreme virtuoso of the

instrument ... an artist of the

first order.”The Daily Telegraph

Photo © Ben Ealovega

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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 flagship 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, film music and even symphonic disco. With a far-reaching community programme and a family of choruses and ensembles, it is involved in every aspect of music-making in the Midlands. But at its centre is a team of 75 superb professional musicians, and a 100-year tradition of making the world’s greatest music in the heart of Birmingham.

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

Home and Away

Rattle’s successors Sakari Oramo (1998-2008) and Andris Nelsons (2008-15) helped cement that global

reputation, and continued to build on the CBSO’s tradition of flying the flag for Birmingham. As the only professional symphony orchestra based between Bournemouth and Manchester, the orchestra tours regularly in Britain – and much further afield. The 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, offering high-level training to the next generation of orchestral musicians alongside top international conductors and soloists.

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

The CBSO recently announced that Kazuki Yamada has been appointed as its Chief Conductor and Artistic Advisor with effect from 1 April 2023.

Photo © Ben Ealovega

BIOGRAPHIES

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VIOLIN IEugene TzikindeleanJonathan Martindale *Philip BrettColin TwiggJane Wright Julia Åberg *Ruth Lawrence *

#

Stefano Mengoli *Mark Robinson #

Colette Overdijk *Kirsty Lovie *Katharine Gittings Catherine Chambers Robert Bilson

VIOLIN IIPeter Campbell-Kelly *

#

Kate Suthers*Moritz Pfister Amy Jones *

#

Charlotte Skinner *Timothy BirchallGabriel Dyker *

#

Georgia Hannant *Heather Bradshaw *

#

Bryony Morrison *Amy LittlewoodAdam Hill

VIOLAAdam Romer *

#

Michael Jenkinson * #

Catherine Bower * #

David BaMaung *Angela Swanson

#

Jessica Tickle *Amy Thomas #

Elizabeth Fryer * #

Cheryl LawIsobel Adams

CELLOEduardo Vassallo *

#

Arthur BoutillierDavid Powell *

#

Kate Setterfield * #

Miguel Fernandes *Catherine Ardagh-Walter *

#

Helen Edgar * #

Jacqueline Tyler * #

DOUBLE BASSAnthony Alcock *Julian Atkinson *

#

Damián Rubido GonzálezJeremy WattMark Goodchild *#

Sally Morgan * #

FLUTEMarie-Christine Zupancic *

#

Veronika Klirova *

PICCOLOLuke Russell

OBOEEmmet Byrne *

COR ANGLAISRachael Pankhurst *

CLARINETNicholas CoxJoanna Patton *

#

BASSOONNikolaj Henriques *

Britta Cortabarria

CONTRABASSOONMargaret Cookhorn *

HORNElspeth Dutch *

#

Antonia Chandler Mark Phillips *

#

Jeremy Bushell *Martin Wright #

TRUMPETJonathan Holland *

#

Richard Blake *Jonathan Quirk *

#

TROMBONEAnthony Howe *#

Charlotte van Passen

BASS TROMBONEDavid Vines *

#

TUBAGraham Sibley *

#

TIMPANIMatthew Hardy *

PERCUSSIONAdrian Spillett *

#

Andrew Herbert *

HARPKatherine Thomas *

# Recipient of the CBSO Long Service Award

* Supported player

List correct as at 4 October 2021

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

PLAYERS LIST

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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

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 FoundationBarclaysThe 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 late Mr John Thomas KnightThe Leverhulme TrustThe LJC FundChris and Jane LoughranThe late Martin PurdyThe late Norman ThomasThe late Sheri and Mrs Janet TullahThe Roger and Douglas Turner

Charitable TrustWolfson Foundation

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

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

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

£100,000+Alison and Jamie Justham

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

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

concert programming (*Catherine Ardagh-Walter)

£25,000+Sir Dominic and Lady Cadbury

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

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

Dolores (*Richard Blake)

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

(*Peter Campbell-Kelly)Gill and Jonathan Evans

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

Charitable TrustLen Hughes and Jacquie Blake

(*Anthony Alcock)Sue and Graeme Sloan

and our other anonymous supporters.

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

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

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)

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

Carole McKeown and David Low (*Miguel Fernandes)

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

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

(*Julian Atkinson)Robert PerkinGraham Russell and Gloria Bates

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

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

(*Catherine Bower)

and our other anonymous supporters.

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

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

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

(*Mark O’Brien)Michael BatesTim and Margaret Blackmore

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Christine 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 FrancisAnita and Wyn Griffi thsMary and Tony HaleKeith and Mavis HughesLord Hunt of Kings HeathBasil JacksonIn memory of Harry and Rose JacobiMr 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 RobinsonMr A M and Mrs R J SmithMark and Amanda SmithPam and Alistair SmithWilliam SmithColin Squire ObeMr M and Mrs S A SquiresJan and Peter SterlingBrenda SumnerTenors of the CBSO Chorus

(*Joanna Patton)Alan Titchmarsh Mbe

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

Jack Field (*Michael Jenkinson)Richard and Emma Yorke

and our other anonymous supporters.

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

and our other anonymous supporters.

SILVER PATRONS(£450+ per year)Mr and Mrs S V BarberRichard Allen and Gail BarronMr P G BattyePaul BondProfessor Lalage BownRoger and Lesley CadburyMr A D and Mrs M CampbellSue Clodd and Mike Griffi thsDavid and Marian Crawford-ClarkeMrs A P CrocksonDr. Margaret Davis and Dr. John DavisMark DevinAlistair DowNaomi and David DykerJane 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

Carmel and Anthony MasonAnthony 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 WyattPaul C Wynn

and our other anonymous supporters.

PATRONS (£250+ per year)Mrs Thérèse AllibonDavid and Lesley ArkellVal and Graham BacheLeon and Valda BaileyAndrew BarnellMr P and Mrs S BarnesMr and Mrs Barnfi eldDi BassPaul BeckwithMr I L BednallGareth BeediePeter and Gill BertinatPhilip and Frances BettsMrs Ann BillenMichael and Beryl BloodBridget Blow cbeAnthony and Jenni BradburyDr Jane Flint Bridgewaterand Mr Kenneth BridgewaterMr Arthur BrookerM. L. BrownAnn BrutonMr and Mrs J H BulmerMr G H and Mrs J M ButlerBenedict and Katharine CadburyJeannie 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 Davey

Trevor DavisKath DeakinDr J DilkesBrian and Mary DixonTerry Dougan and Christina LomasMr and Mrs C J DrayseyJohn DruryCatherine DukeChris 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 GodsallJ GodwinLaura Greenaway in memory of

David RichardsPaul HadleyRoger and Gaye HadleyNigel and Lesley Hagger-VaughanMiss A R HaighMr W L HalesMalcolm HarbourIan HartlandPhil Haywood in memory of AnnKeith R HerbertKeith Herbert and Pat GregoryHanne Hoeck and John RawnsleySusan Holmes in memory of PeterValerie and David HowittPenny HughesDavid HutchinsonHenry and Liz IbbersonMr R M E and Mrs V IrvingKen and Chris JonesMr M N JordanPaul JulerMrs P KeaneMr and Mrs R KirbyMr A D KirkbyProfessor and Mrs R J KnechtBill LaneBrian LangtonMrs D LarkamJennie Lawrence in memory of PhilipEmmanuel LebautSteve Leonard and Debbie FullerM. E. LingMr J F and Mrs M J LloydProfessor David LondonGeoff and Jean MannGeoff and Jenny MasonMr 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 Obe

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In memory of Jack and Pam NunnMarie and John O’BrienMr and Mrs R T OrmeS J OsborneNigel PackerRod Parker and Lesley BiddleGraham and Bobbie PerryDavid and Julia PowellMargaret RogersGill 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 TaylorJohn and Anne TurneyMrs J H UpwardClive Kerridge and Suzan van HelvertBob and Louise VivianStephen Vokes and Erica BarnettTim and Wendy WadsworthKit Ward

Ann 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 CBSOJohn Cole and Jennie HoweProfessor Dame Sandra DawsonNaomi DykerWally FrancisPeter GrahamChris MorleyMembers of the Newport Music CoachMr and Mrs P RawleFrances and Bob Young

and our other anonymous donors.

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

Burgess SmithIsabel Churcher

The 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 JonesThe late Mr John Thomas KnightPeter MacklinThe late Mr and Mrs F. McDermott

and Mrs C. HallThe late Myriam Josephine MajorThe late Joyce MiddletonPhilip MillsThe late Peter and

Moyra MonahanThe late Arthur MouldThe late June NorthStephen OsborneGill PowellThe late Mrs Edith RobertsPhilip RothenbergThe late Mr Andrew RoulstoneThe late Thomas Edward ScottMrs C E Smith and

Mr William SmithPam SnellThe late Mrs Sylvia StirmanThe late Mrs Eileen SummersMiss K V Swift John TaylorMr D M and Mrs J G ThorneJohn VickersMrs Angela and Mr John WattsPhilip WilsonAlan Woodfi eld

and our other anonymous donors.

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

* Player supporter

Credits correct as of 15 September 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

Principal funders

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 Cole Charitable TrustThe George Henry Collins CharityThe Concertina Charitable TrustBaron Davenport’s CharityThe D’Oyly Carte Charitable TrustDunard FundThe W E Dunn TrustThe W.G. Edwards Charitable FoundationJohn 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 TrustLG Harris TrustThe Derek Hill FoundationThe Joseph Hopkins and Henry James Sayer CharitiesJohn Horniman’s Children’s TrustThe Irving Memorial Trust

The JABBS FoundationLillie Johnson Charitable TrustThe Kobler TrustJames Langley Memorial TrustThe Leverhulme TrustLJC FundLimoges Charitable TrustThe S & D Lloyd CharityThe Helen Rachael Mackaness Charitable TrustThe MacRobert 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 TrustRathbones Trust CompanyThe Ratcliff FoundationThe Rainbow Dickinson TrustClive & 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

www.prsformusicfoundation.com

G lobe f l ow

Partners in Orchestral Development

William King Ltd

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

For more information on how your organisation can engage with the CBSO, please contact Simon Fairclough, CBSO Director of Development, on 0121 616 6500 or sfairclough@cbso.co.uk Thank you also to our Major Donors, Benefactors, Circles Members, Patrons and

Friends for their generous support.

Education Partners

In-kind supporters

Funders

Corporate Partners

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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 Cllr Sir Albert Bore Nominated Trustees Cllr Alex Yip

Player Nominated Trustees Timothy Birchall

Helen Edgar

Player Observer Elspeth Dutch

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 Mark Devin

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*Company Secretary Annmarie WallisHR Manager Hollie DunsterPA 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-HuckleAssistant librarian Nathan Isaac

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 LucasLearning & Participation Offi cer Eben GutteridgeSchools Offi cer Carolyn Burton Chorus Manager Poppy HowarthChildren’s & Youth Chorus Offi cer Alexander ParkerResearch Assistant Adam Nagel*†

Director of Marketing & Communications Gareth Beedie Marketing Manager Beki SmithCRM & Insight Manager Melanie Ryan*†Publications Manager Jane Denton†Assistant Marketing Manager Harriet GreenDigital Content Producer Hannah Blake-FathersMarketing Offi cer Aphra HiscockMarketing 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 and Resources Emma BuntingFinance Manager Dawn DohertyPayroll Offi cer Lindsey Bhagania†*Assistant Accountant Graham IrvingFinance Assistant (Cost) Susan PriceCBSO Centre Manager Niki Longhurst*†Technical & Facilities Supervisor Tomoyuki MatsuoAssistant CBSO Centre Manager Peter Clarke*Receptionist Sev Kucukogullari†

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA