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WELCOME The Hallé is back - live! After 15 months of enforced silence, what a joy it is to welcome you back to hear and see this great orchestra live again in the glorious acoustics of The Bridgewater Hall. For me personally, having joined the wonderful Hallé family back in the dark days of September 2020, this is particularly poignant. We’ve curated what we hope is a thrilling series of summer concerts which showcase a celebratory and exuberant range of music with a stellar cast of soloists and conductors, and of course, our inspirational Music Director Sir Mark Elder. A specially created stage extension has enabled us to offer large symphonic fayre, so a huge thank you to our partners at The Bridgewater Hall who have worked with such imagination and diligence to ensure that audiences are made to feel safe and welcome as we begin to emerge from government restrictions. Alongside these live concerts, and following the success of our critically acclaimed Winter Digital Series, three of the performances in this Summer Series will also be filmed to the very highest standards for you and our audiences around the world to watch at home. Nothing for me beats the visceral experience of hearing live orchestral music, but we are delighted that we can continue to share our work with people who are unable to attend in person, and explore new ways of presenting the orchestra and illuminating the music. We are so thankful to you, our audiences, for your unswerving and inspirational support throughout this pandemic. We are also grateful to our faithful sponsors, private trust and foundation supporters, Manchester City Council, the Greater Manchester Combined Authority, the Arts Council and the government’s Cultural Recovery Fund which have enabled us to survive these unprecedented times. On behalf of us all here at the Hallé we wish you a very enjoyable concert and look forward to sharing many more inspirational musical experiences as we forge ahead with renewed ambition, and drive our pioneering spirit forward into an ever-brightening future. Thank you for joining us!

David Butcher Hallé Chief Executive 2 | ≥ SUMMER SEASON 2020/21


ELGAR’S ENIGMA VARIATIONS Glinka Overture: Ruslan and Ludmilla Stravinsky Petrushka (1947) Elgar Enigma Variations Sir Mark Elder conductor



It is due to the generosity of our sponsors, patrons and every loyal supporter who has been so understanding through the pandemic that we are able to perform these concerts. Arts Council England, the Greater Manchester Authority and the City of Manchester have all been steadfast in their support and have our sincerest thanks. The Hallé is deeply grateful to our partners in The Bridgewater Hall, without whose collaboration these concerts, live and streamed, would not be possible.

Wishing you a wonderful Summer from everyone at Brother. With a partnership spanning over 30 years, Brother hold one of the most celebrated business partnerships with a cultural organisation in the UK. Brother continues to be one of The Hallé’s major sponsors and we continually look to revitalise our relationship. As well as sponsoring their Summer Season of concerts, we have also worked closely with them to create a bespoke educational programme. This has been delivered to students across Greater Manchester, such as The Hallé Impresarios, who work with students aged 14-16, giving them valuable insight into the world of business.

We’re looking forward to being “At your side” again in 2021.

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RUSLAN AND LUDMILLA (1837–42): OVERTURE The Russian folk tunes sung by his nurse and the chants and bells of the local Russian Orthodox church were virtually the only music Glinka heard during his early childhood. This exposure to the indigenous music of his country at such an impressionable age gave him an enormous advantage later in life, for it meant that the idiom of the Russian folk song came naturally to him. His interest in Western music was sparked by hearing a clarinet quartet, and he devoted himself to the study of music for many years. In St Petersburg he had piano lessons with John Field, the Dublin-born creator of the nocturne, then began to move in a fashionable literary and social circle that included the poet Alexander Pushkin. It was when Glinka was on an extended stay in Italy in 1832 that his vocation suddenly became clear to him. ‘I could not sincerely be an Italian,’ he later recalled. ‘A longing for my own country led me gradually to the idea of writing in a Russian manner.’ In 1836, with his first complete opera, A Life for the Tsar, Glinka laid the foundations for the Russian nationalist school of the late 19th century. By returning to the sounds of his childhood he managed to release himself from the confines of German and Italian music. The Russian folk songs he recalled, so different in their melodic contours from Western tunes, demanded a new treatment in harmony, rhythm and orchestration. Glinka’s pioneering techniques had a huge influence on later Russian composers, particularly Balakirev and Tchaikovsky.

THE MUSIC Ruslan and Ludmilla, written between 1837 and 1842, was Glinka’s second opera. He had hoped that Pushkin, on one of whose poems it is based, would prepare the libretto himself, but he was killed in a duel with his wife’s lover. The text was subsequently compiled by several contributors following a scenario devised by one of Glinka’s friends ‘in a quarter of an hour while drunk’, but much of the score was actually composed before there were any words at all. The opera relates how Ludmilla, daughter of the Prince of Kiev, is abducted by an evil sorcerer, the dwarf Chernomor, just as she is about to marry the knight Ruslan. A succession of magical and supernatural episodes follows, as Ruslan tries to find and rescue Ludmilla, and all ends happily. The fantasy and romance of the tale held 6 | ≥ SUMMER SEASON 2021

a natural appeal for Glinka, and, although some have questioned whether the subject matter was ever suitable for operatic treatment, Tchaikovsky was not alone in hailing it as ‘the tsar of operas’. Composed during rehearsals for the work’s 1842 premiere, and long established as a favourite orchestral showpiece, the arresting overture presents a number of themes from the opera with great power and lucidity. By attaching specific motifs to the characters, Glinka sets the scene for the central conflict between Ruslan and Chernomor. In particular, the sorcerer is represented by a descending whole-tone scale; later to become associated with Debussy, this scale of equal whole tones produces an unsettling harmonic effect entirely appropriate for the portrayal of Chernomor and his supernatural world. Ian Stephens © 2010

Tchaikovsky revered Glinka above all composers besides Mozart, calling him ‘the cornerstone of Russian music’. He particularly loved Ruslan and Ludmilla, once observing: ‘If we consider Ruslan exclusively from a musical perspective, then we cannot but be amazed at the great variety and richness of its musical charms.’ Foremost among those he placed the overture ‘which, fiery, brilliant, triumphant and joyful as it is – for only at the very end is it darkened strikingly by a whole-tone scale suggesting the evil spells of Chernomor – opens up a series of outstanding musical pictures’. Practical proof of his reverence for both Glinka and the Ruslan overture occurred during the inauguration ceremony for the new Moscow Conservatoire in 1866. Following a celebratory banquet, the assembled guests were expecting to hear a Beethoven recital featuring a virtuoso German cellist who had recently joined the Conservatoire’s staff. But, as one of Tchaikovsky’s friends recalled, ‘Tchaikovsky decided that the first music to be heard within the newly-opened Conservatoire had to be by Glinka, so he sat down at the piano and played the overture to Ruslan and Ludmilla from memory’. ≥ SUMMER SEASON 2021 | 7

GLINKA by Karl Bryullov, Public domain, via Wikimedia Commons



PETRUSHKA: BURLESQUE IN FOUR SCENES (1910–11, REV.1947) Scene 1 The Shrovetide Fair – Magician’s Scene – Russian Dance Scene 2 Petrushka’s Room Scene 3 The Moor’s Room – Dance of the Ballerina – Waltz Scene 4 The Shrovetide Fair – Wet Nurses’ Dance – The Peasant and the Bear – The Gypsies and the Merchant – Coachmen’s Dance – The Masqueraders – The Fight – Petrushka’s Death – The Police and the Magician – Petrushka’s Ghost

Without the intervention of the Russian impresario Sergey Diaghilev, Stravinsky’s Petrushka might never have become a ballet score at all. After completing his first ballet, The Firebird, and seeing it through its premiere performance in Paris in 1910, Stravinsky settled in France for a while. But, instead of getting on with his next ballet for Diaghilev (which was to have been The Rite of Spring), he began a piece for piano and orchestra: ‘In composing the music,’ he said, ‘I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra retaliates with menacing trumpet blasts. The outcome is a terrific noise that reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.’ Stravinsky had already selected the title for the piece – the name Petrushka being the Russian equivalent of Pierrot, ‘the immortal and unhappy hero of every fairground in every country’ – when Diaghilev visited him while he was holidaying in Lausanne to see how The Rite of Spring was progressing. To his credit, on hearing the first two completed movements of the new piece – the current Scene 2 (then entitled ‘Petrushka’s Cry’) and the ‘Russian Dance’ that now concludes Scene 1 – Diaghilev immediately saw the balletic potential in them. The composer and the impresario agreed on the setting and the basis of the action: the Shrovetide Fair in old St Petersburg ‘with its crowds, its booths, the little traditional theatre, the character of the magician, with all his tricks; and the coming to life of the dolls – Petrushka, his rival [the Moor] and the ballerina – and their love tragedy, which ends with Petrushka’s death.’ Alexandre Benois, an expert on Russian puppet theatre, was called in to work out the details of the scenario and, despite being struck down for a time by nicotine poisoning, Stravinsky completed the score in May 1911. 8 | ≥ SUMMER SEASON 2021

STRAVINSKY George Grantham Bain Collection, Public domain, via Wikimedia Commons

Petrushka was first performed by the Ballets Russes at the Théâtre du Châtelet in Paris on 13 June 1911 with choreography by Fokine, sets and costumes by Benois, and with Nijinsky and Karsavina as Petrushka and the Ballerina. Pierre Monteux conducted an orchestra of proportions characteristic of those opulent times. In the post-war austerity of 1947 Stravinsky published a more economical version, reducing the instrumentation, simplifying and re-colouring the scoring and revising the tempos in several instances.

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Melodically, Petrushka is not the most original of Stravinsky’s works, since it draws heavily – though, in these fairground circumstances, quite appropriately – on traditional Russian (and other) sources. As far as colour, atmosphere and characterisation are concerned, however, nothing like it had been heard before. A simple but important and recurrent element in suggesting the bustle of the fair is the accordion motif (alternating fifths and thirds) that can be heard on clarinets and horns under the jubilant flute tune in the opening bars. Activity subsides from time to time for sideshows such as the hurdy-gurdy man (clarinets), his persistent rival with a musical box (celeste and harp) and, after loud drum rolls, the sinister Magician, who brings his puppets – Petrushka, the Ballerina and the Moor – to life with a few empty phrases on his flute, before conjuring them to dance the frantically energetic ‘Russian Dance’ (derived from the second movement of Stravinsky’s original concert piece for piano and orchestra). Another drum roll transports us to Petrushka’s cell. Petrushka’s ‘cry’ (which gave its name to the first movement of the original concert piece) is a bitterly dissonant arpeggio figure introduced by two clarinets. Its bitonal harmonies affect first the piano and then the whole orchestra, as Petrushka’s anger at his dependence on the Magician mounts. The entry of the Ballerina, signalled by an expressive little tune on flute and piano, promises some diversion, but Petrushka’s grotesque leaps not so much impress as alarm her, and she runs away to take refuge in the Moor’s cell – which is where, after yet another drum roll, the next scene is set. Not the most elegant of exotic dancers, as the clarinet and bass clarinet in lugubrious octaves unmistakably indicate, the Moor is nevertheless more successful with the Ballerina than Petrushka was. After making her entry to the accompaniment of her own toy trumpet and drum, she dances for him – to two waltz tunes borrowed, incidentally, from Johann Strauss’s rival, Joseph Lanner – and the Moor joins her in clumsy duple time. The tender scene is interrupted by Petrushka, his intrusive cry now on trombone and trumpets, and he is thrown out. A last drum roll leads into the final scene, which is devoted largely to the fun of the Shrovetide Fair. Wet Nurses dance to the traditional Russian song ‘Down the Petersky’ on oboe and then on horns; the crowd falls back as a performing bear takes the stage, a tuba clumsily imitating his peasant-owner’s piping on high clarinets; Gypsy girls amuse themselves with a rich merchant to an emphatically articulated tune on unison strings; heavy-footed coachmen brandishing trombones and trumpets 10 | ≥ SUMMER SEASON 2021

Stravinsky & Vaslav Nijinsky as Petrushka Public domain, via Wikimedia Commons


are eventually joined by the wetnurses; and a party of masqueraders presents a series of caricature dances. The revelry is interrupted by a violent scuffle between the Moor and Petrushka, ending in Petrushka’s death (pathetic woodwind utterances). The Magician brandishes the puppet to demonstrate that the victim is only a sawdust doll. But, with the appearance of Petrushka’s ghost on two muted trumpets, the music ends on an enigmatic note. Gerald Larner © 2010

PASSING NOTE Among the popular street songs that Stravinsky incorporated into the music for the Shrovetide Fair was a tune that he had heard played by a barrel organ beneath his window in Beaulieu-sur-Mer. To his lifelong regret, this turned out to be a rather costly borrowing, since Émile Spencer’s song La Jambe en bois – a slightly distasteful ditty about the actress Sarah Bernhardt and her wooden leg – was still in copyright. The result was that, for the rest of his life, Stravinsky was obliged to hand over approximately 10 per cent of his Petrushka royalties to the song’s composer, lyricists and publisher, even though, as he repeatedly complained, his inadvertent borrowing didn’t comprise anything like 10 per cent of the entire score but only 26 bars, lasting less than 40 seconds. In 1951 Stravinsky’s publishers, Boosey & Hawkes, even suggested that he replace the offending bars with something new, but, as the composer rather dismissively observed, ‘One piece of wit cannot be replaced by another in a work already well known to the public, nor can the passage be removed from music that is already in print throughout the world.’

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EDWARD ELGAR (1857–1934)

VARIATIONS ON AN ORIGINAL THEME (‘ENIGMA’), OP.36 (1898–9) Theme (‘Enigma’) – Variations: 1 C.A.E. 2 H.D.S.-P. 3 R.B.T. 4 W.M.B. 5 R.P.A. 6 Ysobel 7 Troyte 8 W.N. 9 Nimrod 10 Dorabella (Intermezzo) 11 G.R.S. 12 B.G.N. 13 * * * (Romanza) 14 E.D.U. (Finale)

The ‘Enigma’ Variations is the work with which Edward Elgar won international recognition after years of struggle when his reputation was not much more than provincial. He sent the score to the great Austro-Hungarian conductor Hans Richter, a regular visitor to Britain and about to take up his post as conductor of the Hallé. Richter immediately included it in one of his London concerts in June 1899 in St James’s Hall. He conducted it with the Hallé in February 1900 in Birmingham, Liverpool, Manchester and Bradford. Other continental conductors followed suit, including Richard Strauss in Berlin and Gustav Mahler in New York.

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Edward Elgar Public domain, via Wikimedia Commons

On 21 October 1898 Elgar had sat at the piano, lit a cigar and begun to improvise. His wife Alice interjected: ‘Edward, that’s a good tune. Play it again, I like it. What is it?’ ‘Nothing yet,’ he replied, ‘but something might be made of it.’ He began to vary the theme, saying, ‘Powell would have done this’ or ‘Nevinson would have looked at it like this’. Elgar went on playing – ‘Who does that remind you of?’ ‘Why,’ Alice replied, ‘that’s Billy Baker going out of the room.’ The idea kept him busy that weekend, for on the Monday he wrote jauntily to A. J. Jaeger, his friend at the publisher Novello’s, to say that he had started a set of variations on an original theme. ‘The Variations have amused me because I’ve labelled ’em with the nicknames of my particular friends … I’ve written each one to represent the mood of the “party”.’

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‘And nothing budged the wonderful glow of the Hallé sound, the orchestra’s mastery of Elgar’s moods … or Elder’s endless understanding of the composer’s heart and soul.’ The Times

The Hallé’s Elgar recordings. Available now at The Hallé’s recording label is sponsored by Siemens plc.

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He finished the short score during January 1899, began to orchestrate it on 5 February and completed it a fortnight later. Seventeen weeks from start to finish was fast work for Elgar. The personalities of this musical portrait-gallery were mostly friends of Elgar and his wife in Malvern. In 1968 Frederick Ashton devised a brilliant ballet depicting all the individual ‘variations’ gathered in Elgar’s garden (which never happened). His daughter Carice went to a performance and remarked: ‘They were all exactly like that. And I never liked any of them, except Troyte.’

WHY ‘ENIGMA’? The word ‘Enigma’ was added to the score only about a month before the first performance. It is written in pencil in Jaeger’s handwriting. Elgar later said that the theme represented ‘the loneliness of the creative artist’ and one may now safely assume that it therefore represents Elgar himself. That’s easy. But what did Elgar mean when he informed the writer of the programme note for the first performance: ‘I warn you that the connection between the Variations and the theme is often of the slightest texture; further, through and over the whole set another and larger theme “goes”, but is not played …’ This started off a guessing-game that continues to this day. Is the ‘larger theme’, as Elgar hinted strongly, a well-known tune? Or is it an abstract theme such as friendship? Guesses at the tune range from Auld Lang Syne, Rule! Britannia and God Save the King to Pop Goes the Weasel and the Dies Irae (the Latin hymn of the Last Judgement and a musical image of death). Or was it a joke or a publicity stunt? We shall never know. How could a familiar tune be concealed in ‘Dorabella’, which was partly written before the Variations as a whole were conceived? But in 1900 Elgar gave another clue to the Musical Times, which reported that ‘Mr Elgar tells us that the heading “Enigma” is justified by the fact that it is possible to add another phrase, which is quite familiar, above the original theme that he has written’.

THE MUSIC Fascinating as the work’s enigmas may be, the music is sufficiently great to stand apart from its autobiographical trappings. Its importance lies in its astonishing use of orchestral colour, applied with the touch of an assured master, and its combination of technical skill with human warmth and humour. The work is so full of happy touches, so well designed, with its emotional high peaks so cunningly placed, that one forgets the artistry that contrived all this and is content to marvel at its perennial freshness and originality. Theme The theme (‘Enigma’) is an Andante in two wistful contrasted strains, its principal features being musical intervals of falling thirds, fourths and sevenths. The ≥ SUMMER SEASON 2021 | 15

first six bars are for strings alone in G minor, followed by a G major section with a counter theme in the bass and the poetical entry of the woodwind. The music glides without a break into …

Var. 2: H.D.S.-P. (Allegro, G minor) Hew David Steuart-Powell was an amateur pianist in a trio with Elgar, and this variation makes kindly fun of his characteristic diatonic run over the keys before he began to play (staccato violin and woodwind). The theme is in the basses. Var. 3: R.B.T. (Allegretto, G major) Richard Baxter Townshend was noted for playing old men in amateur theatricals (shaky voice on bassoon), and this caricature has what one commentator calls a ‘skittish charm’. Var. 4: W.M.B. (Allegro di molto, G minor) William Meath Baker was a country squire. He is depicted reading out the day’s plans to guests and banging the door behind him. That is what Alice Elgar noticed on the evening of 21 October 1898. Var. 5: R.P.A. (Moderato, C minor) The poet Matthew Arnold’s son Richard is shown as a profound man (the tune is in bassoons, cellos and basses) and also as a witty conversationalist (woodwind). Var. 6: Ysobel (Andantino, C major) Isabel Fitton was an amateur viola player and was taught by Elgar. Crossing the strings, a difficulty for beginners, opens this lovely variation, which also conveys something of Miss Fitton’s romantic charm. Var. 7: Troyte (Presto, C major) This vigorous vignette, dominated by timpani and brass, represents the Malvern architect Arthur Troyte Griffith – especially, Elgar said, his ‘maladroit essays to play the pianoforte’. The unusual time signature is 1/1. requiring one beat in a bar. 16 | ≥ SUMMER SEASON 2021

Edward and Alice Elgar Public domain, via Wikimedia Commons

Variation 1: C.A.E. (Andante, G minor) Elgar’s loyal and devoted wife, Caroline Alice, is portrayed in a radiant and serene expansion (‘prolongation’ was Elgar’s word) of the theme, in second violins and violas, with flute and clarinet.

Var. 8: W.N. (Allegretto, G major) The elegant woodwind phrase answered by violins stands equally for Winifred Norbury and for her 18th-century home, Sherridge, where Elgar was a frequent guest. Var. 9: Nimrod (Adagio, E flat major) Here, in the favourite Elgarian key of E flat, is the wonderful tribute to August Jaeger, the publisher who recognised the composer’s genius when most others were deaf to it. The variation’s subtitle is a typical Elgarian pun: Jäger is the German word for ‘hunter’, while Nimrod is described in Genesis as ‘a mighty hunter before the Lord’. It is not a funeral elegy, as it is now often used, but a memory of a summer evening when Jaeger spoke eloquently to Elgar about Beethoven’s slow movements (hence the oblique reference in the opening bars to the ‘Pathétique’ Sonata). Var. 10 Dorabella (Intermezzo) (Allegretto, G major) The perfect contrast to ‘Nimrod’ in its delicacy and affectionate humour. ‘Dorabella’ (nicknamed after the more frivolous sister in Mozart’s opera Così fan tutte) was Dora Penny, a young girl who could always cheer up Elgar when he was in one of his black moods. The music, she said, mimicked her slight stammer. She and Elgar often went bicycling together. As Mrs Richard Powell in later life, she wrote a delightful memoir called Memories of a Variation. Sadly, Elgar ended their friendship in 1912. Var. 11: G.R.S. (Allegro di molto, G minor) George Sinclair was organist of Hereford Cathedral, but Elgar said this music was about his bulldog Dan falling into the River Wye, floundering about, scrambling out and barking. A school of thought rejects this and relates it to Sinclair’s superb pedalling of Bach’s organ music, but the fact remains that on the original sketch Elgar wrote the word ‘Dan’. However, music can be two things at once, so Dan’s frantic paddling and his owner’s virtuoso pedalling come to much the same thing. Var. 12: B.G.N. (Andante, G minor) Basil Nevinson was the cellist in the trio mentioned in Variation 2 and this is a moving tribute to their friendship. Var. 13 * * * (Romanza) (Moderato, G major) The asterisks, Elgar said, stood for Lady Mary Lygon of Madresfield Court in Worcestershire who, at the time the work was written, was on a voyage to Australia with her brother Lord Beauchamp, but his memory was at fault because she didn’t sail until April 1899, three months after the work was completed. The drums and lower strings sound like a liner’s engines and the clarinet quotes a phrase from Mendelssohn’s concert overture Calm Sea and Prosperous Voyage. It is a very intense and poetic little tone-poem and some have speculated that Elgar was thinking back to his engagement to a Worcester violinist, Helen Weaver, who contracted tuberculosis and sailed out of his life in 1885 to New Zealand (where she lived until 1929). There is no doubt, however, that the sketch is marked ‘L.M.L.’ – another enigma. One theory is that Elgar withheld Lady Mary’s initials for fear of gossip. ≥ SUMMER SEASON 2021 | 17

Var. 14 E.D.U. (Finale) (Allegro, G major) This is Elgar’s self-portrait – ‘Edoo’ was his wife’s nickname for him. The Variations were written when Elgar’s friends were ‘mostly discouraging’, so he said (not quite accurately), and there is in this finale an assertive determination to win through against the odds. In the longer revised ending that Elgar produced (at Jaeger’s suggestion) following the work’s London premiere, the recall of ‘C.A.E.’ (Var. 1) is preceded by the personal whistle with which Elgar used to announce his return home, while the triumphant end of the new coda anticipates the opening notes of the great theme which, in 1908, was to begin Elgar’s First Symphony. Michael Kennedy © 2011

PASSING NOTE ‘The audience seemed rather astonished that a work by a British composer should have had anything other than a petrifying effect upon them. They applauded with the energy that the composer’s imaginative power and masterly handling of the orchestra deserve. Dr Richter signalled to Mr Elgar, who was seated among the audience, and he thereupon mounted the stage and received an enthusiastic greeting from the public. The striking success of this composition reminds us of the following passage occurring at the end of an article by Sir Hubert Parry written some years ago: “It is even possible that, after all its long history, the variation still affords one of the most favourable opportunities for the exercise of their genius by composers of the future.”’ Arthur Johnstone, music critic of The Manchester Guardian, reviewing the first Hallé performance of the ‘Enigma’ Variations (8 February 1900)

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 AT THE BRIDGEWATER HALL Also broadcast at from Thursday 24 June

SYMPHONY Wagner Siegfried Idyll Osvaldo Golijov Last Round Beethoven Symphony No.7 Tabita Berglund conductor




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≥ FOR YOUTH 2021

The Hallé’s FREE online concert for Primary Schools is available now on YouTube.

Watch now

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CELEBRATING 30 YEARS IN PARTNERSHIP Brother have been significant sponsors of the Hallé for over 30 years. In this video Phil Jones, Managing Director of Brother UK, and Sir Mark Elder discuss how important this is to both organisations and show some recent highlights of the partnership.


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Sir Mark Elder has been Music Director of the Hallé since September 2000. He was Music Director of English National Opera (1979–93), Principal Guest Conductor of the City of Birmingham Symphony Orchestra (1992–5) and Music Director of the Rochester Philharmonic Orchestra in the USA (1989–94). He is currently a Principal Artist of the Orchestra of the Age of Enlightenment and has also held positions as Principal Guest Conductor of the BBC Symphony Orchestra and the London Mozart Players. 22 | ≥ SUMMER SEASON 2021

He has worked with many of the world’s leading symphony orchestras, including the Berlin Philharmonic, Orchestre de Paris, Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, Royal Concertgebouw, Budapest Festival Orchestra, London Philharmonic and London Symphony Orchestra. Until Covid’s intervention last year, he had appeared almost every year at the BBC Proms since 1975, including on the internationally televised Last Nights in 1987 and 2006, and with the Hallé every year since 2003. He works regularly in the major international opera houses, including Covent Garden, the Metropolitan Opera, Paris Opéra, Lyric Opera of Chicago and Glyndebourne. He was the first English conductor of a new production at Bayreuth and has also guestconducted in Amsterdam, Berlin, Bregenz, Geneva, Munich and Zurich. His large discography ranges from Verdi, Strauss and Wagner to contemporary music. Among his many acclaimed releases on the Hallé’s own CD label are Gramophone Award-winning recordings of The Dream of Gerontius, Götterdämmerung and Elgar’s Violin Concerto, while The Apostles was voted BBC Music Magazine’s Recording of the Year 2013; the recent release of Siegfried completed the Hallé’s Ring cycle on disc. As Artistic Director of Opera Rara (2012–19), his recordings included a multi-awardwinning release of Donizetti’s Les Martyrs and an International Opera Award-winning set of Rossini’s Semiramide. He has presented television films on the life and music of Verdi for the BBC and on Donizetti for German TV, co-presented BBC Four’s four-part series Symphony, fronted BBC Two’s Maestro at the Opera and, in 2015, presented BBC Four’s Sunday-evening series of symphony performances from the Proms. In March 2020 Sir Mark Elder returned from Pittsburgh to prepare the Hallé for Vaughan Williams’s Ninth Symphony, but the concerts were not able to take place, as life within the performing arts came to an extraordinarily abrupt halt. Lockdown gave Sir Mark the chance to spend time with his family – especially his new granddaughter – to study unfamiliar music, read voraciously and exercise in the glorious spring weather. As restrictions continued to change, a variety of different opportunities began to arise, including live-streamed digital performances and concerts welcoming smaller, socially distanced audiences. Sir Mark is looking forward to the return of audiences to The Bridgewater Hall in the Hallé's Summer Season. As well as his commitment to the Hallé, recent and future work includes conducting the OAE at Glyndebourne, as well as concerts with the London Philharmonic, Bergen Philharmonic, BBC Scottish Symphony Orchestra and Britten Sinfonia. Sir Mark Elder was appointed a Companion of Honour in the 2017 Queen’s Birthday Honours, knighted in 2008 and awarded the CBE in 1989. He won an Olivier Award in 1991 for his work at ENO and in 2006 was named Conductor of the Year by the Royal Philharmonic Society, of which he is now also an Honorary Member. ≥ SUMMER SEASON 2021 | 23





Magnus Johnston Sarah Ewins

Nicholas Trygstad

Sergio Castelló López

Katy Jones


Tiberiu Buta Zoe Colman Peter Liang Steven Proctor Alison Hunt † Helen Bridges † Nicola Clark † Victor Hayes † John Gralak † Oliver Baily SECOND VIOLINS

Philippa Heys Paulette Bayley Julia Hanson Caroline Abbott † Grania Royce † Christine Davey † Elizabeth Bosworth John Purton Eva Petrarca Diego Gabete Yu-Mien Sun


Simon Turner Dale Culliford † David Petri † Jane Hallett Clare Rowe Paul Grennan DOUBLE BASSES

Hugh Kluger Daniel Storer Yi Xin Han † Beatrice Schirmer † Rachel Meerloo FLUTES


Sarah Bennett PICCOLO

Julian Mottram † Martin Schäfer Piero Gasparini † Robert Criswell † Cameron Campbell Chris Emerson †


Kyle MacCorquodale

James Muirhead † TUBA BASSOONS

Ewan Easton mbe

Ursula Leveaux Elena Comelli



Simon Davies


David Hext † Laurence Rogers † SECTION LEADER

Matthew Head Julian Plummer † Richard Bourn † Andrew Maher

Joanne Boddington


Michael Harper Erika Öhman Jenny Marsden HARP

Marie Leenhardt † Eira Lynn Jones


Stéphane Rancourt Virginia Shaw †

Timothy Pooley † SECTION LEADER


Rosalyn Davies †

Marianne Rawles




Gareth Small † SECTION. LEADER

Kenneth Brown † Tom Osborne


Darius Battiwalla PIANO


Thomas Davey †

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The Hallé, numbered amongst the world’s top symphonic ensembles, continues to seek ways to enhance and refresh what it undertakes, with aspirations to provide leadership through performance standards, education, understanding and training. 2020 saw the Hallé embarking on its very first digital season, featuring nine critically acclaimed concerts that were shared with audiences around the world. During its 162-year history, the organisation has weathered many storms – from two world wars to financial crises, volcanic ash clouds and now a global pandemic – and not being allowed to work and make music with immediate effect in March 2020 was truly devastating for its passionate players and staff. To be able to return to the specially extended stage of The Bridgewater Hall to perform concerts to live socially distanced audiences feels like a true renaissance. Founded by Sir Charles Hallé in Manchester, the Hallé gave its first concert in the city’s Free Trade Hall on 30 January 1858. Following the death of Sir Charles, the orchestra continued to develop under the guidance of such distinguished figures as Dr Hans Richter, Sir Hamilton Harty, Sir John Barbirolli and Sir Mark Elder. The Hallé has received many awards, notably from the Royal Philharmonic Society and the South Bank Awards, for its work in the concert hall and celebrated collaborations with other orchestras and Manchester organisations. The Hallé has a distinguished history of acclaimed performances, in Manchester and around Britain, as well as televised concerts, frequent radio broadcasts and international tours. Since launching its own recording label in 2003, a number of the Hallé’s recordings have won prestigious awards including five Gramophone Awards, two Diapasons d’Or and a BBC Music Magazine Award. Over a quarter of a million people heard the Hallé live in the year up to April 2020 and more than 65,000 of those were inspired by the Hallé’s pioneering education programme. Working across the whole community – from schools to universities, care homes to prisons – to bring music in its broadest terms to those who may not attend the concert hall, the programme releases creativity and raises aspirations through very accessible and practical projects. Winter 2020 saw the launch of Goddess Gaia, a digital resource for schools featuring a twenty-minute animation and soundtrack based on a story by Tony Mitton. The Hallé is a Registered Charity No. 223882

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THE HALLÉ WORKPLACE CHOIRS The Hallé’s award winning Workplace Choir programme has delivered virtual sessions and projects for organisations across the region and the UK throughout the pandemic. Founded over ten years ago, the programme has provided numerous benefits to organisations across the region, supporting mental and physical health, fostering a strong sense of community from the activity of singing itself as well as joining together with colleagues to create something unique away from a typical working environment. During this last year, the Hallé has run these choirs virtually and found that the online version has created many of the same benefits as meeting in person, whilst allowing colleagues to remain in contact and have shared experiences that help individuals feel more connected. The Hallé commissioned local composer Oliver Lambert to create a song for the workplace choirs to rehearse and record. ‘A New Comer’ uses text from Alfred, Lord Tennyson, a poem about Spring and new life. Lambert wrote this song specifically for the virtual workplace choirs, building musical moments that would lend themselves to both audio and visual aspects of the recorded performance; using layering of voices to emphasise a round that is also reflected visually through a moving carousel of singers’ faces. Choirs from six organisations took part in the project with singers from BDO LLP, BAE Systems, Siemens, Sellafield, the Greater Manchester Chamber of Commerce and Bolton NHS Trust.

For more information on the Hallé Workplace Choir programme please visit or contact 26 | ≥ SUMMER SEASON 2021

Saturday 26 June at Hallé St Peter’s Goddess Gaia at 11:15 and 13:30 Suitable for children aged 7 and over, each performance lasts approximately 40 minutes. A live performance of Tony Mitton and Steve Pickett’s ‘Goddess Gaia’, for flute, harp, cello and narrator with complete animation. Goddess Gaia explores the beauty and fragility of the natural world and takes us on a thought-provoking journey around the globe, warning us of the dangers of human greed on the environment.

All tickets cost £3 and MUST BE BOOKED IN ADVANCE via Skiddle.

LAST FEW TICKETS REMAINING Seats will be in socially distanced family groups.


≥ CHAIR ENDOWMENTS The Chair Endowment programme is an opportunity for you to be associated with one of our players and link your name with a position in the Orchestra. Your gift will help us to ensure the Hallé continues to develop artistically, attracting and retaining musicians of the highest quality. The key to a successful orchestra is the quality of the individual players. At the Hallé we are fortunate to have some of the country’s most gifted musicians whose talent and commitment help keep the Hallé among the finest orchestras in the world. Find out more at




Mr Martin McMillan OBE and Mrs Pat McMillan

Elaine and Neville Blond Charitable Trust

Patrick and Tricia McDermott



Karen Farquhar

Hamish and Sophie Forsyth LEADER



PZ Cussons, Sir Mark and Lady Elder, The Garrick Charitable Trust, Siemens Hallé International Conductors Competition CHORAL DIRECTOR, MATTHEW HAMILTON

Dr Anne R Fuller


John Geddes

in memory of the late Marie and Jack Levy



Jennifer MacPherson

Peter and Mary Jones



Mrs Vivienne Blackburn for Michael

Lou Page


in loving memory of Michael Hall


Professor Chris Klingenberg POSITION VACANT


Patrick and Tricia McDermott

In loving memory of Kaye Tazaki, from his family and the Hallé

In memory of Alison WilkieDavies

Sincere thanks also to all those who have made general donations to the Chair Endowment programme during the recent months.

28 | ≥ SUMMER SEASON 2021




Dr Susan M Brown

Mr Peter Heath

Shared Trust


In loving memory of John Pickstone MARTIN SCHÄFER

David and Beryl Emery PIERO GASPARINI

Mrs Jane Fairclough GEMMA DUNNE


in memory of Ronald Marlowe OBOE STÉPHANE RANCOURT

The Duchy of Lancaster Benevolent Fund

In memory of Diz Shirley, and happy days at Chipping Campden





Martin and Sandra Stone SIMON TURNER

In memory of Mrs G E Whitehead DAVID PETRI

K and S Coen

Alison Wilkinson

In loving memory of Douglas Crawford CLARINET SERGIO CASTELLÓ-LÓPEZ

The Hallé Choir



Charlotte Westwood POSITION VACANT

In loving memory of Dorothy Hall DOUBLE BASSES POSITION VACANT

Edmundson Electrical Ltd YI XIN HAN



Sylvia Kendal in memory of Ivor Rowe TIMPANI JOHN ABENDSTERN

In memory of Alan and Vivian Glass PERCUSSION DAVID HEXT


Mrs R Russell in loving memory of her husband, Jim Russell RBA; Michael Eagles

In memory of Miss Amy Alexandra Morris





I and E Brett Karen Brown


in memory of Arthur Bevan and Enid Roper LAWRENCE ROGERS

in memory of C K Andrews

In memory of Stella and Harold Millington




Joyce Kennedy in loving memory of Michael

Mr CR and Mrs E Anslow MATTHEW HEAD


In loving memory of Nora Dawson

John and Pat Garside




Professor Sir Netar Mallick

Shared Trust

Shared Trust

Mr C R and Mrs E Anslow


The Holland-Frickes Mr John Summers WIND AND STRINGS

The English-Speaking Union, Mid Cheshire Branch Anonymous HALLÉ YOUTH CHOIR SOPRANOS AND ALTOS

Mr and Mrs Smith HALLÉ CHOIR

Jane Hampson ALTOS

Chris Hughes


In loving memory of Hilmary Quarmby, a lifelong lover of music and friend of the Hallé ≥ SUMMER SEASON 2021 | 29


© Daniel Hopkinson

30 | ≥ SUMMER SEASON 2021

Situated at the heart of the resurgent area of Ancoats, Hallé St Peter’s provides a home for the Hallé’s rehearsals and recordings, its choirs and Youth Orchestra, as well as a space for education workshops and small performances. Originally opened by the Hallé’s Patron HRH The Countess of Wessex in 2013, the facility is concentrated around a restored, Grade II listed, former church. A threestorey extension, The Oglesby Centre, was opened in November 2019 and includes a number of new practice rooms and performance spaces. The Hallé Kitchen space is now home to Café Cotton at Hallé St Peter’s. This independent café, restaurant and bar is open to the general public seven days a week offering great coffee, delicious homemade food and cakes. Follow Hallé St Peter’s (@ hallestpeters) for our latest opening times and information.

EVENTS AT HALLÉ ST PETER’S Hallé St Peter’s is a versatile venue suitable for a wide variety of events. The elegant interior provides a beautiful backdrop for weddings, parties, corporate events, meetings, conferences, receptions and more. Hallé at St Michael’s, our nearby sister venue, also provides stylish space for events. Enquiries are welcome for weddings, conferences and events. E-mail

© Daniel Hopkinson

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≥ PATRON PROGRAMME By joining the Hallé Patron programme you can become part of a family of supporters who are helping to shape the future of the Hallé. Patrons have access to unique opportunities to experience many different facets of the Hallé alongside musicians, performers and fellow supporters in recognition of their regular support. Find out more at

CONDUCTOR’S CIRCLE John and Margaret Allen Dr Anne R Fuller Pat Kendall-Taylor Professor Chris Klingenberg Patrick and Tricia McDermott David and Mary McKeith Dr and Mrs Ian McKinlay OBE Penny Moore, for Terry, who loved the Hallé Dr Sambrook Christine and David Walmsley In memory of Lynne In memory of Alfred and Brenda Burley

MAESTOSO Brian and Valerie Bailey Dr Susan M Brown Mr David A Budgett Mr and Mrs J. Davnall Valerie and Peter Dicken Mrs Juliet Gibbs Andrew Hay and Nicola Kitching Mark Kenrick Jennifer MacPherson John Nickson and Simon Rew Martin and Sandra Stone John and Pat Turner Judi Winterson and David Hoyle

32 | ≥ SUMMER SEASON 2021

CRESCENDO Mr C. R. and Mrs E. Anslow Mr Jon and Dr Carol Ashley Mr Edward Astle Carole and David Baume Mr John Biggins Audrey and Richard Binch David and Maggie Blackburn Mrs Vivienne Blackburn Clair Boyes Dr Christopher Brookes J. R. Bushell (Bolton) Ltd Laura and Peter Carstensen Dr and Mrs Michael and Diana Cavanagh Lawrence David Cody and in memory of Mr and Mrs L. J. Cody Mr Julian Craddock Philip Crookall Mr A Fowell Mr and Mrs J. Fox Mr Richard Garnett Chris and Karen Halicki Miss Lynne Hamilton Dr Andrew Hardman David Haworth Mr John Hopwood and Dr Julia Morrison

Chris Hughes, to mark 42 years with the Hallé Choir Mr Kenneth Kay Mr Michael Leach Mr Colin Lomax David and Jane Murphy Sir Charles Nightingale Mrs Kathy Noble Mr John D Owens Mr D Pritchard Mr Martin Rayner AC and CJ Riddington T. G. Roberts Mrs Jackie Roberts Mr and Mrs R. J. W. Rogers Judith and Patrick Rutter Sheila Rydz and in memory of Simeon Rydz John and Susan Schultz Mr P D Senn Mr David Shipley Mrs Marian Smith and in memory of Colin Smith OBE Mrs E. G. Tonge Joy White Professor and Mrs Philip Wiles David and Veronica Yates In memory of Brenda Owens



Dr D Yvonne Aplin Joan Ball Tony Bates Professor Tony Berry Mr K A Bevan Mrs Margaret Bradshaw Mrs P Cate Monica and Mick Clark Pamela Craig Sarah Crouch Mr Anthony Doust Mr Micheal Dowling Chris Dumigan Dr George A Eccleston Rev’d and Mrs J F Ellis Mrs A Fitzpatrick Charlie Fleischmann Ann Flowerday Jeremy and Gillian French Mrs Ruth Gooddie Mr and Mrs R Green Mr John Hannah Mrs Bessie Harper Callum Harvey Mr and Mrs D Hawkes Peter and Audrey Hewer Mr Simon Hutchence Mrs Wendy Jeffs Professor Nicholas and Dr Mary Jones Mr J G Knox Mr and Mrs B H Lawrence Mr and Mrs R W Lee Mel Littler Mr Alan Lowe Mr T Marsden John and Mary McPeake Stephen and Jacqueline Miley Mrs Alison Milford Gordon and Jess Minton Miss Maire Morton Mr and Mrs J P Platt Malcolm and Morag Ranson Mr Michael Redhead Canon C Roberts Joan and Graham Rogers Dr T and P E Schur Phil Thornley Mr John Turner Mrs M Warrener Mr J C White Professor Richard Whitley Mr John Wildman Jack and Elizabeth Wimpenny Joan Wood In loving memory of Helen Brave In memory of Albert Mesriee

Gill and Barrie Adams Mr Peter Adamson Mr Timothy R Ades Dr Katherine M Adler Mr Roger Ainsworth Vin Allerton Dr P J Alvey Mr Barry J Ball Dr Peter Barberis Mr Michael Barley Mrs J E Baxendale Mr Paul K Berry Mr Steve Best Mr D J Bird Mr Stuart Bishop Dr Howard Booth Ms Annie Bracken Arnold and Brenda Bradshaw Philip Broughton Mr Dean Brown Karen Brown Miss S R Brown Peter Burgess Barbara and Anthony Butcher Miss Christine Bywater Miss Christine S Catherall Mrs B Y Chubb Mrs Kathleen Cleary Mrs Gina Collison Mr David Cooke Mr H C Cowen Mrs Frances Critchley Mr John Critchley TD Mrs J D Darwent Dr D Dawson Mr and Mrs B A DeSousa Mrs Joyce Dewhurst Mrs Marie Dixon Ann and Donald Docker Mr Paul Durham Mrs D Dyer Mr E Alan Eaves Miss E Evans David Farrow Dr Larissa Fast Miss Charlotte Fitzgerald Mr George Fletcher Mr Alan Freeman Dr Tim Gartside Mrs Elaine M Gavin Mr Adrian Gerrard Mrs J Gill Mrs Mary Glynn Mr Christopher Grafham Mr and Mrs S R Lancelyn Green Mrs Caroline Greenwood Mr John D Gregory

Dr R Gregory Mr J B Haddow Dr I M Hall Paul and Amanda Hamblyn Mr C W Hampson Mrs Thora Harnden Brian and Bridget Harris Mr Simon Harrison Mrs J M Hartley Mrs Dorothy Heaton Mr Cliff Heckle Donald and Carolyn Henderson Mrs G Hewitt Miss Pauline Hickey Mr and Mrs J M Hill Peter and Charlotte Hill Mr J M Hindshaw Mrs Dorothy Holt Mrs Janet Holwill Dr W Hoyle Mr H Hughes and Mrs F Hughes David Humphries Mrs Glynys Hunter Dr Steven Hurst Joyce Hytner Mr Howard Johnson Mrs Jean Johnson Alma Jones, and in memory of Frank David and Fae Jones Christine and Michael Jones Mr Trefor Jones Miss Brunhilde Kay Mr and Mrs Rex Keen Lynne and Martin Kemp Ian Leonard Jennifer and Paul Lingwood Mr Harry Lipson Mrs Dorothea Livesey Virginia and Peter Lloyd Mr and Mrs M and A Losse Mr Kevin Lyons Mr F P S and Mrs D A B Marriott Dr and Mrs P J Marriott Mr P Marsh and Ms H M Bennett Mrs C Mason Dr Michael Mattison Mrs E McCrone Mrs Angela McMenemy Mrs Bernice Meagher Dr David Miers Mr David Milner Mr Jeff Milner Dr Brian Molyneaux Mr Peter Moorhouse Ms Kathleen Morris

Miss Jean Motler Mr P K Murphy Mr David Odling Professor Damian O’Doherty William and Janet Ollier Mr John Peaker Dr John Pearson Reverend David Peters David and Elizabeth Pioli Mr Victor Potapczuk Professor James Powell OBE Dr R E Price Mrs Jean Proud Mr D Radley Mr Peter Ramsden Mrs Beryl Ratcliffe Angus and Jenny Reynolds Mr Paul Reynolds David and Elly Roberts Mrs A Rose David and Maggie Rowlands Mrs Susan Rowlands Professor Michael G Rusbridge Mrs J Ryner Martin and Gail Sanderson Mr and Mrs John and Jackie Say Mrs Jan Schofield Mr James A Scott Mr Simon Shelbourn Mr C and Mrs T Shepherd Mr Michael Shiels Charles and Helen Smith Mr and Mrs C Smith Mr Roger Smith Mr Alan Spier Mr and Mrs R T Stafford Mr Frank Stoner and Mrs Margaret Dudley-Stoner Mrs Carla Suter Mrs Norma Swan Mrs M E Thompson Mr John Thomson Mrs Jean Tracy Mrs Jackie Tucker Tom Uprichard Mrs Barbara Upton Mr Peter and the late Mrs Diana van der Feltz Derek Vernon Jeffery and Judith Wainwright Mr Brian Walker Mr R B Walsh F T Walters Mrs Anne Ward Mr George Watson John and Christine Weller

≥ SUMMER SEASON 2021 | 33

Mrs Lynn Wharton Mr Peter R White J Christopher Whitehead Mr A Whittaker Mr Thomas Williams Mr C F Winter Barry Wood Hilary and the late Noel Woodhead Mrs Ann Woolliscroft Dr J M Worth D and M Wright Dr David Yorke A music lover In memory of my parents In memory of Margaret Brailsford In memory of O Calvert In memory of Mr Tom Chadwick In memory of Liz Glynn In memory of D S Goodes In memory of Dr D B Jones In memory of Mrs M McDonald In memory of Patsy Pringle In memory of Dr Barbara Smith In memory of John Wallace Tonge

ALLEGRO Mr A C Abbas Mrs Brenda Ackroyd Mr Chris Adams and Professor Rosemary Lucas Mr Paul Adkins Mr Paul Ager Mr Richard Alliss Mohammed Amin Voxra Andersen Mr G Aspey Mrs Barbara Aspin Mrs Barbara Austin Ms Elaine Bagley Mrs P Barlow John Barnard Mr C Barton Dr A J Basey Mr and Mrs Melvyn Bathgate Mr and Mrs S Beckett John Begg Ms Rowena BeightonDykes Mrs Lois Beldon Mr P Beresford Mr I C Berridge Mr G N Berry Mr R Berryman Ms Rosemary Betterton

Mr David Bimson Mr A Birch Mrs A Birch Mrs Christine Bird Michael S Birkett Mr Robin Bissell Mrs Diane Blackburn Marilyn Booth Mrs Marjorie Boothby MBE Mr John M J Bowden Mr Alan Brant Mr Roger Brentnall John Bridgman Mrs Susan Briggs Mr David Britnor Mr and Mrs Andrew Brochwicz-Lewinski Ms Patricia Brock Mrs Gwyneth Brown Miss V Brown Mr Ian Brownlee Mr A Budworth Mrs Sarah Bunting Mr and Mrs P Burns Dr Kathy Burton Mrs Pauline Bushnell Peter Callon Mr Gerard Cambridge Ms Shirley Campbell Mr Geoffrey Carter Mrs Pamela Carter Mr J K Chadwick Mr William Chadwick Austin Chambers Mrs J Chambers Ms K Chapple Mrs Margaret L Chatfield Mr Eric Chilton VKF Ciaputa Mrs Betty Clee Mrs Anne Clegg Mrs C Connor Mr Michael Connor Mrs Olive Cook Mr D Cooper Mr Geoffrey D Copage James Coppock Mrs Joyce Cotgrave Mrs Barbara Cotterill Mr Richard and Mrs Karen Cowley Mr David Cresswell Mrs Margaret R Croker Mr and Mrs J B and Sylvia Crummett Dr C S Cundy Hilary and Adrian Curtis Mr Alan Dagger Mr Gerard Dale Jennifer Dale Mrs Jackie Dalingwater

34 | ≥ SUMMER SEASON 2021

Ms Maria Davies Mr G J Davison Mr Alan Dean Anne and John Dempsey Mrs Wendy Dewey Mr and Mrs I Disley Professor Alexander Donnachie Mrs M Downing Helen Drew Miss Margaret Dunn Ms Louise Durose Dr S Dymock Mr Barry Eastwood Mrs Stella Eberlein R Ellershaw Mr M Ellis Mr and Mrs K Else Mr Peter English Mrs J M Evans Mrs Christine Everett Ms Julie M Fallon Ms N E Farrell Mr Steven Farrell Mrs Margaret Faulkner Mrs Cynthia Fenton Steven Fidler Mr Howard Fisher Mrs P Fitzgerald Raymond and Eileen Flint Mr R Foster Ms Wendy Foulger Mrs Augusta Fox Mr Charles R Fox Mr J W Fox Miriam and Michael Fox David and Sylvia Francis Mr R F Fry David and Joyce Fuller Miss A M Furphy Mrs E Galloway Peter Gannon John Gardner Eileen Goodwin in memory of Jack Mrs F B Grant Mr T Greene Andy Greenwell Ms Joy Greenwood Pamela Greenwood Mr Stephen Gregory Mr J C B Gregson Mr A L Griffith Mrs Audrey Griffiths John Groarke Mr J F Austin Hall James Hallows Mrs Eveline Hamilton Mrs Sheila Hardy Mrs Helen Harrington Dr W David Harrison Mrs Judith Harrop

Mr David Hartley Peter and Susan Haslehurst Tony Hayter Mrs Susan Heard Mr R Heaton Mrs P A Hemstock Dr Kenneth Henderson Mr John Herod Mr Thomas A Heyes Mr and Mrs G D Heyward Dr Pamela Hobson Mr Alex Hodgeon Mr Paul Holder Mr Derek Hollingsworth Dr Michael J Holloway Mr and Mrs M Holmes Mr R Holmes Miss Jeanne Holt Mr Brian Hooley Mrs Ann Hooper Mrs M Horan Mr John David Howard Mrs C M Hughes Mr J G B Hunter Mrs Jacqueline Hurdle John Hytner Miss Susan Ingham Mrs Helen Margaret Ireland Dr Melanie Isherwood Mr Paul Jabore Bridget Jackson Mrs J A Jackson Mrs I J Jackson Mr John Jackson Mr M D Jackson Mrs Pauline Jackson Mrs Emma Jacobs Miss Hilary Jarvis Dr K Jeffery Mrs Christine Jenkinson Mr Mark Johnson Mr R Johnson Mrs A Johnstone Mrs A Jones Mrs J M Jones Mr Fred Jones Shirley Jones Mr D J Kay Mrs Angela Kendrick Mr Andrew Kennaugh Jack Kirby Miss B Knight Dr W F Knox Mr Rainer Kolbeck Mrs Pat Kundi Dr Louis Kushnick Mr and Mrs Vivian Labaton Mrs Lillian Langshaw Dr Hugh Laverty Mrs Alison Lawrence

Mr and Mrs E Layland David and Pam Leaver Charles Ledigo Mr R Lee Mr Graham J Lees Mrs S Leete Mr Howard Leigh Mrs S Lewis Mrs Susan G Lewis Mrs A Leyland Mr John Liles Mrs Anne Livesey Pam and Gordon Lorimer Mrs Barbara Lowe Mr C A Lowe Dr Marion E Mackay Mr David MacKley Mrs Sarah C Maddock Mrs Barbara Maitra Mr D F Mardon Mrs B Marples Dr and Mrs Martin Mr Michael Martindale Mrs Dianne Massey Mr M D Masters Mrs Wendy Maunders Mrs Anne McCormack Mr J McCrory Mr J McGough Mrs T R McGough Mr Brian McGrath Mrs Sylvia McKellar Mrs Hinda Meggit Mr John Meriton Miss Audrey Messenger Dr John P Miller Mr Roger Miller Mr Robert Millington Mr Andrew C Mitchell Mr Tim Mitchell Miss G Mobb Anthony and Linda Mooney Mrs Gillian Moorhouse Mrs Jennifer Moorhouse Dr Richard Morgan Mr S J Morley Dr M G Mortimer Mr and Mrs Muir Mr A Murray Mr V Murray Dr Granville Neath Mr and Mrs A Newton Mr Peter Newton Mr Edward Nicholls Mr and Mrs Jonathan Noble Mr Thomas Nuhse Mrs L O’Connor Mr Stephen O’Hagan Mr Stephen Oliver-Watts Mr Martin Olley Mrs M Owen

Mr Michael Owen Mrs Christine Owens Graham and Dorothy Palmer Mr and Mrs K Parker Mr R K Parker Mrs Rosemary Parsons Mrs Ann Patterson Mrs M Pattinson Mr Alan Pearson Mrs Pauline Pedlar Mr J D Perry Mary Pexton R and E Philburn Dr Max Pilotti Mr John Piper Mr M Pittam Mr J Platt Mrs Lynne Powell Mr Lee Price Mrs Frances Prince Mrs Jean Pugh Mrs Jennifer Rae Mrs Sheila Ramsay Mr Stuart Ramsden Mr and Mrs Alan K Rawson Mr Paul Raynor Dr Redford Mrs M Redmond Miss Karen Redmore Mrs Susan Renshaw Mrs A Richardson Mrs S Rigby Mrs Christina Roberts Elizabeth and Hugh Roberts Mrs Winifred Robertson Mrs Doreen Robinson Mrs Kathleen Robson Mr Mark Robson Mr Colin Rogers Valerie and Howard Rogerson Mr Philip Roper Mrs J A Round Mr J Roundell Mr Raymond Rouse Miss P Rowland Mr C Rudd Miss S M Salmon Mr Peter Sampson Mr J B Sangster Mr Gerald Francis Schultz Mrs Margaret Scott Mr Robert Scott Mrs Carol Selby Alison Sellars Mr Andrew Senior Mr Maurice Setton Mr Christopher Sharp Mr David J Shearing

Mr S W Shone Mrs Eileen Short Mr P Sidwell Mr Chris Simon Mrs J K Slack Dr A J and Mrs J M Smith Mrs Anne Smith Mr Lionel Smith Dr J Spangler Mr M Spoors Mrs Joyce Stafford Mrs C M Stead Mrs P Steed Mrs Jane Stephens Mr Paddy Stephenson Mr J R Stuart Mrs Sally Sturt Mrs C Summerfield J B and J W Sutcliffe Miss Sykes-Howden Dr D P M Symmons Mr J P Syner Mr T Tarpey Mr J Taylor Mrs J Taylor Mrs Lesley Taylor Mr M Taylor Rosemary and Roger Taylor Mr D F Thickbroom Jim and Stella Thomas Michael Thomas Mrs S K Thomas Miss Marie Thompson Mr Philip Thompson Mr Terence P Thornton Mrs J Tims Mr D Allan Townsend Mr and Mrs P Trickett Mr and Mrs Brian Tuffery Mrs J Turner Mrs Barbara Twiney Mr W W Wagstaff Mr Angus Walker Mr P R Walker Mrs Sylvia Walker Mr W A Walker Mr John Ward Dr Stephen Ward Mrs and Mr Susan and Michael Warrington Mr and Mrs J M Watson Mr and Mrs Bill Webb Miss Judith Weller Mrs Pamela Wells Mr Robert Wensley Mr Werbel Mrs A G Whaley Mr P N Whitaker Mrs H Whitehead Eric Whittaker Mrs Petronella Whittle

Mrs L Wilkinson Professor Arthur Williams Mr and Mrs A J Williams Mrs Margaret Williams Mrs H J Williamson Mr A Willows Mrs Margaret Wilson Mr Stephen Wilson Mrs Kathleen Winterbottom Ms Janet Wolff Mr and Mrs Chris Wolstenholme Mrs Margot Wood Mr and Mrs S Wood Dr Zoe and Roderick Woodhead Mr Terry Woodhouse Mr T Woolfenden Miss A F W Woolley Mr Norton Wragg Dr M Wren Anna Wright Mrs Helen Wright Mr Keith Wright Mr Angus Yeaman A Music Lover In memory of Roger Bogg In memory of Margaret Cooke In memory of Mr and Mrs G W Dawson In memory of my gifted grandfather, Peter Hunt esq. In memory of Mr G E Huggins In memory of Bill and Florrie Mathews In Memory of Derek Michael Melluish OBE In memory of Dr Nathan and Mrs Shlosberg In memory of Ian Michael (Mick) Othick

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HOLDERS OF THE HALLE SILVER MEDAL FOR PHILANTHROPY Stewart Grimshaw Michael and Jean Oglesby Terry and Penny Moore Arthur Reynolds Jurgen Maier

2058 FOUNDATION PRINCIPAL BENEFACTORS Manchester Airport Mr Martin McMillan obe and Mrs Pat McMillan The Oglesby Charitable Trust Fred Nash and Carole Nash obe Tiger Developments CIM Investment Management Ltd DLA Piper LLP Rothschild MAJOR BENEFACTORS Peter Heath David and Mary McKeith Brother (UK) Ltd PZ Cussons plc Nigel Warr David Wertheim and Family Kirby Laing Foundation Kobler Trust Martin and Jacqueline West The 2058 Foundation is a restricted fund of the Hallé Concerts Society established in the Hallé’s 150th Anniversary year to support specific artistic and education projects.

36 | ≥ SUMMER SEASON 2021

SUPPORTERS OF THE OGLESBY CENTRE AT HALLÉ ST PETER’S The Oglesby Charitable Trust The Monument Trust The Dunard Fund The Foyle Foundation Garfield Weston Foundation Granada Foundation The Kirby Laing Foundation Victoria Wood Foundation The Wolfson Foundation and all those who supported The Oglesby Challenge and those who wish to remain anonymous

AMERICAN PATRONS Carol E. Domina Caroline Firestone Rita Z. Mehos Christa Percopa Arthur Reynolds Annette Vass

LONDON PATRONS Joyce Hytner John Nickson and Simon Rew

THE HALLÉ WOULD LIKE TO THANK THE FOLLOWING TRUSTS FOR THEIR ONGOING SUPPORT The Monument Trust The Oglesby Charitable Trust Esmée Fairbairn Foundation The Foyle Foundation Granada Foundation Garfield Weston Foundation The Kirby Laing Foundation The Liz and Terry Bramall Foundation Paul Hamlyn Foundation The Victoria Wood Foundation The Wolfson Foundation The Zochonis Charitable Trust Angus Allnatt Charitable Foundation The Austin and Hope Pilkington Trust The Band Trust Boshier Hinton Foundation Church Burgesses Educational Foundation The Derek Hill Foundation D’oyly Carte Charitable Trust Fidelio Charitable Trust The Gladys Jones Charitable Trust The Grand Trust Cio The Harding Trust John Horniman’s Children’s Trust The Irving Memorial Trust Land and Co Foundation The Leche Trust Mclay Dementia Trust Peter Cunningham Memorial Fund Cecil Pilkington Charitable Trust The Pilkington General Charity The Rix_Thompson-Rothenberg Foundation RUSI (The Royal United Services Institute) Sir George Martin Trust Sale Mayoral Fund The Sobell Foundation Thriplow Charitable Trust

HALLÉ FAMILY OF BENEFACTORS Mrs A. Alford Mr C. K. Andrews Mr and Mrs Black In Memory of Rabbi Felix Carlebach from his family, friends and supporters Pamela Cate Mr Peter Copping Miss Rebecca Louise Finch Mrs Vivian Glass Mr Harry Johnson Mr A. and the late Mrs A. Johnson Kenneth Kay Mr C. H. Pooley Brian and Glenna Robson Bernadette Rudman Mr and Mrs R. P. Shepherd JP DL Lynne and Bob Spencer Mr and Mrs Brian Tetlow

and others who wish to remain anonymous

≥ SUMMER SEASON 2021 | 37

≥ SEASON SPONSORS Diamond Partner

Major Sponsor

Major Sponsors

With thanks to Manchester Airports Group for 30 years of support.

38 | ≥ SUMMER SEASON 2021


Many thanks to our family of Workplace Choirs

AJ Bell plc • BAE Systems • BASF plc • BDO llp Great Manchester Chamber of Commerce • Bolton NHS Foundation Trust Manchester University NHS Foundation Trust • The Oasis Centre • PwC llp RSM • Sellafield Ltd • Siemens plc • Veterinary Defence Society Ltd



Brother Greater Manchester Chamber of Commerce PZ Cussons plc Rothschild & Co

CBRE Ltd./The Towers Business Park SILVER

Beaverbrooks Bruntwood Cazenove Capital

C&0 Wines Tony and Daniela Coxon Elcometer Ltd Esprit Group Ltd Gary Halman Mills and Reeve LLP Web Applications UK ≥ SUMMER SEASON 2021 | 39

≥ CONCERTS SOCIETY PATRON HRH The Countess of Wessex gcvo VICE PRESIDENTS A. Martin McMillan obe Edward Pysden BOARD ELECTED DIRECTORS David McKeith [CHAIRMAN] Sharon Amesu Alex Connock Darren Drabble Tim Edge Juergen Maier cbe Linda Merrick John Phillips cbe Merryl Webster Aileen Wiswell mbe NOMINATED DIRECTORS GREATER MANCHESTER COMBINED AUTHORITY

Eamonn Boylan Councillor Janet Emsley MANCHESTER CITY COUNCIL


CHIEF EXECUTIVE’S OFFICE David Butcher * Alison Lever Isabelle Orford

HALLÉ CONNECT EDUCATION Steve Pickett * Joanna Brockbank

FINANCE Ruth Harkin * Matthew Wyatt Lourdes Román

HALLÉ CONNECT ENSEMBLES Naomi Benn * Jo Pink Isabelle Orford Verity Riley

VENUES Martin Glynn * Tyrone Holt Everett Parry † Edward Cittanova David Roberts ARTISTIC PLANNING Anna Hirst * Louise Hamilton Andrea Stafford Sue Voysey CONCERTS DEPARTMENT Stuart Kempster * † Hayley Parkes Lois Boa

CHORAL LEADERSHIP NETWORK Anna Stutfield SPONSORSHIP AND FUNDRAISING Kath Russell * Eleanor Roberts Susanna Caudwell Amy Adebola Charlie Widdicombe Lucy Miller


COMMUNICATIONS Andy Ryans * † Peter Naish † Liz Barras Harriet Hall Anna Shinkfield

LIBRARY Louise Brimicombe Alice McIlwraith

DIGITAL Bill Lam * Riley Bramley-Dymond

STAGE MANAGEMENT Dan Gobey Lawrie Bebb

ARCHIVE Eleanor Roberts Stuart Robinson † † 20 years service * HEAD OF DEPARTMENT



The Hallé Concerts Society is a Registered Charity No. 223882

Thank you for your support. The Hallé, now more than ever, relies on the generosity of all our supporters.
 To see how you can help, visit Thank you.

Stay in touch:





≥ SUMMER SEASON 2021 | 41

Profile for The Hallé

Hallé Summer Season 2021 - Elgar’s Enigma Variations programme  

Hallé Summer Season 2021 - Elgar’s Enigma Variations programme  

Profile for thehalle

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