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MUSIC DIRECTOR SIR MARK ELDER CH CBE
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WELCOME Welcome to our third and final concert of our 2022 digital spring season. The Hallé’s positive reaction to the darkest days of the 2020 lockdown, when concert halls were closed to audiences, culminated in a number of films being produced that brought classical music to our many audiences. Critically acclaimed and watched by tens of thousands of you, not just in Manchester but across the world, this became our first ever digital concert season. Building on this success, we are thrilled that we have been able to extend this offer in our 2022 digital spring season with three films, that 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 their own homes or even whilst out and about on tablets and smartphones. Following her last invigorating appearance with the Hallé in Manchester, Tabita Berglund introduces us to a haunting miniature, This Too, by her Norwegian compatriot, composer, saxophonist and jazz improviser, Mette Henriette. The young Swedish cellist, Jakob Koranyi, made his Hallé debut with Dvořák’s heartfelt Cello Concerto and the concert is drawn to a close with Bartók’s virtuosic showpiece, his Concerto for Orchestra. This digital season has 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 13 APRIL 2022 FILMED IN THE BRIDGEWATER HALL, MANCHESTER
DVOŘÁK’S CELLO CONCERTO Dvořák Cello Concerto Mette Henriette This Too uk premiere Bartók Concerto for Orchestra Tabita Berglund conductor Jakob Koranyi 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 be possible.
ANTONIN DVOŘÁK (1841–1904)
CELLO CONCERTO IN B MINOR OP.104 (1894–5) 1 Allegro 2 Adagio ma non troppo 3 Finale: Allegro moderato
When Dvořák travelled to New York in 1892 to become Director of the city’s new National Conservatory of Music, his remit went beyond mere teaching and compositional duties. Along with his Czech compatriot Smetana, Dvořák had been a seminal figure in forging a national musical style, and in New York he was charged with the responsibility of encouraging young American composers to do the same, albeit in their own native idiom. He certainly led the way in this enterprise, as the famous ‘New World’ Symphony and the ‘American’ String Quartet show so memorably. At the same time, to varying degrees, all the major works from Dvořák’s American period retain a sense of Czechness, and the Cello Concerto – the last work he composed on American soil – does so more than any. That Dvořák seemed to be yearning for his homeland in this work also had a tragic aspect. During its composition the composer heard that his sister-in-law and former beloved, Josefína Kounicová, was seriously ill and, as a result, he worked into the slow movement a reference to a favourite song of hers, his own ‘Lasst mich allein’ (‘Leave me alone’) from his Op.82 set of 1888. Josefína died soon afterwards and, on his return to Bohemia, the heartbroken Dvořák extended the coda of the concerto’s last movement with a further reference to the song as a musical tribute to her, completing the revision in June 1895. That Dvořák wrote a cello concerto at all surprised everyone, not least himself. He had in fact already partially composed such a work as far back as 1865, but the experience seems only to have confirmed his view that the cello was not a suitable solo instrument: ‘The middle range is fine,’ he once opined, ‘but at the top it snarls and at the bottom it growls.’ Nevertheless, in December 1894 he wrote to a close friend, informing him that ‘I have actually finished the first movement of a concerto for violoncello!! I too am amazed and surprised that I was so determined on such work.’ The impetus for this unlikely composition came from two sources: a cello concerto written by an academic colleague in New York, Victor Herbert, which Dvořák had greatly admired when he heard it premiered in the same concert as an 1894 performance of his ‘New World’ Symphony; and the badgering of Hanuš Wihan, the cellist and founder of the world-famous Bohemian Quartet. According to Dvořák, Wihan not only ‘kept buzzing it into me and reminding me of it till it was done’, he also called for a number of technical alterations and the insertion of his own extended cadenza into the last movement. Nevertheless, although he took technical advice from 4 | ≥ DIGITAL SEASON 2022
Wihan, so confident had Dvořák by then become in writing for the instrument that he largely resisted the cellist’s demands. In the event, it was the relatively unknown young English cellist Leo Stern (a pupil of Piatti) who first performed the work, in London, on 19 March 1896. Ever since, generations of listeners and composers have been grateful to Dvořák for overcoming his cello qualms. When his friend and mentor Brahms first heard the work, he exclaimed: ‘Had I known that such a cello concerto could be written, I would have tried to compose one myself long ago!’ Sadly, it was indeed too late for Brahms, but Dvořák’s work became a benchmark for many subsequent cello concertos and its ingenious orchestration in particular influenced examples as diverse as those of Elgar, Martinů and Shostakovich.
A clarinet introduces the opening movement’s arresting first subject, the tension increases and there is a striking restatement of the theme (marked ‘Grandioso’ in the score) by the whole orchestra. The mood gradually relaxes and, imperceptibly at first, a French horn emerges from the orchestral texture with the wonderfully noble second subject – a melody regarded by the musicologist Donald Tovey as one of the most beautiful themes ever given to that instrument. A third, dancing motif then briefly appears but it soon subsides in readiness for the cello, which, in the style of an improvisation, announces its entrance with a dramatic declamation of the first subject. The tempo quickens and, as the cello embellishes the theme, it enters into delicate interplay with the orchestra and particularly with the woodwinds – an enchanting feature of the concerto as a whole. Eventually calm prevails and the cello sings out the glorious second subject (equally, one of the most beautiful melodies ever given to that instrument). There is a meditative and relatively short development section (in which Dvořák elaborates the movement’s two principal themes to haunting effect) but this comes to a close with an upward slide on the cello and a triumphant statement of the second theme, now in a more optimistic major key and complete with drum and trumpet flourishes. The cello answers in kind, albeit more rhapsodically. Finally, after a series of impressive virtuoso gestures from the cello, the first movement marches majestically to its close. ≥ DIGITAL SEASON 2022 | 5
Dvořák by Jan Nepomuk Langhans, public domain via Wikimedia Commons
THE MUSIC
Against a gentle background of oboes and bassoons a solo clarinet pours out an exquisitely simple melody. The cello repeats the theme before the clarinets take it back and extend it, the soloist responding first with gentle rising patterns and then with passionate expression. A forceful orchestral declamation ensues before the appearance of Dvořák’s ‘Josefína theme’: the ‘Lasst mich allein’ reference that we hear twice in varying guises separated by the loud declamation. The movement’s opening music returns in gloriously hymn-like form, now played by three radiant French horns over a measured ‘drum-beat’ accompaniment in the strings (as if its funereal associations foretold Josefína’s fate). The cello further develops the opening theme in the form of a ‘quasi cadenza’ in which it is joined by ecstatic, bird-like flutes and bassoons. Thereafter the mood is one of utter repose. At the beginning of the Finale, over a steady pulse in the lower strings, the horns introduce a march-like theme that, when taken up by the solo cello, becomes something altogether more rustic and dance-like. In between repetitions of the theme comes a succession of charming episodes that, whether ebullient or reflective, all retain a distinctly Czech flavour. With its nostalgic references to both ‘Josefína’s theme’ and the first movement’s opening subject, the revised coda section, which ends the work, is best described by Dvořák himself: ‘The Finale closes with a gradual diminuendo, like a breath – with reminiscences of the first and second movements, the solo dying down to pp [very quiet]. Then the sound begins to grow, and the last bars are taken over by the orchestra, which provides a tempestuous ending.’ Programme note © Anthony Bateman, 2016 Dr Anthony Bateman is a former Hallé viola player who has written on music for ‘The Guardian’ and other publications. Wearing his other cap, he is also co-editor of ‘The Cambridge Companion to Cricket’.
PASSING NOTE Now best remembered as the composer of several successful Broadway operettas, including Babes in Toyland (1903) and Naughty Marietta (1910), the Irish-born, German-bred, Americannaturalised all-rounder Victor Herbert (1859–1924) had begun his musical career as a cellist in Vienna in the early 1880s, before moving to the USA in 1886 with his opera singer wife Therese Förster and joining the orchestra of the Metropolitan Opera. Later on, he also joined the teaching staff of the National Conservatory of Music, where Dvořák was to arrive for a three-year stint as Director in 1892. Herbert completed his Cello Concerto No.2 in E minor, Op.30, in 1894 and premiered it himself in a series of concerts, at least two of which Dvořák attended. In a curious harmonic sequence, Herbert, who had been the principal cellist in the 1893 Carnegie Hall premiere of Dvořák’s ‘New World’ Symphony, composed his Cello Concerto No.2 in the same key of E minor, while the fact that the middle movement of Herbert’s concerto was in B minor may well have inspired Dvořák to choose that key for his own Cello Concerto, begun later the same year.
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METTE HENRIETTE (BORN 1990)
THIS TOO (2020) UK PREMIERE This Too was written for the Oslo Philharmonic and its conductor Klaus Mäkelä to perform at the opening concert of the orchestra’s 2020/21 season. ‘It was an indescribable experience to hear these fantastic musicians breathe life into a score that I had spent so much time with that summer,’ commented the Norwegian saxophonist, bandleader and composer Martedatter Rølvåg, alias Mette Henriette. ‘The fact that the musicians are so actively listening and present in the music means that new nuances arise every time. And I want every performance to feel alive for the performers as well.’
The fact that her piece was destined to be premiered at the Oslo Philharmonic’s new concert hall at Filipstad, on the city’s western waterfront, chimed in with her existing interests in the sea and architecture: one of her other recent projects has been an audio installation for a research ship. Writing during the height of the global pandemic also added an extra dimension: ‘Along the way, I reflected on how I could write for orchestra in a way that feels real and sincere in such a special time. It was a process where I had to go inside myself, at the same time as Klaus and the musicians were in my consciousness all the way. It’s like I was sitting on every seat and breathing every sound.’ www.mettehenriette.com • mettehenriette.lnk.to/Listen Programme note adapted with thanks from material on the Oslo Philharmonic website.
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Mette Henriette © Anton Corbijn
Born in Trondheim of Sea Sámi descent, Mette Henriette made an international breakthrough as a jazz artist with her debut double album on ECM Records in 2015. After writing music for her own ensembles for many years, This Too was her first work for symphony orchestra. ‘Writing for orchestra feels like a natural extension of my craft. In a way, the timbres are the same as in my own ensemble: wood, leather, metal and strings. I’m really inspired to keep exploring this palette!’
BÉLA BARTÓK (1881–1945)
CONCERTO FOR ORCHESTRA (1943) 1 Introduzione: Andante non troppo – Allegro vivace 2 Giuoco delle coppie: Allegretto scherzando 3 Elegia: Andante non troppo 4 Intermezzo interrotto: Allegretto 5 Finale: Pesante – Presto – Un poco meno mosso – Presto
Saranac Lake, photo by Noah Silliman on Unsplash
In the spring of 1943 Bartók was in hospital in New York, seriously ill and seriously impoverished. He had written nothing new since he had arrived in the United States, more or less as a refugee, in 1940 and he was convinced he never would: ‘Under no circumstances will I ever write any new work,’ he had told his wife. Then the conductor Serge Koussevitzky came to see him with a commission for a new score for the Boston Symphony Orchestra and a cheque for $500 from the Koussevitzky Foundation as a first half-payment. Within a few months Bartók was out of hospital, convalescing at Saranac Lake and writing his Concerto for Orchestra.
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THE MUSIC The programme note Bartók wrote for the first performance of the Concerto for Orchestra in Boston on 1 December 1944 is a touching indication of how closely the gradual improvement in his health was linked with the progress of the composition: ‘The general mood of the work represents – apart from the jesting second movement – a gradual transition from the sternness of the first movement and the lugubrious death song of the third, to the life-assertion of the last one.’ The second movement stands apart from that emotional progression only because of Bartók’s natural inclination to construct in ‘arch’ form – in this case, a central slow movement with a scherzo on each side of it and matching quick movements at the beginning and the end. Bartók also described the work as symphony-like with two movements, the first and the fifth, ‘written in a more or less regular sonata form’. Before the main Allegro vivace section of the first movement, however, there is an Andante introduction that is not only highly atmospheric but also structurally crucial to the whole work, above all in its presentation of the rising and falling fourths and seconds in the cellos and basses and the four-note motif with the semitone inflection first heard on a solo flute and later on trumpets. It is from the first of those motifs that, after an accelerando, the opening theme of the Allegro vivace emerges on violins in F minor. This, with a vigorous variant for trombone, is Bartók’s equivalent of a first subject. The second subject, based on the four-note motif from the Introduzione, is a tranquil oboe melody in B minor. The main themes pass through various developments, including a tranquillo version of the first theme on clarinets and a splendid brass fugato on the trombone variant. But, because of the composer’s natural tendency towards arch form rather than regular sonata form, the second subject is recapitulated before the first, with the result that the beginning of the movement is reflected in the end. Bartók explained the title Concerto for Orchestra by referring to its ‘tendency to treat the single orchestral instruments in a concertante or soloist manner … especially in the second movement, in which the pairs of instruments appear consecutively with brilliant passages’. So in this Giuoco delle coppie (Game of Couples) the bassoons appear first in sixths, then the oboes in thirds, the clarinets in sevenths, the flutes in fifths and the muted trumpets in satirical sevenths, each pair of instruments with its own tune. There is a brief middle section, in the form of a chorale for two different brass quintets, followed by a very much elaborated version of the first section. The Elegia begins with the theme that opened the work. Pools of tears (or so it seems by analogy with a similar passage in Bartók’s opera Duke Bluebeard’s Castle) are reflected in harp glissandos and woodwind arpeggios. High above them is a plangent oboe melody later elaborated by the piccolo. The second main theme, passionately uttered by violins and clarinets with fierce trumpet interjections, is obviously derived from the four-note motif of the Introduzione. As in the first movement, the material is developed and the form is arched by recapitulating the second theme first. But the end of the movement is by no means as desolate as the beginning.
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It is an indication of how cheerful Bartók must have been feeling by the time he got to the Intermezzo interrotto (Interrupted Intermezzo) that he was able to risk a satirical stab at Shostakovich, who, as he knew, was Koussevitzky’s idol among contemporary composers. The first part of the Intermezzo is a kind of serenade to Hungary, based on two main themes: one a charming, rhythmically intriguing folk dance introduced by oboe; the other a rhapsodic melody on violas that is actually derived from an operetta melody, ‘Hungary, you are beautiful and splendid’, by Zsigmond Vincze (1874–1935). It is rudely ‘interrupted’, however, by a parodied version of a significant theme from Shostakovich’s recently premiered and much-publicised ‘Leningrad’ Symphony, which is duly greeted with derision from the brass and peals of laughter from the woodwind. (Incidentally, any intended resemblance between this theme and a popular number from Lehár’s The Merry Widow was firmly denied by the composer, according to his pupil and friend, the conductor Antal Doráti.) The serenade is resumed and the Intermezzo ends with a flute cadenza as sensitive as the interruption was rowdy. The pesante (heavy) horn call at the beginning of the Finale is immediately brushed aside by the presto (quick) activity of the strings, but not forgotten. When the moto perpetuo energy can be sustained no longer, the horn theme returns, first on second bassoon, then in a fugato, and then in a romantic transformation on the flute. Later, when the presto activity begins again, an inverted variant is superimposed by a trumpet over the restless semiquavers in the strings. In this more racy form it becomes the subject of a marvellously inventive, contrapuntal central episode and – after an even quicker presto, beginning with whispers on the bridge of the string instruments and gradually reaching a fortissimo climax – it makes a final and expansively triumphant appearance in the coda. Programme note © Gerald Larner, 2014 Gerald Larner (1936–2018) was for many years a music critic on ‘The Guardian’ and then ‘The Times’. A specialist in French music – he was appointed an Officier dans l’Ordre des Arts et des Lettres by the French government – he also wrote extensively on most other areas of the repertoire.
PASSING NOTE ‘A creator’s life being in a sense secondary to his creation, Bartók’s genius was permitted to devour him, leaving him exposed. Words were no longer necessary, even life was hardly necessary alongside the expression his music gave to life, to his own life and his convictions. Thus, exile made of him unaccommodated man, solitary, intense, requiring for material support only a bed, a table to write at and – but this might be considered a luxury – absolute quiet in which his inner concentration might bear fruit. These wants provided, he poured out the riches of his spirit, needing apparently neither critical acclaim nor the affection of the public.’ Yehudi Menuhin, remembering Bartók in his final years, in his own autobiography Unfinished Journey (1978)
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film production by
Maestro Broadcasting audio producer and engineer
Stephen Portnoi assistant engineer
Tony Wass
onebox unit manager
hallé digital manager
camera operators
Richard Stevenson
Bill Lam
onebox crew
hallé vt producer and editor
John Shuker Jamie Barron John Blake
Riley Bramley-Dymond
Andy Parr Simon Harmsworth Chris Flint Andy Hetherington Peter Rimmer
hallé digital assistant
Tom Stephens lighting designer
Colin Wood
hallé gfx designer
Peter Naish
editor
Andy Barker script supervisor
Alice Marner producer
Gemma Dixon director
Dominic Best Concerto for Orchestra appears courtesy of Boosey & Hawkes Music Publishers Limited
© Nikolaj Lund
TABITA BERGLUND CONDUCTOR
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Recently appointed Principal Guest Conductor of the Kristiansand Symphony Orchestra in her native Norway, and rapidly establishing herself as one of today’s most exciting young conductors, Tabita Berglund graduated in 2019 from the Orchestral Conducting Masters course at the Norwegian Academy of Music, having previously participated in masterclasses with Bernard Haitink, Jorma Panula and Jaap van Zweden, as well as a BBC Philharmonic workshop in 2018. Originally trained as a cellist, she studied to Master’s degree level under Truls Mørk and performed regularly with the Oslo and Bergen Philharmonic orchestras, as well as the Trondheim Soloists, before making conducting her main focus in 2015. The star of the ‘Talent Norway’ programme in 2018–20, she won the Gstaad Conducting Academy’s Neeme Järvi Prize in 2018. Recent engagements include Nordic debuts with the Arctic, Bergen, Oslo and Royal Stockholm Philharmonic orchestras, Finnish Radio, Stavanger and Trondheim Symphony orchestras and Norwegian National Opera Orchestra, as well as first appearances with the Royal Scottish National Orchestra, Orquesta Ciudad de Granada and Orquestra Simfònica de Barcelona i Nacional de Catalunya, among others. She made her debuts with the Hallé and Norwegian Radio Orchestra in 2019, returning to both of them in the 2020/21 season. This season sees her first concerts as Principal Guest Conductor of the Kristiansand Symphony Orchestra, including a programme featuring Vaughan Williams’s Tallis Fantasia, Elgar’s Enigma Variations and Britten’s Piano Concerto (with Leif Ove Andsnes). She returns to the Finnish Radio SO, RSNO and Orquestra Simfònica de Barcelona, and makes her French debut with the Orchestre National de Lille and her Austrian debut with the Tonkünstler Orchestra. Other first-time appearances include the Tampere Philharmonic, Tapiola Sinfonietta and Helsingborg Symphony orchestras, as well as the Lucerne Symphony Orchestra, Tenerife Symphony Orchestra and Borusan Istanbul Philharmonic Orchestra. This summer she also conducts the Norwegian National Youth Orchestra. The ever-changing world of nature that surrounds her hometown in the Norwegian mountains is an inspiring influence on Tabita Berglund and this, together with other artistic and musical issues, plays an important role in her programming. The inherent connection between the art of leadership and the role of a conductor is also something to which she attaches particular importance: ‘The goal is to become a conductor whom I would have wanted to play under myself.’
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JAKOB KORANYI CELLO
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Swedish cellist Jakob Koranyi took up the cello at an early age, studying with, amongst others, Torleif Thedéen, Ralph Kirshbaum and Frans Helmerson. Having received many awards and prizes – including Swedish Young Musician in 2002, the Swedish Soloist Prize and the Verbier Festival’s Prix d’Honneur in 2006, and a special prize for best interpretation (of Shostakovich’s Concerto No.1) at the Rostropovich Competition in Paris in 2009 – he has toured the world extensively, performing both in recital and as a soloist in major cities including Vienna, Cologne, New York, Paris, Brussels, Amsterdam, Barcelona, Stockholm and Hong Kong. However, owing to the acute state of the climate crisis, he made the decision in 2019 not to accept assignments that require him to travel by air until an environmentally compatible way of doing so is found. He has an extensive repertoire and, in addition to all the standard cello works, he has also given premieres of Julia Wolfe’s Concerto at the Amsterdam Cello Biennale, Rolf Martinsson’s Forlorn with the Netherlands Chamber Orchestra, Anders Hillborg’s Duo for cello and piano and Andrea Tarrodi’s Highland Concerto (which is dedicated to him). Recent highlights include Bach’s Cello Suites Nos.1 and 6 in Helsingborg, as well as return visits to a number of festivals including Festivalta in Norway, the Piano Biënnale in the Netherlands, the Delft Chamber Music Festival and the Rovigo Cello City Festival. He also took part virtually in the Cellissimo Festival, which moved online last year due to the pandemic, presenting Bach’s Cello Suite No.1 and a selection of Swedish folk songs, specially recorded in a church outside Stockholm. Highlights in 2022 include a tour of Belgium featuring Haydn’s C major Cello Concerto with the Flanders Symphony Orchestra, Prokofiev’s Sinfonia concertante with the Kristiansand Symphony Orchestra, Julia Wolfe’s Concerto with the RTÉ Symphony Orchestra in Galway and Tarrodi’s Highland Concerto with the Helsingborg Symphony Orchestra. As a chamber musician, he can also be heard at the Stavanger and Valdres chamber music festivals, the Järna Festival Academy and the Festival Resonances in Belgium, as well as at the Amsterdam Concertgebouw playing the Schubert piano trios with Elisabeth Leonskaja and Liza Ferschtman.
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≥ MUSIC DIRECTOR SIR MARK ELDER FIRST VIOLINS Hannah Perowne Zoe Colman Peter Liang Steven Proctor Helen Bridges † Nicola Clark † Victor Hayes † John Gralak † Katie Jackson Luke Coomber Anna O’Brien Belinda Hammond Susan Voss Christina Knox SECOND VIOLINS Philippa Heys Ruth Heney Grania Royce † Christine Davey † Elizabeth Bosworth † John Purton Eva Petrarca Diego Gabete Helen Evans Sian Goodwin Emma Rushworth Rebecca Howell Anna Tuchinskaya
VIOLAS Timothy Pooley † SECTION LEADER
Martin Schäfer Piero Gasparini † Gemma Dunne † Chris Emerson † Sue Baker Cameron Campbell Alice Billen Ali Vennart Sasha Buettner Ben Newton CELLOS Nicholas Trygstad SECTION LEADER
Dale Culliford † Paul Grennan Jonathan Pether Louis Baily * Esther Harriott Lucy Arc James Heathcote Gunda Baranauskaite Will Hewer DOUBLE BASSES Billy Cole SECTION LEADER
Daniel Storer Yi Xin Han † Beatrice Schirmer † Rachel Meerloo Natasha Armstrong Sian Rowley James Goode
The list of players is correct at the time of going to publication. † 20 years service * Hallé/RNCM String Leadership Training Scheme 16 | ≥ DIGITAL SEASON 2022
FLUTES Amy Yule SECTION LEADER
Sarah Bennett PICCOLO Joanne Boddington OBOES Thomas Davey † Josh Hall COR ANGLAIS Mana Shibata CLARINETS Sergio Castelló López SECTION LEADER
Rosa CamposFernandez BASS CLARINET Matt Dunn
HORNS Laurence Rogers † SECTION LEADER
Matthew Head Julian Plummer † Richard Bourn † Andrew Maher TRUMPETS Gareth Small † SECTION LEADER
Kenneth Brown † Tom Osborne TENOR TROMBONES Katy Jones SECTION LEADER
Rosalyn Davies † BASS TROMBONE Mark Frost TUBA Conall Gormley
BASSOONS Arvid Larsson Dimon Durnford
TIMPANI John Abendstern
CONTRABASSOON Simon Davies
PERCUSSION David Hext † SECTION LEADER
Riccardo Lorenzo Parmigiani † Erika Öhman Emma Crossley HARP Marie Leenhardt † Eira Lynn Jones PIANO Pete Durrant
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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≥ ST PETER’S ANCOATS, MANCHESTER
Situated at the heart of the resurgent area of Ancoats, Hallé St Peter’s, including the RIBA award-winning Oglesby Centre, provides a home for the Hallé’s rehearsals and recordings, its choirs and Youth Orchestra, as well as a space for education workshops and our new chamber music series. Café Cotton at Hallé St Peter's, an 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 the 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 events, meetings and more. Hallé at St Michael’s, our nearby sister venue, also provides a stylish space for events. E-mail us at venues@halle.co.uk
≥ ST PETER’S CHAMBER MUSIC SERIES
Featuring artists from our Bridgewater Hall season, we have programmed a Chamber Music series in the more intimate surrounds of Hallé St Peter’s, allowing you to get closer to the music. Full details of our Chamber Series can be found at halle.co.uk/chamber-music. 18 | ≥ SPRING SEASON 2022
A LEGACY FOR THE FUTURE Have you ever wondered how you can make a lasting impact on the future of the Hallé?
Without gifts in wills, the Hallé would not be the organisation that it is today: they are simply that important. Whilst gifts vary each year they can be 20% of our fundraising. In the last few years gifts in wills have been used by the Hallé to: • Secure the long-term future of our rehearsal venue, Hallé St Peter’s and the Oglesby Centre; • Subsidise the cost of tickets for school children to come to our flagship Hallé for Youth Concerts in Manchester, Sheffield, Nottingham and elsewhere; • Support over 500 participants a year through musical and vocal training in our family of ensembles. Any gift to the Hallé, no matter how large or small, makes a lasting difference. Whatever gift you leave, we promise to use it wisely and effectively. Your gift can be directed to any area of the Hallé’s work. An unspecified gift enables us to put funds to where they are most needed.
To find out more visit www.halle.co.uk/support-us
≥ 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
≥ DIGITAL SEASON 2022 | 21
≥ 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
22 | ≥ DIGITAL SEASON 2022
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