City of Birmingham Symphony Orchestra
City of Birmingham Symphony Orchestra | |
---|---|
Orchestra | |
Short name | CBSO |
Former name | City of Birmingham Orchestra |
Founded | 1920 |
Concert hall | Symphony Hall, Birmingham |
Music director | Kazuki Yamada |
Website | cbso |
The City of Birmingham Symphony Orchestra (CBSO) is a British orchestra based in Birmingham, England. It is the resident orchestra at Symphony Hall, Birmingham in Birmingham, which has been its principal performance venue since 1991.[1] Its administrative and rehearsal base is at the nearby CBSO Centre, where it also presents chamber concerts by members of the orchestra and guest performers.[2]
Each year the orchestra performs more than 150 concerts[3] in Birmingham, the UK and around the world, playing music that ranges from classics to contemporary, film scores and even symphonic disco. With a far-reaching community programme and a family of choruses and youth ensembles, it is involved in every aspect of music-making in the Midlands. At its centre is a team of 90 professional musicians, and over a 100-year tradition of making music, in the heart of Birmingham. The CBSO has four choirs – the CBSO Chorus, Youth Chorus, Children's Chorus and SO Vocal (our un-auditioned community choir), conducted by Lucy Hollins.[4]
The current chief conductor and artistic adviser of the CBSO is Kazuki Yamada, effective April 2023.
History
Background and foundation
The earliest orchestral concerts known to have taken place in Birmingham were those organized by
Stockley and Halford established regular orchestral concerts as an expected feature of life in Birmingham[10] which by the late 19th century supported a substantial pool of high quality locally based professional musicians.[11] Between 1905 and 1920 this demand was met by a number of competing enterprises.[12] Halford's players reformed in 1906 as the self-governing Birmingham Symphony Orchestra, which continued to perform until 1918 under notable conductors including Henry Wood, Hans Richter and Halford himself.[13] Landon Ronald presented an annual season of promenade concerts at the Theatre Royal in New Street from 1905 to 1914 with a 70-strong orchestra made up largely of Birmingham-based musicians.[12] Appleby Matthews and Richard Wassell both ran separate orchestras in their own names presenting annual series of concerts between 1916 and 1920;[14] and Thomas Beecham conducted and promoted his own New Birmingham Orchestra between 1917 and 1919.[15]
From 1916 onwards, a group of influential local figures began to pursue the idea of a single, permanent, municipally funded orchestra,
Early years under Matthews
The new orchestra's management committee met for the first time on 19 June 1919 and named itself the City of Birmingham Orchestra or CBO, probably to emphasise its civic status,[23] though it also made clear that the CBO would be a self-governing musical body, not a municipal orchestra along the lines of those commonly found in seaside resorts.[24] During its early years the orchestra was sometimes referred to as the Birmingham City Orchestra, or commonly just the "City Orchestra".[25] Thomas Beecham was considered to be the most suitable candidate for the Principal Conductor role, but he was pre-occupied with his own acute financial problems and had not forgiven the city for its failure to support his earlier New Birmingham Orchestra.[26] As a result, a shortlist of four candidates was drawn up from the numerous applications for the post, though the initial one-year contract came to limit the choice to local applicants.[25] The eventual appointee was Appleby Matthews, who had been running his own orchestra in the city since 1916 and had strong support from local music critics on the selection panel.[25] Richard Wassell was appointed as Assistant Conductor.[25]
Matthews' plan was to hold eight Saturday concerts and six Wednesday concerts each year at Birmingham Town Hall, with a series of 38 concerts of more popular programmes at cheaper venues on Sundays,[27] continuing the tradition of Sunday popular classics established by his own orchestra over the previous five years.[28] The orchestra first rehearsed at 9.30am on 4 September 1920, in the band room at the Birmingham City Police's Steelhouse Lane station.[29] The CBO's first concert was given under Matthews' baton as part of the Sunday series at the Theatre Royal on 5 September 1920, with the first piece of music performed being Granville Bantock's Saul.[25] After two months of preparing the orchestra with the popular concerts,[24] the inaugural concert of the Symphony Concerts series was given at the Town Hall on 10 November 1920, with Edward Elgar conducting a concert of his own works,[28] including his Cello Concerto with Felix Salmond as the soloist. The first season continued with a remarkable series of programmes, including Ralph Vaughan Williams conducting his own London Symphony, Hamilton Harty conducting Berlioz's Symphonie fantastique, Adrian Boult conducting Rachmaninov's Second Symphony, Landon Ronald conducting Brahms' Second Symphony and Jean Sibelius conducting his own Third Symphony.[30] Two features that would become longstanding traditions for the orchestra were also established during this first year: performances of then-recent works by Holst, Vaughan Williams and Bax saw a strong representation of new music in the orchestra's programmes; and from February 1921 the orchestra's commitment to musical education was underlined with a series of concerts for city schoolchildren held in the Town Hall on Saturday afternoons.[22]
Matthews had originally been appointed to be conductor with a fee of £450 for 30 concerts, but had persuaded the committee to give him instead the combined role of conductor, secretary and manager for a fee of £1,000 per year.
Boult and the first "golden period"
The CBO committee had two candidates in mind to replace Matthews:
Boult brought a wider vision for the orchestra's future,
The immediate impact of Boult's arrival was conveyed by the Birmingham Post reviewing his first season: "The strongest impression is of a very great gain in note accuracy, a much improved ensemble, and a high standard of playing from the string group. The advance made within a single season is so considerable as to be remarkable."[55] The orchestra also moved into more adventurous repertoire,[56] for example performing Bartók's Dance Suite less than a year after its composition, while the composer was little-known in England.[57] The CBO's performance of Mahler's Fourth Symphony in 1926 was only the third performance of any Mahler symphony given in Britain,[58] and that of Das Lied von der Erde was only the second time it had been performed in England.[59] Both were followed shortly afterwards by performances by orchestras in London and marked the start of the gradual increase in interest in Mahler's work in Britain.[60]
By 1926, the orchestra's finances had improved,[61] helped by the City Council's decision in 1924 to allow Birmingham Town Hall to be used rent-free for the Symphony concerts[54] and in 1925 to double the CBO's grant to £2,500 annually.[62] Less positive was the collapse in October 1925 of the Town Hall's ceiling, leading the orchestra to move its concerts temporarily to Central Hall on Corporation Street.[51] Expenditure on repairing the Town Hall put back prospects of the new concert hall that Boult had been promised,[63] and the reconfiguration of the hall from one gallery to two – engineered by London-based architect Charles Allom without consulting any local musicians – created acoustic problems that would dog the orchestra until its move to Symphony Hall six decades later: the Birmingham Post wrote that "everything sounded strange" and complained of acoustic dead spots in the ground floor and lower gallery.[64]
One aspect of Boult's time at the CBO was the development of an important relationship with the recently established
Consolidation under Heward
Four conductors were shortlisted to succeed Boult and were given trial concerts –
Heward soon gained the respect of the orchestra's players and the Birmingham audience for his formidable musicianship.
Assistant Conductor Joseph Lewis followed Boult to the BBC Symphony Orchestra in 1931.[76] His eventual replacement, Harold Gray, had started his 55-year-long association with the orchestra as Boult's secretary and musical amanuensis in 1924,[82] and had first conducted the orchestra in 1930 in Sutton Coldfield where he was organist at parish church.[83] Heward was reluctant to talk to audiences and didn't enjoy performing for schoolchildren[74] so Gray took over children's concerts in 1931[84] and was appointed Deputy Conductor in 1932.[84]
The Symphony concerts under Heward drew excellent attendances, but audiences continued to drop for concerts of popular classics as competition from radio and the cinema for leisure time activity increased.[85] Relief from the resulting financial pressure came through a series of arrangements with the BBC.[86] In 1930 the broadcaster agreed to reduce its Birmingham orchestra to an octet – with the redundant musicians being auditioned by the CBO – in return for the CBO performing 13 studio concerts each season: an important step towards permanent year-round contracts for the CBO's players.[76] In 1934 Percy Edgar and Victor Hely-Hutchinson agreed to establish the BBC Midland Orchestra playing 2–3 concerts a week, with Heward as conductor and 35 of its musicians shared with the CBO on 12-month contracts.[86] The stability this brought meant that Heward could build on the achievements of the previous 15 years[75] and by the late 1930s the CBO was playing to a standard comparable to the orchestras of major cities of continental Europe.[73]
By 1939, the CBO's finances were looking sound and its future bright.
Post-war doldrums
By 1944, the wartime orchestra numbered only 62 musicians, all of whom were part-time and most of whom were employees of local munitions factories.
Weldon's success in rebuilding the orchestra after the ravages of war was limited, however: he recruited over 40 new musicians during his tenure but by 1951 had only succeeded in increasing the playing strength to 73.[107] Year-round contracts demanded a heavy workload – during the 1945–46 season the orchestra played 260 concerts as well as undertaking educational work in the city's schools – meaning that most concerts were rehearsed only on the day of a performance.[108] Audiences were also unpredictable, and Weldon was criticised for programming too much lightweight repertoire.[109] The era saw some performances of new compositions including major works composed by the orchestra's oboist Ruth Gipps, and September 1946 brought Samuel Barber to Birmingham to conduct his own First Symphony, but Weldon repeated popular works multiple times, often twice or more within the same season.[110] In 1946 Eric Blom criticised the orchestra for over-performance of Vaughan Williams' Fantasia on "Greensleeves'', with the orchestra responding by performing the work in a further concert, backwards.[111] The music critic of the Birmingham Post was sacked in 1945 for writing that other music journalists in the city were covering up the orchestra's low standards,[112] but by 1948 critics were writing openly of the orchestra's decline.[107] An anti-Weldon lobby formed among Birmingham's musical establishment[113] and unsubstantiated rumours circulated that he was conducting an affair with Gipps.[114] George Jonas, who would later head the CBSO's council of management and started attending CBSO concerts in 1951, later recalled of the period: "a pretty awful sound they made, it was a poor orchestra."[115]
With attendance at CBSO concerts averaging only 60% of capacity, the Birmingham Post ran a series of articles in 1949 arguing for a new approach.
From the start, Schwarz's programming was radically different to Weldon's, reflecting a Central European repertoire alongside many unfamiliar British works.
Panufnik and the return of Boult
In September 1956 Schwarz announced that he would be leaving the CBSO for the BBC Symphony Orchestra at the end of the following season.[133] Press speculation about a successor centred on Hugo Rignold, but it was George Hurst and Andrzej Panufnik who were given trial concerts the following December, and Panufnik who was subsequently appointed after a performance described in the CBSO's official history as "sensationally successful".[134] Panufnik was best known as a composer, but had built a career as a conductor with the Kraków Philharmonic Orchestra and Warsaw Philharmonic Orchestra in his native Poland before defecting to England in 1954.[135] His first season in Birmingham was highly adventurous, featuring the British premieres of works by Ernest Bloch, Gian Francesco Malipiero and Ferenc Farkas. Many early English works for small chamber ensembles were included alongside later classical and romantic repertoire, and some concerts would start with only 13 players on the platform.[136]
Panufnik's arrival in Birmingham coincided with conflict between the orchestra and management after 16 violinists were asked to re-audition for their places, and a strike was only averted by a management climb down.
Panufnik's unexpectedly early departure created problems for the CBSO's management, who had intended for him ultimately to be succeeded by Meredith Davies, who had been appointed in 1957 from over 150 applicants as the orchestra's second Associate Conductor alongside Harold Gray.[143] Although Davies was offered the Principal Conductor role and was considered to have the confidence of the players, he felt he was still unprepared for the position and suggested that "an eminent conductor" be appointed for the 1959–1960 season with the intention that Davies would take over the following year.[144] Davies was therefore appointed as Deputy Music Director, and Adrian Boult returned for one year.[145] Boult had given up the role of principal conductor of the London Philharmonic Orchestra two years previously and was still much in demand as a guest conductor, but agreed to return to Birmingham in a move described by Michael Kennedy as "combining nostalgia and a generous rescue act".[144] Boult's season saw him conduct the premiere of Robert Simpson's Violin Concerto with its dedicatee Ernest Element, and a performance of Brahm's 4th symphony described by Robert Matthew-Walker as "the greatest performance of Brahms' fourth symphony I have ever heard."[146] John Waterhouse of the Birmingham Post wrote that under Boult the CBSO again "sounded as good as any orchestra in the country".[147]
Rebuilding under Rignold
In early 1960 the CBSO committee were still planning for Boult's deputy
Relations between the orchestra's management and players at the time was poor.
Rignold updated the orchestra's repertoire, conducting 31 premieres during his tenure.[154] The era saw Birmingham's first complete performances of works including Debussy's Images, Ravel's Daphnis et Chloé, Schoenberg's Verklärte Nacht and Walton's Violin Concerto,[161] and a series themed around "Masterpieces of the Twentieth Century" was held in 1966 and 1967.[162] Like Leslie Heward and Rudolf Schwarz before him, Rignold was particularly committed to the music of Sibelius,[161] giving a complete cycle of his symphonies in 1966.[163] The most significant premiere of the period, indeed of the CBSO's entire history,[164] saw the orchestra play the first performance of Benjamin Britten's War Requiem at the dedication of Coventry Cathedral in 1962, accompanied by Peter Pears, Dietrich Fischer-Dieskau, Heather Harper and the Melos Ensemble, conducted by Meredith Davies and the composer himself.[164] This event saw the orchestra attracting international attention for the first time since the first Boult era.[164] The Daily Telegraph described the work as "a masterpiece of the first order", Fischer-Dieskau wept during rehearsals and at the end of the performance Harper noticed that "all around her people were in tears".[153]
The Rignold era also saw modernisation of the CBSO's operations.[155] The orchestra undertook two major European tours in 1963 and 1968, and in 1966 made its first commercial recordings since 1948,[155] producing its first long-playing record.[163] 1963 saw the orchestra solvent and free of debt for the first time in over a decade,[165] leading to an increase in permanent strength to 88.[166] The workload of the orchestra remained extremely high though: throughout the 1960s it gave annual concert series in Coventry, Nottingham, Cheltenham, Dudley, Kidderminster and London as well as regular performances in Leeds and Bristol.[158] It performed two seasons every year supporting Welsh National Opera, which had no orchestra of its own,[167] it accompanied choral societies through the Midlands,[158] and continued to provide 50 days of education work each year in Birmingham schools.[168] Despite playing more concerts than the Liverpool, Hallé or Bournemouth orchestras it received a smaller grant from the Arts Council,[166] until increases in 1966 finally brought the it into line.[169]
Frémaux and "the best French orchestra in the World"
Despite the progress under
Frémaux oversaw a vast improvement in the CBSO's orchestral standards,
The popularity of Frémaux's concerts saw attendances at
For all its triumphs, Frémaux's tenure in Birmingham was to end in chaos and acrimony. In 1969 Birmingham City Council had cancelled the CBSO's regular programme of visits to local schools for budgetary reasons.[183] In their place, manager Arthur Baker developed a partnership with promoter Victor Hochhauser for the orchestra to perform lucrative series of mass-market concerts at the Royal Albert Hall in London, but constant travelling away from Birmingham and repetitive popular repertoire began to have a negative effect on player morale.[189] The CBSO in the 1960s and 1970s had a particular reputation for political activism[190] and Frémaux became increasingly uneasy with the amount of internal unrest.[181] Matters were made worse when Frémaux appointed Baker as his personal agent alongside his role as orchestral manager: the players began to feel that Baker was prioritising Frémaux's interests over the orchestra's artistic development[191] and started compiling a dossier of supporting evidence.[192] A humiliating climbdown in a dispute with the players over the seating of a freelance viola player in February 1978 led Frémaux to decide that he would not renew his contract, later complaining that "The union wanted to manage the orchestra. Some of them wanted a revolution."[193] The next month, however, a vote of no confidence from the players in Baker led to his resignation, with Frémaux himself also resigning out of personal loyalty.[194] The players stressed that Frémaux retained their support,[194] but he never conducted the orchestra again[193]
Although the loss of the orchestra's Manager and music director in a single week was a crisis in the short term, it resulted in a series of longer term changes that would have more positive effects.
Rattle and after
The CBSO began to gain greater international renown after
Rattle was named music director of the CBSO in 1990. That same year, the post of Radcliffe Composer in Association was created, with Mark-Anthony Turnage filling the role. In 1995 Judith Weir became Fairbairn Composer in Association, followed in 2001 by Julian Anderson.
Following Rattle's departure, Sakari Oramo became chief conductor in 1998, and music director in 1999. His CBSO work included the Floof! festival of contemporary music.[200] He also championed the music of John Foulds in concerts and recordings.[201][202] In 2001, the players rejected a contract that would have stopped extra payments for broadcasts and recordings, in the context of financial crisis at the CBSO.[203] In addition, other controversy arose from the CBSO's demands from the Arts Council for a greater share of the council's stabilisation fund, because of its reputation compared to other British orchestras.[204] In 2008, Oramo stood down as music director and took the title of principal guest conductor for the 2008–2009 season.[205][206]
In October 2007, the CBSO named Andris Nelsons as its next music director after Oramo, effective with the 2008–2009 season.[207] Nelsons' initial contract was for 3 years. The appointment was unusual in that Nelsons had not conducted the CBSO publicly prior to his appointment, but only in a private concert and in a recording session.[208] In July 2009, the orchestra extended Nelsons' contract for another 3 years, through the 2013–2014 season.[209] In August 2012, the CBSO announced the further extension of Nelsons' contract formally through the 2014–2015 season, and then for subsequent seasons on the basis of an annual rolling renewal.[210] In October 2013, the CBSO announced the conclusion of Nelsons' tenure as music director after the conclusion of the 2014–2015 season.[211][212]
In July 2015, Mirga Gražinytė-Tyla first guest-conducted the CBSO.[213] In February 2016, the CBSO named her as its next music director, effective September 2016, with an initial contract of 3 years.[214] She was the first female conductor to be named music director of the CBSO[215] and conducted her first concert as CBSO music director on 26 August 2016.[216] She concluded her CBSO tenure at the close of the 2021–2022 season, and took the title of principal guest conductor for the 2022–2023 season.
Kazuki Yamada first guest-conducted the CBSO in 2012. In May 2018, the CBSO announced the appointment of Yamada as its next principal guest conductor, effective with the 2018–2019 season.[217] In January 2021, the CBSO announced the extension of Yamada's contract as principal guest conductor with CBSO until 2023.[218] In September 2021, the CBSO announced the appointment of Yamada as its next chief conductor and artistic advisor, effective 1 April 2023, with an initial contract of 4.5 years.[219]
The CBSO's current Associate Conductor is Michael Seal.[220] In February 2022, the CBSO announced the appointment of a cohort of six new Assistant Conductors – Bertie Baigent, Olivia Clarke, Otis Enokido-Lineham, Jack Lovell-Huckle, Charlotte Politi and Konstantinos Terzakis.[221] The CBSO's current chief executive is Emma Stenning, as of April 2023, in succession to Stephen Maddock.[222]
The CBSO has recorded extensively for labels such as EMI Classics, Warner Classics,[223] and Orfeo.[224][225][226] The orchestra has also released recordings under its own self-produced label.[227]
Chief Conductors and Music Directors
- Appleby Matthews (1920–1924)
- Adrian Boult (1924–1930)
- Leslie Heward (1930–1943)
- George Weldon (1944–1951)
- Rudolf Schwarz (1951–1957)
- Andrzej Panufnik (1957–1959)
- Adrian Boult (1959–1960)
- Hugo Rignold (1960–1969)
- Louis Frémaux (1969–1978)
- Simon Rattle (1980–1998)
- Sakari Oramo (1998–2008)
- Andris Nelsons (2008–2015)
- Mirga Gražinytė-Tyla (2016–2022)
- Kazuki Yamada (2023–present)
See also
References
- ^ "Symphony Hall". City of Birmingham Symphony Orchestra. Retrieved 28 January 2017.
- ^ "City of Birmingham Symphony Orchestra". Association of British Orchestras. Archived from the original on 22 January 2018. Retrieved 28 January 2017.
- ^ "Who We Are".
- ^ "Sing with the CBSO".
- ^ a b c d Handford, Margaret. "Birmingham". Grove Music Online. Oxford: Oxford University Press. Retrieved 28 January 2017.
- ^ a b King-Smith 1995, p. 9.
- ^ a b Kenyon 2001, p. 111.
- ^ Hickling, Alfred (28 October 2007). "Pull out all the stops". The Guardian. Retrieved 28 January 2017.
- ^ Handford 2006, p. 167.
- ^ Handford 2006, p. 214.
- ^ Handford 2006, p. 216.
- ^ a b Handford 2006, p. 215.
- ^ Handford 2006, pp. 216–217.
- ^ Handford 2006, p. 223.
- ^ Handford 2006, pp. 222–223.
- ^ Handford 2006, pp. 223–224.
- ^ Handford 2006, p. 253.
- ^ King-Smith 1995, pp. 16–17.
- ^ King-Smith 1995, pp. 18–19.
- ^ King-Smith 1995, p. 21.
- ^ King-Smith 1995, pp. 22–23.
- ^ a b Handford 2006, p. 248.
- ^ a b King-Smith 1995, p. 23.
- ^ a b c d Kennedy 1987, p. 93.
- ^ a b c d e King-Smith 1995, p. 24.
- ^ King-Smith 1995, pp. 20, 23.
- ^ a b King-Smith 1995, p. 27.
- ^ a b c Handford 2006, p. 247.
- The Birmingham Post. p. 4.
- ^ Morley, Christopher (30 May 2013). "A glorious 90 years for CBSO". Birmingham Post. Retrieved 28 January 2017.
- ^ King-Smith 1995, p. 26.
- ^ a b King-Smith 1995, p. 34.
- ^ a b c King-Smith 1995, p. 29.
- ^ King-Smith 1995, pp. 29–30.
- ^ Handford 2006, p. 250.
- ^ a b King-Smith 1995, pp. 31–32.
- ^ King-Smith 1995, pp. 32.
- ^ King-Smith 1995, p. 33.
- ^ Kennedy 1987, p. 97.
- ^ Kenyon 2001, p. 112.
- ^ a b c d Handford 2006, p. 252.
- ^ King-Smith 1995, p. 36.
- ^ Handford 2006, p. 251.
- ^ King-Smith 1995, p. 52.
- ^ Jenkins & King-Smith 1983, p. 1.
- ^ Kenyon 1981, p. 9.
- ^ King-Smith 1995, pp. 34–35.
- ^ a b c d King-Smith 1995, p. 39.
- ^ Kennedy 1987, p. 129.
- ^ King-Smith 1995, pp. 39–40.
- ^ a b c King-Smith 1995, p. 41.
- ^ Handford 2006, pp. 252–253.
- ^ King-Smith 1995, p. 45.
- ^ a b c King-Smith 1995, p. 38.
- ^ Kennedy 1987, p. 104.
- ^ a b c Kenyon 1981, p. 39.
- ^ a b Kenyon 2001, p. 113.
- ^ Kennedy 1987, p. 112.
- ^ a b Kennedy 1987, p. 130.
- ^ Kennedy 1987, p. 133.
- ^ Kennedy 1987, p. 113.
- ^ a b King-Smith 1995, p. 40.
- ^ King-Smith 1995, p. 42.
- ^ King-Smith 1995, pp. 43, 45.
- ^ Kenyon 1981, p. 10.
- ^ King-Smith 1995, pp. 42, 45.
- ^ King-Smith 1995, p. 46.
- ^ King-Smith 1995, pp. 47–48.
- ^ Handford 2006, p. 254.
- ^ Kennedy 1987, p. 100.
- ^ King-Smith 1995, p. 48.
- ^ a b King-Smith 1995, p. 53.
- ^ a b c Handford 2006, p. 255.
- ^ a b King-Smith 1995, p. 54.
- ^ a b King-Smith 1995, p. 62.
- ^ a b c d King-Smith 1995, p. 55.
- ^ Blom, Eric. "Heward, Leslie (Hays)". Grove Music Online. Oxford University Press. Retrieved 28 January 2017.
- ^ King-Smith 1995, pp. 58–59.
- ^ King-Smith 1995, p. 61.
- ^ King-Smith 1995, pp. 62–63.
- ^ King-Smith 1995, p. 64.
- ^ King-Smith 1995, p. 37.
- ^ King-Smith 1995, p. 50.
- ^ a b King-Smith 1995, p. 56.
- ^ King-Smith 1995, pp. 59, 61.
- ^ a b King-Smith 1995, p. 60.
- ^ King-Smith 1995, p. 66.
- ^ a b c King-Smith 1995, p. 67.
- ^ King-Smith 1995, pp. 67–68.
- ^ King-Smith 1995, p. 68.
- ^ a b Handford 2006, p. 256.
- ^ King-Smith 1995, p. 71.
- ^ King-Smith 1995, pp. 74–75.
- ^ King-Smith 1995, pp. 60–61.
- ^ King-Smith 1995, p. 70.
- ^ King-Smith 1995, pp. 75–76.
- ^ a b King-Smith 1995, p. 80.
- ^ Handford 2006, p. 259.
- ^ King-Smith 1995, p. 81.
- ^ King-Smith 1995, pp. 78–79.
- ^ Handford 2006, pp. 258–259.
- ^ Handford 2006, p. 258.
- ^ King-Smith 1995, pp. 81–82.
- ^ King-Smith 1995, p. 84.
- ^ King-Smith 1995, p. 98.
- ^ King-Smith 1995, p. 93.
- ^ a b Handford 2006, p. 263.
- ^ King-Smith 1995, p. 88.
- ^ Handford 2006, p. 260.
- ^ King-Smith 1995, p. 89.
- ^ King-Smith 1995, p. 87.
- ^ Handford 2006, pp. 260–261.
- ^ a b King-Smith 1995, p. 100.
- ISBN 1351550330, retrieved 21 January 2018
- ^ Kenyon 2001, p. 109.
- ^ King-Smith 1995, p. 97.
- ^ Handford 2006, p. 264.
- ^ King-Smith 1995, p. 102.
- ^ King-Smith 1995, pp. 103–104.
- ^ Kenyon 2001, p. 114.
- ^ King-Smith 1995, p. 104.
- ^ King-Smith 1995, pp. 104–105.
- ^ King-Smith 1995, p. 105.
- ^ King-Smith 1995, p. 107.
- ^ King-Smith 1995, p. 106.
- ^ King-Smith 1995, p. 108.
- ^ King-Smith 1995, p. 110.
- ^ King-Smith 1995, p. 109.
- ^ King-Smith 1995, p. 114.
- ^ King-Smith 1995, p. 115.
- ^ Handford 2006, pp. 265–266.
- ^ King-Smith 1995, p. 113.
- ^ King-Smith 1995, p. 118.
- ^ a b King-Smith 1995, p. 121.
- ^ Handford 2006, p. 268.
- ^ King-Smith 1995, p. 123.
- ^ a b Bolesławska 2017, p. 152.
- ^ Bratby 2019, p. 139.
- ^ King-Smith 1995, pp. 125–126.
- ^ Bolesławska 2017, p. 154.
- ^ King-Smith 1995, pp. 127.
- ^ Bolesławska 2017, p. 158.
- ^ Handford 2006, p. 269.
- ^ a b King-Smith 1995, p. 128.
- ^ Bratby 2019, p. 141.
- ^ King-Smith 1995, p. 129.
- ^ King-Smith 1995, p. 130.
- ^ King-Smith 1995, pp. 129–130.
- ^ a b King-Smith 1995, p. 131.
- ^ King-Smith 1995, pp. 131–132.
- ^ King-Smith 1995, p. 132.
- ^ King-Smith 1995, pp. 132–133.
- ^ a b King-Smith 1995, p. 135.
- ^ a b c d Bratby 2019, p. 162.
- ^ a b c Bratby 2019, p. 161.
- ^ Bratby 2019, p. 158.
- ^ King-Smith 1995, pp. 137, 151.
- ^ a b c King-Smith 1995, p. 140.
- ^ King-Smith 1995, pp. 149, 152.
- ^ King-Smith 1995, p. 153.
- ^ a b King-Smith 1995, p. 134.
- ^ King-Smith 1995, p. 148.
- ^ a b King-Smith 1995, p. 145.
- ^ a b c Bratby 2019, p. 163.
- ^ King-Smith 1995, p. 136.
- ^ a b King-Smith 1995, p. 139.
- ^ King-Smith 1995, p. 141.
- ^ King-Smith 1995, p. 133.
- ^ King-Smith 1995, p. 146.
- ^ King-Smith 1995, pp. 150–151.
- ^ Handford 2006, p. 275.
- ^ King-Smith 1995, p. 152.
- ^ King-Smith 1995, pp. 152–153.
- ^ King-Smith 1995, p. 154.
- ^ a b King-Smith 1995, p. 155.
- ^ Bratby 2019, p. 167.
- ^ a b c Kenyon 2001, p. 115.
- ^ a b c Bratby 2019, p. 166.
- ^ a b King-Smith 1995, p. 160.
- ^ King-Smith 1995, pp. 159–160.
- ^ a b King-Smith 1995, p. 176.
- ^ King-Smith 1995, p. 169.
- ^ a b King-Smith 1995, p. 156.
- ^ King-Smith 1995, p. 158.
- ^ King-Smith 1995, pp. 158–159.
- ^ King-Smith 1995, p. 159.
- ^ King-Smith 1995, p. 163.
- ^ a b Bratby 2019, p. 168.
- ^ Bratby 2019, p. 170.
- ^ King-Smith 1995, p. 178.
- ^ King-Smith 1995, p. 179.
- ^ Bratby 2019, p. 171.
- ^ a b King-Smith 1995, p. 180.
- ^ a b Bratby 2019, pp. 171–172.
- ^ a b c d Bratby 2019, p. 175.
- ^ Bratby 2019, pp. 174–175.
- ^ King-Smith 1995, pp. 184–185.
- ^ a b King-Smith 1995, p. 185.
- ^ Christopher Morley (29 November 2007). "CBSO's future in safe hands". Birmingham Post. Retrieved 23 January 2009.
- ^ Tom Service (31 May 2003). "Floof!". The Guardian. Retrieved 18 August 2007.
- ^ Peter Culshaw (26 April 2006). "Visionary genius of the spirit world". The Daily Telegraph. London. Archived from the original on 19 June 2006. Retrieved 18 August 2007.
- ^ Sakari Oramo (28 April 2006). "The forgotten man". The Guardian. Retrieved 1 September 2007.
- ^ David Ward (30 May 2001). "Top orchestra's cash crisis". The Guardian. Retrieved 17 August 2007.
- ^ David Ward (2 June 2001). "Orchestral discord over money with strings". The Guardian. Retrieved 17 August 2007.
- ^ Martin Cullingford, "Oramo to step down as CBSO music director". Gramophone, 22 February 2006.
- ^ Terry Grimley (23 February 2006). "Who will pick up Oramo's baton?". The Birmingham Post. Retrieved 17 August 2007.
- ^ Press Release (8 October 2007). "New direction at CBSO". Birmingham Music. Archived from the original on 28 July 2011. Retrieved 8 October 2007.
- ^ Charlotte Higgins (9 October 2007). "Young Latvian steps up to lead City of Birmingham orchestra". The Guardian. Retrieved 10 October 2007.
- ^ Terry Grimley (24 July 2009). "CBSO's Andris Nelsons to stay for three more years after record season". Birmingham Post. Retrieved 25 July 2009.
- ^ "Andris Nelsons renews contract with City of Birmingham Symphony Orchestra" (PDF) (Press release). City of Birmingham Symphony Orchestra. 16 August 2012. Retrieved 19 August 2012.[permanent dead link]
- ^ "The search begins for the new Music Director of the City of Birmingham Symphony Orchestra" (PDF) (Press release). City of Birmingham Symphony Orchestra. 2 October 2013. Retrieved 3 October 2013.[permanent dead link]
- ^ Graeme Brown (2 October 2013). "CBSO music director Andris Nelsons to stand down at end of contract". Birmingham Post. Retrieved 3 October 2013.
- ^ Christopher Morley (27 July 2015). "Review: Summer Concert, CBSO at Symphony Hall". Birmingham Post. Retrieved 5 February 2016.
- ^ "New Music Director Announced" (Press release). City of Birmingham Symphony Orchestra. 4 February 2016. Archived from the original on 5 May 2021. Retrieved 5 February 2016.
- ^ Imogen Tilden (4 February 2016). "CBSO appoints 29-year-old Mirga Gražinytė-Tyla as music director". The Guardian. Retrieved 5 February 2016.
- ^ David Hart (27 August 2016). "Review: Welcoming Mirga Gražinytė-Tyla, CBSO at Symphony Hall". Birmingham Post. Retrieved 1 September 2016.
- ^ "City of Birmingham Symphony Orchestra announces its 2018–19 Concert Season at Symphony Hall, Birmingham" (PDF) (Press release). City of Birmingham Symphony Orchestra. 9 May 2018. Retrieved 8 May 2023.
- ^ "CBSO's Family of Conductors" (Press release). City of Birmingham Symphony Orchestra. 22 January 2021. Retrieved 8 May 2023.
- ^ "City of Birmingham Symphony Orchestra appoints Kazuki Yamada as Chief Conductor and Artistic Advisor" (Press release). City of Birmingham Symphony Orchestra. 14 September 2021. Archived from the original on 8 July 2022. Retrieved 8 May 2023.
- ^ "Our Conductors". City of Birmingham Symphony Orchestra. Retrieved 15 December 2019.
- ^ "City of Birmingham Symphony Orchestra announces 2022/23 Assistant Conductors cohort" (PDF). Retrieved 10 March 2023.
- ^ "Stephen Maddock to step down as Chief Executive of City of Birmingham Symphony Orchestra".
- ^ Tim Ashley (8 April 2005). "Rachmaninov; Piano Concertos 2 & 4, Lugansky/ CBSO/ Oramo". The Guardian. Retrieved 28 September 2010.
- ^ Christopher Morley (24 June 2009). "First love rekindled for Andris Nelsons and CBSO". Birmingham Post. Retrieved 28 September 2010.
- ^ Andrew Clements (5 February 2010). "Strauss: Ein Heldenleben; Rosenkavalier Suite, City of Birmingham SO, Nelsons". The Guardian. Retrieved 28 September 2010.
- ^ Tim Ashley (13 May 2010). "Stravinsky: The Firebird; Symphony of Psalms". The Guardian. Retrieved 28 September 2010.
- ^ Anthony Holden (8 July 2007). "Classical CDs". The Observer. Retrieved 28 September 2010.
Bibliography
- Bolesławska, Beata (2017), The life and works of Andrzej Panufnik (1914–1991), Abingdon: Routledge, ISBN 978-1351542920, retrieved 15 December 2019
- Bratby, Richard (2019), Forward – 100 years of the City of Birmingham Symphony Orchestra, London: Elliott & Thompson, ISBN 9781783964536
- Handford, Margaret (2006), Sounds Unlikely: Music in Birmingham, Studley: Brewin Books, ISBN 1858582873
- Jenkins, Lyndon; King-Smith, Beresford (1983), The Birmingham 78s, 1925–1947: the story of the gramophone records made by the City of Birmingham Orchestra, 1925–1947, Birmingham: City of Birmingham Symphony Orchestra, ISBN 0950868906
- Kennedy, Michael (1987), Adrian Boult, London: Hamish Hamilton, ISBN 0241120713
- Kenyon, Nicholas (1981), The BBC Symphony Orchestra: the first fifty years, 1930–1980, London: BBC, ISBN 0563176172
- Kenyon, Nicholas (2001), Simon Rattle: from Birmingham to Berlin, London: Faber & Faber, ISBN 0571205488
- King-Smith, Beresford (1995), Crescendo! 75 years of the City of Birmingham Symphony Orchestra, London: Methuen, ISBN 0413697401
External links
- Official website of the City of Birmingham Symphony Orchestra
- Royal Philharmonic Society, 'Catherine Arlidge' – 2013 Salomon Prize winner