- Ola Gjeilo Northern Lights , 5′
- Respighi Church Windows (Mvts 2 & 4), 15′
- Dukas La Peri: Fanfare, 3′
- Missy Mazzoli Dark with Excessive Bright, 13′
- Philip Glass Madrush, 6′
- Gabriel Prokofiev Concerto for Turntables, 23′
12 MARCH 2022, 7PM | SYMPHONY HALL, BIRMINGHAM
9 YOUTH AMBASSADORS
3 ROOMS . 1 CONCERT EXPERIENCE
We’ve given the CBSO Youth Ambassadors the keys to the concert hall and invited them to curate a unique concert experience to excite our audiences this March.
THEIR RESPONSE: a series of three musical rooms for you to step into, each designed to showcase the full force of the City of Birmingham Symphony Orchestra in a different light.Download digital programme
From the loud to the light, dark to the bright, there’s room for everyone.
Tickets £10 (£5 for students)
Conducted by Ben Gernon
Not sure what to expect? Listen to our playlist on Spotify.
TURN THE LIGHTS OFF
IT'S TOO LOUD
Ola Gjeilo Northern Lights , 5′
Respighi Church Windows (Mvts 2 & 4), 15′
Beginning with Gjeilo’s Northern Lights, the first of this evening’s rooms appears to be a peaceful, tranquil place – but don’t get too comfortable... An explosion of symphonic sound is about to be unleashed, and when it comes to Respighi's Church Windows, 'epic' is an understatement.
DARK WITH EXCESSIVE BRIGHT
Dukas La Peri: Fanfare, 3′
Missy Mazzoli Dark with Excessive Bright, 13′
Philip Glass Mad Rush, 6′
Tony Alcock double bass
We blast open the door to room two with Dukas’ triumphant brass-fuelled La Peri, before splashing into the shadows with Missy Mazzoli’s Dark with Excessive Bright, which showcases the talents of principal double bassist, Tony Alcock. This room concludes with a bright and exhilarating performance of Glass’ Mad Rush by the CBSO percussion section that will leave you on the edge of your seat and ready for the final room.
A DASH OF ARGON
Gabriel Prokofiev Concerto for Turntables, 23′
DJ Switch turntables
Come in, join the party and experience for yourself what happens when orchestra and turntables combine. We couldn’t think of a better way to end our evening than with this perfectly pitched, scratched and mixed piece from 2006 - casting a contemporary light on the possible future of classical music.