≥ DIGITAL SEASON 2022 WALTON CELLO CONCERTO MUSIC DIRECTOR SIR MARK ELDER CH CBE
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WELCOME Welcome to our second digital concert of our 2022 spring season. During the darkest days of lockdown in 2020, when concert halls were closed to audiences, the Hallé reacted positively and produced a number of films which brought its music to our many audiences. Critically acclaimed and watched by tens of thousands of you, not just in Manchester but across the world, this led to creation of our first ever Digital concert season in 2021. Building on this success, we are thrilled to be able to offer this Spring Digital Season with three films, which sit alongside our live 2022 spring season. The films are both for our worldwide audience who cannot attend our concerts but also for existing audiences as a complement to the live concerts – where through the digital medium, people can get closer to the music and performers from the comfort of your own home or even whilst you are out and about on tablets and smartphones. New Zealand-born Gemma New opens this second film with Icarus, Lera Auerbach’s tragic impression of the Ancient Greek hero’s ill-fated flight. Ten years ago, Laura van der Heijden won the BBC Young Musician of the Year competition with Walton’s Cello Concerto, a work that combines bitter-sweet melancholy with vigorous energy and which she returns to perform here. With its finale based on Copland’s celebrated Fanfare for the Common Man, the concert draws to a euphoric and optimistic close with the composer’s Third Symphony. These three films have been made possible due to the generous sponsorship of Siemens, so a huge thank you from all of us at the Hallé for their enlightened support. And, above all, thank you so much for purchasing this film and on behalf of Sir Mark and the orchestra, we hope you enjoy this feast of music.
David Butcher Chief Executive
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AVAILABLE FROM WEDNESDAY 23 MARCH 2022 FILMED IN THE BRIDGEWATER HALL, MANCHESTER
WALTON’S CELLO CONCERTO Lera Auerbach Icarus Walton Cello Concerto Copland Symphony No.3 Gemma New conductor Laura van der Heijden cello
SPONSORED BY
It is due to the generosity of our sponsors, patrons and every loyal supporter that we are able to perform these concerts. Arts Council England, the Greater Manchester Authority and the City of Manchester have our sincerest thanks for their ongoing support. The Hallé is deeply grateful to our partners in The Bridgewater Hall, without whose collaboration these concerts would not have been possible.
LERA AUERBACH (B. 1973)
ICARUS (2006/11) I have been fascinated by the myth of Icarus. As a child, I lived in ancient Greece. The book of myths was my favourite and the world of jealous gods and god-like humans was more real to me than the world outside of my windows, full of bloody red flags (the red of the Soviet flag symbolised the blood of the heroes of the Revolution) and the ‘Soviet trinity’ portraits of LeninMarx-Engels with the occasional bushy eyebrows of Brezhnev looking at me from the walls of the buildings. In some ways the two worlds blurred. The world outside made much more sense through the perspective of the ancient Greek myths, where it was quite common for a powerprotective god to devour all his children. Icarus was one of my heroes (or antiheroes, depending on the interpretation) – the winged boy who dared to fly too close to the sun. The wings were made by his father, Daedalus, a skilled craftsman, who earlier in his life designed the famous labyrinth in Crete that held the Minotaur. Daedalus was held prisoner in Crete and the wings were his only way to escape. Daedalus warned Icarus not to fly too close to the sun or too close to the ocean, but what teenager listens to his father? Exhilarated by freedom, by his own youth, by the feeling of flight, Icarus soared higher and higher until the wax on his wings melted and he fell into the ocean. Oh, gravity! Sometimes I think it is the law of gravity that truly defines our existence. What makes this myth so touching is Icarus’s impatience of the heart, his wish to reach the unreachable, the intensity of the ecstatic brevity of his flight and inevitability of his fall. If Icarus were to fly safely, there would be no myth. His tragic death is beautiful. It also poses a question – from Daedalus’s point of view – how can one distinguish success from failure? Daedalus’s greatest invention, the wings which allowed a man to fly, was his greatest failure, as they caused the death of his son. Daedalus was brilliant, his wings were perfect, but he was also a blind father who did not truly understand his child. If he did, he would realise that the road to freedom leads to its ultimate form – death – which Icarus, with the uncompromising daring of youth, achieves. The desire for freedom, taken to its extreme, receives its absolute form – a closed circle in which success means failure and freedom means death. The desire to go beyond the boundaries into the ecstatic visionary realm of soaring flight is essentially human. In some ways this desire to transcend the everyday-ness is what it means to be human. That is why this myth has resonated for centuries. Icarus knows the danger of flying too high, but the risk is justified in his eyes. He needs to fly as high as he can, beyond what is possible – it is his nature. The title Icarus was given to this work after it was written. All my music is abstract, but by giving evocative titles I invite the listener to feel free to imagine, to access his or her own memories and associations. Icarus is what came to my mind, listening to this work at that 4 | ≥ DIGITAL SEASON 2022
time. Each time I hear the piece, it is different. What is important to me is that it connects to you, the listener, in the most individual and direct way, that this music disturbs you, moves you, soars with you, stays with you. You don’t need to understand how or why – just allow the music to take you wherever it takes you. It is permissible to daydream while listening or to remember your own past. It is fine not to have any images at all, but simply to experience the sound. This programme note is a door to your imagination. The music is your guide. But it is up to you to take the step and cross the threshold. Programme note © Lera Auerbach, 2011
© Nora Feller
THE COMPOSER
Born in the Russian city of Chelyabinsk in the Ural Mountains, at the gateway of Siberia, Lera Auerbach is a renaissance artist for modern times: a widely recognised conductor, pianist and composer, she is also a published poet and exhibited visual artist. Whatever the medium – art, ≥ DIGITAL SEASON 2022 | 5
literature or music – all of her work is interconnected as part of a cohesive and comprehensive artistic worldview. Her large-scale theatre works have been produced in major venues on every continent, including the Hamburg State Opera, Theater an der Wien (Vienna), Lincoln Center (New York), National Ballet of Canada, National Ballet of China, Royal Danish Theatre, Finnish National Theatre, Stanislavsky Theatre (Moscow), Netherlands Dance Theatre and San Francisco Ballet. Her exquisitely crafted, emotional and boldly imaginative music has reached global audiences, having been widely recorded and featured on the world’s leading stages from Vienna’s Musikverein and London’s Royal Albert Hall to Carnegie Hall, New York, and the Kennedy Center, Washington DC. Orchestral collaborations include the New York Philharmonic, Philadelphia Orchestra, National Symphony (Washington DC), Oslo Philharmonic, Dresden Staatskapelle and Austrian Radio Symphony Orchestra, while conductors who have performed her orchestral works include Christoph Eschenbach, Alan Gilbert, Neeme Järvi, Vladimir Jurowski, Andris Nelsons, Osmo Vänskä and Marin Alsop. Soloists who have championed and recorded her music include violinists Gidon Kremer, Leonidas Kavakos, Daniel Hope, Hilary Hahn, Vadim Repin and Julian Rachlin; cellists Alisa Weilerstein, Gautier Capuçon and Alban Gerhardt; and violists Kim Kashkashian and Nobuko Imai. Recent highlights include WienModern’s 3.5-hour production of Demons & Angels with Auerbach conducting, and the National Symphony’s premiere of her fourth symphony Arctica with Auerbach as piano soloist. Her fourth violin concerto NYx: Fractured Dreams was premiered by the New York Philharmonic under Alan Gilbert with Leonidas Kavakos as soloist, and her symphonic poem Eve’s Lament was premiered by the Vienna Radio Symphony Orchestra under Marin Alsop. Most recently, her ninth string quartet Danksagung was premiered by the Artemis Quartet as a joint commission of Leipzig’s Gewandhaus, London’s Wigmore Hall, Vienna’s Konzerthaus, New York’s Carnegie Hall and Zurich’s Tonhalle. Auerbach is equally prolific in literature and the visual arts, often simultaneously expressing ideas visually, in words and through music. She has published three books of poetry in Russian and one English-language book, Excess of Being, in which she explores the rare form of aphorisms. Her illustrated children’s book A is for Oboe will be published in December. She has been drawing and painting all her life as part of her creative process; her visual art is exhibited regularly, included in private collections and represented by leading galleries. In 2007 she was selected by the World Economic Forum in Davos, Switzerland, as a Young Global Leader and since 2014 has served as a Cultural Leader.
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WILLIAM WALTON (1902–1983)
CELLO CONCERTO (1955–6, rev. 1975) 1 Moderato 2 Allegro appassionato 3 Tema ed improvvisazioni: Lento – Allegro molto – Adagio
William Walton in 1936 Bassano Ltd, public domain, via Wikimedia Commons
Composed between 1955 and 1956, Walton’s Cello Concerto was commissioned by, and dedicated to, one of the foremost cellists of the day, Gregor Piatigorsky, who gave the premiere on 25 January 1957 with the Boston Symphony Orchestra conducted by Charles Munch. The work was quickly recognised as a major addition to the cello’s concerto repertoire.
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Piatigorsky admired Walton’s viola and violin concertos and asked a mutual friend, the pianist Ivor Newton, to find out whether writing a cello concerto would be of interest to him. Walton’s reply was typical of his wry sense of humour: ‘I’m a composer. I write anything for anybody if he pays me … Naturally, I write much better if I’m paid in dollars.’ The upshot was a handsome commission fee, which was indeed paid in dollars! Despite the distance between their respective homes, Piatigorsky in California and Walton in Ischia, as well as the cellist’s busy concert schedule, commissioner and composer collaborated closely by letter. There was discussion, for instance, about the work’s ending: Piatigorsky wanted something more demonstrative, so Walton obligingly wrote two additional conclusions, although in the event the cellist kept to the composer’s first thoughts. Overall, Piatigorsky was delighted with the concerto, describing it as ‘wonderful’; Walton himself felt it was the best of his string concertos. Over the years Piatigorsky still hankered after ‘a less melancholy ending’ and at Christmas 1974, to tempt the cellist back to the concert hall following a long illness, Walton wrote yet another conclusion with which Piatigorsky was pleased, but his death intervened before he could play it, hence Walton’s original ending has held sway.
THE MUSIC Walton commented to a friend that he had composed ‘rather a good opening’ to this concerto – an understatement, to say the least, since it is a superb inspiration: a piquant chord on vibraphone, harp and violas and a ticking woodwind and pizzicato string figure create an atmosphere of expectancy; over this texture the solo cello plays a poignant, memorable extended theme. Its chromatic character gives it a harmonic ambiguity as it veers between major and minor, creating the bittersweet quality with which the music is imbued. How well, too, it suits the cello, which, according to Walton’s widow, he thought of ‘as a melancholy instrument, full of soul’. Aspects of the theme are extracted by Walton to develop during the movement: a rhythmic fragment, a melodic turn of phrase, intervals such as sixths and sevenths, the latter emerging as a binding trait as the work progresses. Note, too, that this theme provides a wellspring of ideas for the whole work, as Walton subtly spins the thread of his thematic material with an extension to one note here or a transformation of a melodic shape there. In form the movement may be likened to seven paragraphs each featuring the soloist, plus a coda. The theme’s first appearance is followed by a short orchestral link and a varied repetition of the theme. A second significant thematic idea follows, comprising a tranquil descending scale of semiquavers and double-stopped sixths, before the main theme, as always in a state of flux, reappears. It leads to a lush, romantic outpouring on the strings and the principal theme once more, this time ending with expressive leaps for the cello. A coda, in which the obsessive ticking and other ideas return, rounds off the movement.
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The scherzo-like central fast movement bursts into life with music that is by turns playful and impassioned, couched in light, airy orchestral scoring. It follows a tripartite structure and, after the briefest of orchestral salutes, the main idea appears on the cello – a bravura surge of energetic semiquavers marked by frequent rhythmic twists and turns. A fragment of rhythm with an angular rise and arching descent, as well as a short lyrical phrase, also emerge. In typical Walton fashion these elements are varied in the repetition that follows, ending with harmonics for the soloist. A perky orchestral interjection begins the movement’s middle section, the soloist pouncing on the tattoo-like rhythm and continuing with a passage where fragments of ideas are tossed between the cello and orchestra and virtuoso triple-stopping takes the limelight. Two further ideas for the cellist appear, one dramatic and one (after a link for the cello alone) achingly romantic, where the tempo slows, albeit momentarily. All this material is re-examined, before a truncated version of the main idea and a coda follow with the cellist scudding along to end the movement with a virtuosic flourish, by means of a glissando in sixths and a high harmonic. For the finale, the longest movement, Walton chose a theme and variations, whose overall mood returns to the elegiac quality of the concerto’s first movement. An unusual feature is that two of the variations are for cello alone, thus providing cadenzas to demonstrate the soloist’s technical prowess, while another is dedicated solely to the orchestra. The movement begins with the cello in its highest register playing the reflective theme over pizzicato strings; in the first variation the soloist has scurrying triplet semiquavers, and the second (cello alone) has an improvisatory character. An orchestral romp for the third variation provides lively contrast, before the cello returns in rhapsodic vein for the fourth. It ends with the cello playing trills, as it merges into an epilogue beginning with the rich, romantic string gesture from the first movement. The main theme makes another appearance, before the ticking of the wind players and pizzicato strings brings the concerto full circle. Walton was particularly pleased with the conclusion, writing to Piatigorsky: ‘To me, musically speaking, it rounds off the work in a satisfying & logical way & should sound beautiful, noble, dignified etc though it ends on a whisper.’ Programme note © Andrew Burn, 2021 Andrew Burn is a writer specialising in 20th- and 21st-century British music; he recently retired as Head of Projects at the Bournemouth Symphony Orchestra.
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AARON COPLAND (1900–1990)
SYMPHONY NO.3 (1944–6) 1 Molto moderato – Più mosso ancora 2 Allegro molto 3 Andantino quasi allegretto – 4 Molto deliberato – Allegro risoluto
Whereas early in his career Copland’s approach to the symphony had been experimental, as exemplified by the Organ Symphony (1924), Dance Symphony (1929) and Short Symphony (1932–3), in his Third Symphony his ambition was to compose a more traditional largescale symphonic work in four movements. It was commissioned by the Koussevitzky Music Foundation, and composed between 1944 and 1946, although sketches date back to 1940. The first performance was given by the Boston Symphony Orchestra conducted by Serge Koussevitzky on 18 October 1946 at Symphony Hall, Boston; the work was dedicated ‘to the memory of my dear friend Natalie Koussevitzky’. Copland maintained that it was the conductor himself who inspired the symphony’s character: ‘I knew exactly the kind of music he enjoyed conducting and the sentiments he brought to it, and I knew the sound of his orchestra, so I had every reason to do my darndest to write a symphony in the grand manner.’ He also drew a distinction between the symphony and his works of the preceding years, such as the orchestral El Salón México (1932–6) and the ballet Rodeo (1942), stating emphatically that it contained no folk or popular music. Finally, he commented that the symphony’s character, composed when the Second World War was turning in favour of the allies, was ‘intended to reflect the euphoric spirit of the country at the time’.
THE MUSIC Despite its four-movement form, there are differences from the conventional symphony: for instance, the first movement is not a sonata-allegro, as might be expected, but instead has an arch-like shape with a central faster section and an extended coda. It is built around three themes, the first and third of which will recur in later movements. As it begins, strings doubled by solo flute introduce the first theme, which Copland indicates to be played ‘with simple expression’; the second theme, heard on violas and oboes, continues in the same broad, hymnlike vein, whilst the third, for trombones and horns, has a striding, urgent quality that dominates the animated middle section and leads in turn to two climaxes. As the music quietens, the opening ideas return but in a subtly altered manner.
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Aaron Copland CBS Television, public domain, via Wikimedia Commons
The second movement adopts the standard symphonic form of a scherzo and trio, although only the latter is in the usual triple time. After a brassy introduction, the perky scherzo theme follows three times – on horns with violins; on unison strings; and lastly in a rhythmically augmented version on lower brass, each appearance followed by a short episode. The music, energetic and vibrant, hurtles to a climax and the arrival of the trio, whose lyrical, pastoral ambience is emphasised by the solo woodwind. Taken over by the strings, the ideas are extended. The scherzo returns but in a varied guise, with prominent piano. Finally, the trio theme returns to create the movement’s climax as, taken up by the full orchestra fortississimo, it wheels round and round in a jubilant canon. In the third movement Copland uses the brass instruments sparingly, scoring only for a horn and trumpet. Although ostensibly beginning as the symphony’s slow movement, it embraces faster music as it builds up sectionally in the manner of a continuous flow of intertwined variations. During the introductory section, the first violins enter ethereally with a rhythmically transformed version of the third theme from the opening movement. Combined with the other strings, then with woodwind and brass, the ideas are developed contrapuntally, reaching an intensity of mood before coming to rest. A new melody, introduced by solo flute, undergoes a
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series of metamorphoses, musically and emotionally. Initially nostalgic, as the speed quickens it assumes a dance-like character. With the slow tempo re-established, the music ascends in pitch, finally leaving the melody that began the movement on solo violin and piccolo. Without a break the music continues into the finale: it’s the work’s longest movement and, given that the weight of the symphonic argument is centred on it, the composer appropriately adopted a sonata-allegro structure, albeit used in an idiosyncratic way. The opening is based on Copland’s morale-boosting Fanfare for the Common Man of 1942, which he consciously decided to incorporate when planning the symphony. First heard softly intoned by flutes and clarinets, it is repeated forcibly by brass and percussion and acts as a preparation for the main body of the movement. An animated flowing idea on the oboe is established as the first theme of the fast music that now takes flight. It is rapidly taken up by other winds; then, joined by athletic string writing, and with increasing momentum, it cascades into the development section, which focuses on the Fanfare and first theme material. In an unusual but masterly compositional stroke, Copland embeds the movement’s second theme within the development, its dancing, song-like, syncopated theme beginning on half the second violins, violas, cellos and basses. The development comes to a climactic halt with a searing dissonant chord, before the recapitulation marries the first theme on solo winds with the Fanfare played softly on bassoons, then first horn. Subsequently this material is combined with the return of the first movement’s main theme on first and second violins. After a final peroration of the Fanfare, the second theme, now augmented rhythmically, returns joyously with anvil clangour, before the symphony concludes with a majestic statement of its very opening phrase. Shortly after the premiere, Koussevitzky conducted the work again in New York at Carnegie Hall; as he came off stage, he remarked (according to a report in Time magazine), ‘There is no doubt about it – this is the greatest American symphony. It goes from the heart to the heart.’ Programme note © Andrew Burn, 2021
PASSING NOTE Copland considered several titles for the fanfare he composed in 1942; these included Fanfare for the Spirit of Democracy and Fanfare for the Rebirth of Lidice, referring to the Czech village destroyed by the Nazis in an act of vengeful reprisal following the assassination in June 1942 of Reinhard Heydrich, the Acting Reich Protector of Bohemia and Moravia. Finally, Copland hit upon the title Fanfare for the Common Man, taking his cue from a speech given in 1942 by the American Vice President, Henry A. Wallace, who referred to the dawning of ‘the century of the common man’. In later life Copland recalled, ‘I sort of remember how I got the idea of writing A Fanfare for the Common Man – it was the common man, after all, who was doing all the dirty work in the war and in the army. He deserved a fanfare.’ © Andrew Burn 12 | ≥ DIGITAL SEASON 2022
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film production by
Maestro Broadcasting audio producer and engineer
Stephen Portnoi assistant engineer
Jeremy Oxley
onebox unit manager
hallé digital manager
camera operators
Richard Stevenson
Bill Lam
onebox crew
hallé vt producer and editor
John Shuker Chloe Mourant John Millman John Blake
Riley Bramley-Dymond
Andy Parr Simon Harmsworth Chris Flint Chris Martin Andy Hetherington
hallé gfx designer
Peter Naish
lighting designer
Colin Wood
editor
Andy Barker producer
Gemma Dixon director
Dominic Best Icarus, Cello Concerto and Symphony No.3 appear courtesy of Boosey & Hawkes Music Publishers Limited
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© Roy Cox
GEMMA NEW CONDUCTOR
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Recipient of the prestigious 2021 Sir George Solti Conducting Award, New Zealand-born Gemma New is Music Director of the Hamilton Philharmonic Orchestra and Principal Guest Conductor of the Dallas Symphony Orchestra. In May 2021 she conducted the New York Philharmonic’s Annual Memorial Day Concert at St John the Divine in a free performance live-streamed to the public. In summer the same year, she made debuts at the Hollywood Bowl with the Los Angeles Philharmonic and at the Aspen and Grand Teton music festivals. In February she led the New Zealand Symphony Orchestra’s Winter Festival. Currently in her third season as Principal Guest Conductor of the Dallas Symphony Orchestra, she will lead three subscription programmes plus a New Year’s Eve concert in Dallas. This season also includes subscription appearances with the Atlanta, Baltimore, Kansas City and St Louis Symphony orchestras, National Symphony Orchestra (Washington DC), Minnesota Orchestra and Orchestre Symphonique de Montréal, while she is scheduled to make debuts with the WDR Sinfonieorchester, Netherlands Philharmonic Orchestra and Orchestre National d’Île-de-France, as well as with the Los Angeles Opera for the West Coast premiere of Kevin Puts’s The Brightness of Light, featuring soprano Renée Fleming and baritone Rod Gilfry. Gemma New recently completed a four-year term as Resident Conductor of the St Louis Symphony Orchestra; in her final season, 2019/20, she led the orchestra’s season-opening concerts and conducted a live broadcast with singer-songwriter Chris Thile on the nationally syndicated variety show Live From Here. A former Dudamel Conducting Fellow with the Los Angeles Philharmonic, Gemma New has previously served as Associate Conductor of the New Jersey Symphony and was a 2018 Conducting Fellow at the Tanglewood Music Center. She holds a Master of Music degree in orchestral conducting from the Peabody Institute in Baltimore, where she studied with Gustav Meier and Markand Thakar. She graduated with honours from the University of Canterbury in New Zealand with a Bachelor of Music in violin performance.
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© Chris Gloag
LAURA VAN DER HEIJDEN CELLO
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Hailed by The Guardian as a ‘thoughtful artist with much to say’, Sussex-born Laura van der Heijden can look back on a number of exceptional achievements, including winning BBC Young Musician in 2012 and performing with such distinguished artists as Sir Andrew Davis, KarlHeinz Steffens, Kirill Karabits, Huw Watkins and the Brodsky Quartet. In 2016 she was chosen by the Swiss-based Orpheum Foundation for the Advancement of Young Soloists (Orpheum Stiftung) to appear in recital with the pianist Fazil Say at the Zurich Tonhalle. Her 2018 debut album 1948, featuring Russian music for cello and piano with pianist Petr Limonov, won the 2018 Edison Klassiek Award (in a ceremony broadcast live on Dutch TV) and the 2019 BBC Music Magazine Newcomer Award. The 2019/20 season saw her perform with the BBC National Orchestra of Wales in Aldeburgh and the Tchaikovsky Symphony Orchestra in Moscow, as well as with the Prague Symphony, London Philharmonic and BBC Philharmonic orchestras. In the past few years, Laura van der Heijden has performed with leading orchestras such as the Hallé, Philharmonia, Royal Philharmonic, BBC Scottish Symphony, Yomiuri Nippon Symphony and Academy of St Martin in the Fields, as well as with the English Chamber Orchestra and European Union Chamber Orchestra. She has also made debuts in Holland, Germany, New Zealand and Australia, the latter with the Melbourne Symphony Orchestra in the opening concert of the inaugural BBC Proms Australia. Recent highlights also include recitals at the Wigmore Hall in London, Zurich Tonhalle and Musashino Cultural Foundation in Japan, as well as her participation in the West Cork, Mecklenburg-Vorpommern and Krzyzowa music festivals. As a chamber musician, she has collaborated with Tom Poster, Huw Watkins, Petr Limonov, Katya Apekisheva, Matthew MacDonald and Krzysztof Chorzelski, and she regularly participates in international chamber music courses and festivals. She is also a regular player with the Kaleidoscope Chamber Collective, an Associate Ensemble at the Wigmore Hall. Laura van der Heijden plays a late 17th-century cello by Francesco Ruggieri of Cremona, on generous loan from a private collection.
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≥ MUSIC DIRECTOR SIR MARK ELDER FIRST VIOLINS Hannah Perowne Sarah Ewins associate leader
Tiberiu Buta Peter Liang Steven Proctor Helen Bridges † Victor Hayes † John Gralak † Michelle Marsh † Rose Hinton Luke Coomber Sarah Whittingham Belinda Hammond Anna O’Brien Sarah White Laura Embrey SECOND VIOLINS Alex Stemp Ruth Heney Paulette Bayley Rosemary Attree Caroline Abbott † Grania Royce † Hannah Smith Elizabeth Bosworth † John Purton Eva Petrarca Diego Gabete Yu-Mien Sun Christina Knox Natalie Purton
VIOLAS Timothy Pooley † section leader
Julian Mottram † Martin Schäfer Piero Gasparini † Robert Criswell † Christine Anderson Chris Emerson † Sue Baker Cameron Campbell Victoria Bernath * Amy Hark Cheryl Law CELLOS Nicholas Trygstad section leader
Simon Turner Dale Culliford † David Petri † Jane Hallett Clare Rowe Paul Grennan Louis Baily * Joanna Gutowska Rebecca Harney DOUBLE BASSES Daniel Storer Yi Xin Han † Beatrice Schirmer † Rachel Meerloo Louis van der Mespel * Lisa Featherston Mhairi Simpson Toby Hughes
The list of players is correct at the time of going to press. † 20 years service * Hallé/RNCM String Leadership Training Scheme 18 | ≥ DIGITAL SEASON 2022
FLUTES Amy Yule
TRUMPETS Gareth Small †
section leader
section leader
Sarah Bennett Fiona Slominska
Kenneth Brown † Tom Osborne Neil Fulton Dave Hooper
PICCOLO Joanne Boddington OBOES Stéphane Rancourt section leader
Virginia Shaw † COR ANGLAIS Thomas Davey † CLARINETS Sergio Castelló López section leader
Rosa CamposFernandez Dan Bayley BASS CLARINET James Muirhead † BASSOONS Ursula Leveaux Elena Comelli CONTRABASSOON Simon Davies HORNS Julian Plummer † Matthew Head Andrew Maher Richard Bourn † Kieran Lyster
TENOR TROMBONES Isobel Daws Rosalyn Davies † Gary MacPhee BASS TROMBONE Kyle MacCorquodale TUBA Ewan Easton mbe † TIMPANI John Abendstern PERCUSSION David Hext † section leader
Riccardo Lorenzo Parmigiani † Erika Öhman Emma Crossley Jan Bradley HARP Marie Leenhardt † Eira Lynn Jones CELESTE Darius Battiwalla PIANO Paul Janes THEREMIN Charlie Draper
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. During its 162-year history, the Hallé has weathered many storms – from two World Wars to financial crises, volcanic ash clouds and now a global pandemic. Not being allowed to work and make music with immediate effect in March 2020 was truly devastating for its passionate players and staff. But creativity is at the heart of the Hallé and so came its very first digital season, featuring 15 critically acclaimed concerts that were shared around the world. The 2021-2022 season has allowed a return to live music-making, which has felt like a true renaissance, alongside a short digital season reaching out to music lovers around the world. 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. Hallé Connect brings together all of the Hallé’s activity away from the formal concert platform. 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 Hallé’s education programme and family of ensembles celebrate creativity and raise aspirations through very accessible and practical projects. This work continues with digital resources, including Goddess Gaia and Once Upon A Time, both tailored for primary-aged children, and the Hallé’s annual GCSE and A-Level set works programmes. The Hallé is a Registered Charity No.223882
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≥ 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 www.halle.co.uk/chair-endowments
MUSIC DIRECTOR, SIR MARK ELDER CH CBE
FIRST VIOLINS SARAH EWINS
SECOND VIOLINS PRINCIPAL
Mr Martin McMillan obe and Mrs Pat McMillan
Elaine and Neville Blond Charitable Trust
Patrick and Tricia McDermott
CHIEF EXECUTIVE, DAVID BUTCHER
TIBERIU BUTA
Karen Farquhar
Dr Anne R Fuller
ROSEMARY ATTREE
Hamish and Sophie Forsyth
ZOE COLMAN
John Geddes
In memory of the late Marie and Jack Levy
PETER LIANG
CAROLINE ABBOTT
Jennifer MacPherson
Peter and Mary Jones
ALISON HUNT
DIEGO GABETE
Mrs Vivienne Blackburn for Michael
In memory of Sidney & Toni Powell
HELEN BRIDGES
JULIA HANSON
Professor Chris Klingenberg
Lou Page
POSITION VACANT
JOHN PURTON
In loving memory of Kaye Tazaki, from his family and the Hallé
In loving memory of Michael Hall
LEADER
Penny Moore GUEST LEADER, PAUL BARRITT
In memory of Geoffrey Robinson ASSISTANT CONDUCTOR, DELYANA LAZAROVA
PZ Cussons, Sir Mark and Lady Elder, The Garrick Charitable Trust, CHORAL DIRECTOR, MATTHEW HAMILTON
In memory of Alison WilkieDavies
PAULETTE BAYLEY
HANNAH SMITH
Patrick and Tricia McDermott
Sincere thanks also to all those who have made general donations to the Chair Endowment programme during the recent months.
20 | ≥ DIGITAL SEASON 2022
VIOLAS
FLUTES
TRUMPETS
TIMOTHY POOLEY
AMY YULE
GARETH SMALL
Dr Susan M Brown
Mr Peter Heath
Shared Trust
JULIAN MOTTRAM
SARAH BENNETT
KENNETH BROWN
In loving memory of John Pickstone
Bob Spencer
Shared Trust
MARTIN SCHÄFER
PICCOLO
David and Beryl Emery
JOANNE BODDINGTON
PIERO GASPARINI
In memory of Ronald Marlowe
TOM OSBORNE
Mrs Jane Fairclough CHRIS EMERSON
OBOE
Bolton Opus Group
STÉPHANE RANCOURT
CELLOS
sponsored by The Duchy of Lancaster Benevolent Fund
NICHOLAS TRYGSTAD
VIRGINIA SHAW
Martin and Sandra Stone SIMON TURNER
In memory of Mrs G E Whitehead DAVID PETRI
K and S Coen JANE HALLETT
Professor Sir Netar Mallick CLARE ROWE
Nina Harris JONATHAN PETHER
Charlotte Westwood POSITION VACANT
In loving memory of Dorothy Hall DOUBLE BASSES
Alison Wilkinson COR ANGLAIS THOMAS DAVEY
NATASHA ARMSTRONG
John and Pat Garside RACHEL MEERLOO
In loving memory of Hilmary Quarmby, a lifelong lover of music and friend of the Hallé
TIMPANI JOHN ABENDSTERN
In memory of Alan and Vivian Glass
ERIKA ÖHMAN
SERGIO CASTELLÓ LÓPEZ
Mrs R Russell in loving memory of her husband, Jim Russell rba;
The Hallé Choir
DAVID HEXT
Rosemary Whitesman
BASS CLARINET
Shared Trust
HALLÉ YOUTH ORCHESTRA WOODWIND
BASSOONS
BASSOONS
JAMES MUIRHEAD
PRINCIPAL
ELENA COMELLI
In memory of Joyce and Michael Kennedy
Sylvia Kendal in memory of Ivor Rowe
CLARINET
YI XIN HAN
BEATRICE SCHIRMER
KATY JONES
PERCUSSION
Edmundson Electrical Ltd In memory of Stella and Harold Millington
TROMBONE
In loving memory of Douglas Crawford
In memory of Miss Amy Alexandra Morris
BILLY COLE
Penny Moore
A Youth Orchestra Parent; Mr C R and Mrs E Anslow PERCUSSION I & E Brett Karen Brown
Anonymous
STRINGS
CONTRABASSOON SIMON DAVIES
CELLOS
In memory of Alan Fraser
John T. Gorner The Holland-Frickes Mr John Summers obe Anonymous
HORNS
In memory of Arthur Bevan and Enid Roper
HALLÉ YOUTH CHOIR
LAURENCE ROGERS
SOPRANOS AND ALTOS
In memory of C K Andrews
Elizabeth McCullough Mr and Mrs Smith
RICHARD BOURN
Shared Trust MATTHEW HEAD
In loving memory of Nora Dawson
HALLÉ CHOIR
Jane Hampson ALTOS
Chris Hughes
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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. The Hallé is very grateful to all our supporters, including those who choose to remain anonymous. Find out more at www.halle.co.uk/become-a-patron CONDUCTOR’S CIRCLE John & Margaret Allen Dr Anne R Fuller Pat Kendall-Taylor Professor Chris Klingenberg Patrick & Tricia McDermott David & Mary McKeith Dr & Mrs Ian McKinlay OBE Penny Moore, for Terry, who loved the Hallé Dr Sambrook In memory of Lynne In memory of Alfred & Brenda Burley MAESTOSO Brian & Valerie Bailey Dr Susan M Brown Mr David A Budgett Mr & Mrs J. Davnall Valerie & Peter Dicken Mrs Juliet Gibbs Andrew Hay & Nicola Kitching Mark Kenrick Jennifer MacPherson John Nickson & Simon Rew John & Pat Turner Judi Winterson & David Hoyle
CRESCENDO Mr Jon & Dr Carol Ashley Mr Edward Astle Mr John Biggins Audrey & Richard Binch David & Maggie Blackburn Mrs Vivienne Blackburn Clair Boyes Dr Christopher Brookes Dr & Mrs Michael & Diana Cavanagh Lawrence David Cody & in memory of Mr & Mrs L. J. Cody Mr Julian Craddock Philip Crookall Mr A Fowell Mr & Mrs J. Fox Mr Richard Garnett Chris & Karen Halicki Miss Lynne Hamilton Dr Andrew Hardman Mrs C. A. Harmer Ms Val Hawkin David Haworth Mr John Hopwood & Dr Julia Morrison Chris Hughes, to mark 43 years with the Hallé Choir Mr Kenneth Kay Mr Michael Leach Mr Colin Lomax Sir Charles Nightingale Mrs Kathy Noble Mr John D Owens Mr D Pritchard
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Mr Martin Rayner AC & CJ Riddington T. G. Roberts Mrs Jackie Roberts Mr & Mrs R. J. W. Rogers Judith & Patrick Rutter Sheila Rydz & in memory of Simeon Rydz John & Susan Schultz Mr P D Senn Mr David Shipley Martin & Sandra Stone Mrs E. G. Tonge Mr John Turner Lynne & Derek Waterfield Professor & Mrs Philip Wiles Craig & Margaret Wright David & Veronica Yates In memory of Brenda Owens For Music INTERMEZZO Dr D Yvonne Aplin Michael & Patricia Ash Joan Ball Tony Bates Professor Tony Berry Mr K A Bevan Mrs Margaret Bradshaw Monica & Mick Clark Mr J Cooney Pamela Craig Sarah Crouch Peter J Dawson Mr Anthony Doust
Mr Micheal Dowling Dr George A Eccleston Rev’d & Mrs J F Ellis Charlie Fleischmann Ann Flowerday Jeremy & Gillian French Mr & Mrs R Green Mr John Hannah Mrs Bessie Harper Callum Harvey Mr & Mrs D Hawkes Peter & Audrey Hewer Mr Simon Hutchence Dr K Jeffery Mrs Wendy Jeffs Professor Nicholas & Dr Mary Jones Mr J G Knox Mr & Mrs B H Lawrence Mr & Mrs R W Lee Mel Littler Mr Alan Lowe Mr T Marsden John & Mary McPeake Stephen & Jacqueline Miley Mrs Alison Milford Gordon Minton Miss Maire Morton Malcolm & Morag Ranson Mr Michael Redhead Canon C Roberts Joan & Graham Rogers Dr T & P E Schur Phil Thornley Mrs M Warrener Mr J C White Professor Richard Whitley Mr John Wildman
Joan Wood In memory of Albert Mesrie In memory of Arthur Newton, from his family and friends SCHERZO Gill & Barrie Adams Mr Peter Adamson Mr Timothy R Ades Dr Katherine M Adler Mrs J Ainsworth Mr Roger Ainsworth Vin Allerton Dr P J Alvey Dr Peter Barberis Mr Michael Barley Mrs J E Baxendale Mr Steve Best Mr D J Bird Mr Stuart Bishop Dr Howard Booth Ms Annie Bracken Mr David Bradley Arnold & Brenda Bradshaw Philip Broughton Mr Dean Brown Karen Brown Miss S R Brown Mr Andrew Bryan Peter Burgess Barbara & 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 Hilary & Adrian Curtis TD Mrs J D Darwent Dr D Dawson Dr Jeffery J Dean & Dr Penelope M Gouk Mr & Mrs B A DeSousa Mrs Marie Dixon Ann & Donald Docker Mr Paul Durham 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 & Mrs S R Lancelyn Green Mrs Caroline Greenwood Mr John D Gregory Dr R Gregory Mr J B Haddow Dr I M Hall Paul & Amanda Hamblyn Mr C W Hampson Mrs Thora Harnden Brian & Bridget Harris Mr Simon Harrison Mrs J M Hartley Mr N V Haynes Mrs Dorothy Heaton Mr Cliff Heckle Donald & Carolyn Henderson Mrs G Hewitt Miss Pauline Hickey Mr & Mrs J M Hill Peter & Charlotte Hill Mrs J M Hindshaw J. E. Hoffmann & B. J. Harrocks Mrs Dorothy Holt Mrs Janet Holwill Dr W Hoyle Mr H Hughes & Mrs F Hughes David Humphries Mrs Glynys Hunter Dr Steven Hurst Joyce Hytner Mr Howard Johnson Mrs Jean Johnson David & Fae Jones Christine & Michael Jones Mr Trefor Jones Miss Brunhilde Kay Lynne & Martin Kemp Ian Leonard Jennifer & Paul Lingwood Mr Harry Lipson Mrs Dorothea Livesey Virginia & Peter Lloyd Mrs A Losse Mr Kevin Lyons
Mr F P S & Mrs D A B Marriott Dr & Mrs P J Marriott Mr P Marsh & 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 Mr Peter Moorhouse Ms Kathleen Morris Miss Jean Motler Mr P K Murphy Mr David Odling Professor Damian O’Doherty William & Janet Ollier Mr John Peaker Dr John Pearson Reverend David Peters David & 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 & Jenny Reynolds Mr Paul Reynolds David & Elly Roberts Mrs A Rose Mrs Susan Rowlands Professor Michael G Rusbridge Martin & Gail Sanderson John & Jackie Say Mrs Jan Schofield Mr James A Scott Mr Simon Shelbourn Mr C & Mrs T Shepherd Mr Michael Shiels John Shuttleworth Charles & Helen Smith Mr & Mrs C Smith Mr Roger Smith Mr Alan Spier Mr & Mrs R T Stafford Mr Frank Stoner & Mrs Margaret DudleyStoner 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 & the late Mrs Diana van der Feltz Derek Vernon Jeffrey & Judith Wainwright Mr Brian Walker Mr R B Walsh F T Walters Mrs Anne Ward Mr George Watson Mr & Mrs J M Watson John & Christine Weller Mrs Lynn Wharton Mr Peter R White J Christopher Whitehead Mr A Whittaker Gladys Williams & in memory of Dennis Dodge Mr Thomas Williams Mr C F Winter Barry Wood Hilary & the late Noel Woodhead Mrs Ann Woolliscroft Dr J M Worth D & M Wright Dr David Yorke A music lover In memory of my parents In memory of Mr Barry J Ball 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
≥ DIGITAL SEASON 2022 | 23
Principal Sponsor
Diamond Partner
Major Sponsors
With thanks to Manchester Airports Group for 30 years of support.
NEW YORK
NORTHERN QUARTER PICCADILLY ST PETER’S SQUARE
24 | ≥ DIGITAL SEASON 2022
MANY THANKS TO ... HOLDERS OF THE HALLE SILVER MEDAL FOR PHILANTHROPY John & Margaret Allen 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
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 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.
MANY THANKS TO OUR FAMILY OF WORKPLACE CHOIRS BAE Systems • BASF plc • Carol Kendrick Centre Greater Manchester Chamber of Commerce • Bolton NHS Foundation Trust • The Oasis Centre • Sellafield Ltd • Siemens plc • Veterinary Defence Society Ltd ≥ DIGITAL SEASON 2022 | 25
The Hallé would like to offer special thanks to the Weston Culture Fund and the Wolfson Foundation’s Covid-19 Support Fund, without which the delivery of this season would not have been possible.
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 29th May 1961 Charity 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 John Thaw Foundation The Irving Memorial Trust Land and Co Foundation The Leche Trust McLay Dementia Trust Peter Cunningham Memorial Fund Cecil Pilkington Charitable Trust Pilkington General Charity The Rix-Thompson-Rothenberg Foundation The R K Charitable Trust RUSI (The Royal United Services Institute) Sir George Martin Trust Sale Mayoral Fund The Sobell Foundation Thriplow Charitable Trust and others who wish to remain anonymous
26 | ≥ DIGITAL SEASON 2022
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
HALLÉ BUSINESS CLUB PLATINUM Brother Greater Manchester Chamber of Commerce PZ Cussons plc Rothschild & Co GOLD 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
≥ 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
Councillor Azra Ali CHIEF EXECUTIVE David Butcher FINANCE DIRECTOR Ruth Harkin ORCHESTRAL NOMINEE Caroline Abbott MUSIC DIRECTOR Sir Mark Elder ch cbe PERMANENT GUEST LEADER Paul Barritt ASSOCIATE CONDUCTOR, POPS Stephen Bell ASSISTANT CONDUCTOR Delyana Lazarova
CHIEF EXECUTIVE’S OFFICE David Butcher * Alison Lever FINANCE Ruth Harkin * Matthew Wyatt Lourdes Román Michael Wright VENUES Martin Glynn * Tyrone Holt Edward Cittanova Matthew Ibbs Karon Knapman ARTISTIC PLANNING Anna Hirst * Louise Hamilton Andrea Stafford Sue Voysey † CONCERTS DEPARTMENT Stuart Kempster * † Hayley Parkes Hannah McGuire ORCHESTRA MANAGEMENT Chris Lewis Jenny Espin LIBRARY Louise Brimicombe Alice McIlwraith STAGE MANAGEMENT Dan Gobey Lawrie Bebb
HALLÉ CONNECT EDUCATION Steve Pickett * Joanna Brockbank Holly Randhawa Patrick Shepherd HALLÉ CONNECT ENSEMBLES Naomi Benn * † Isabelle Orford Alison Megicks Edgar Divver Anna Stutfield SPONSORSHIP AND FUNDRAISING Kath Russell * Eleanor Roberts † Charlie Widdicombe Lucy Miller Max Thomas COMMUNICATIONS Andy Ryans * † Peter Naish † Liz Barras Harriet Hall † Anna Shinkfield DIGITAL Bill Lam * Riley Bramley-Dymond Alex Burns Tom Stephens ARCHIVE Eleanor Roberts † Stuart Robinson † † *
20 years service HEAD OF DEPARTMENT
GENERAL ENQUIRIES info@halle.co.uk www.halle.co.uk
CHORAL DIRECTOR Matthew Hamilton YOUTH CHOIRS DIRECTOR Stuart Overington CHILDREN’S CHOIR DIRECTOR Shirley Court COMPOSER EMERITUS Colin Matthews
The Hallé Concerts Society is a Registered Charity No.223882
ARTIST IN ASSOCIATION Ryan Wigglesworth
≥ DIGITAL SEASON 2022 | 27