Conductor: Eivind Gullberg Jensen
Attending the symphony can be an intimidating and mysterious occasion, shrouded in ritual and expectations
of grandeur. The City of Birmingham Symphony Orchestra has a well-earned reputation for presenting high-calibre music right in the centre of Birmingham. They consistently invite world-renowned guests to perform on their picturesque stage, and their musicians are counted among some of the best in the world.
For an organisation that evokes this elegance, the CBSO presents a wide variety of programming to appeal to many different kinds of audiences. Abbey Road Concerto, conducted by Eivind Gullberg Jensen, is no different.
The focus of this concert is a 35-minute piece by composer and violinist Guy Braunstein, inspired by the timeless music of The Beatles. Braunstein himself plays the solo violin, bringing yet another international name to the CBSO stage. Accompanying Braunstein’s composition are five additional selections from across the symphonic world, brought together under Jensen’s expert conductorship.
For this concert, the entire orchestra is positioned on the floor so that only those seated higher up in the auditorium are able to see all the musicians. Also of note is that the audience is seated in all seating areas, including the choir stalls directly above the stage, which gives this concert a more communal feel – an audience member can see someone else’s reaction and share their own with a stranger across the hall.
To begin, there is a light and hopeful piece from 2017 by Dani Howard, Argentum, which moves from flowing melody to a boisterous ending. Then, a short and melancholic piece by Elgar, Elegy, Op.58. This sombre tune almost twists into sadness but ends with a sweet resolution that allows for an easy transition to the Violin Concerto (Abbey Road). This is The Beatles like you’ve never heard them before. Braunstein’s solo is wildly difficult, showing off the fluidity of his skill and his undeniable passion. The undisputably recognisable tunes find an engaging new home within these orchestrations, and although Braunstein’s solo is impressive, it moves so quickly and with such force that the moments of rest and simplicity created by the rest of the orchestra stand out as a beautiful respite from the speed and technicality of Braunstein’s playing.
After the interval, Braunstein returns for Vaughan Williams’ The Lark Ascending, now much more in sync with the rest of the orchestra. This piece is soothing, dreamy, and finishes with the lightest, softest singular note that could be played by an entire orchestra. The audience is left in a state of total focus as the full CBSO team re-take the stage for the last two pieces. Anna Meredith’s Nautilus follows, bringing electronic music to the symphony for an epic five minutes – this piece is why the CBSO is so delightfully unique. With counter-rhythms and powerful layering of melodies, Nautilus is orchestral music like no other. Abbey Road Concerto culminates with Benjamin Britten’s Four Sea Interludes from his opera Peter Grimes. Featuring Katherine Thomas on the harp, this four-part piece showcases the full strength of our Birmingham ensemble. With brilliant storytelling and unbelievably atmospheric sound, Four Sea Interludes concludes the concert with the bold crash-booms of a gigantic storm.
Abbey Road Concerto cuts right across the musical possibilities of a symphony orchestra. It’s an exciting and intriguing selection of music, showcasing the incredible skill of both the international visitors and our very own Birmingham team. We are lucky to have the CBSO in Birmingham, and Abbey Road Concerto is evidence of why.
Reviewed on 26 March 2025
The Reviews Hub Score
Brilliantly booming, Beatles
