The Birmingham Philharmonic Orchestra is delighted to announce the appointment of Jack Lovell-Huckle as its new Music Director, effective September 2026. Following an extensive two-year international search that attracted 109 applicants, the Orchestra is thrilled to confirm Jack Lovell-Huckle as the successful candidate. His appointment marks a significant milestone, as he becomes only the sixth Music Director in the Orchestra’s 85-year history. Fresh from a highly acclaimed tour of China with The Hallé, Jack Lovell-Huckle is currently Assistant Conductor of the City of Birmingham Symphony Orchestra (CBSO). He brings a wealth of experience, artistic insight, and an exciting vision for the future of the Birmingham Philharmonic Orchestra. Speaking about his appointment, Jack said: “I am thrilled and honoured to be chosen as the next Music Director of the Birmingham Philharmonic Orchestra. The dedication, ambition and enthusiasm of every member was evident from my first rehearsal with them through to the final note of the concert.

On Sunday 7th December, we were delighted to welcome creator Scott Hall to Birmingham for the world premiere of composer Rupert Cole's, Resonant Tale, newly orchestrated for full symphony orchestra and performed by the Birmingham Philharmonic Orchestra, conducted by Jack Lovell-Huckle. Below is a review from Scott Hall—lead developer at Orange Thief and creator of the award-winning Playdate game Resonant Tale—reflecting on the journey of hearing his game’s soundtrack transformed from electronic chiptune origins into a live orchestral work for the very first time. "The first sound in Resonant Tale is that of breaking waves. So too began the new orchestral arrangement of its soundtrack, the waves no longer a single noise channel playing from the Playdate's tiny mono speaker but the rumbling percussion of the Birmingham Philharmonic Orchestra. The following fifteen minutes held me enraptured and left me in awe, the music I knew so well completely transformed as if the black-and-white world of the game had been rerendered in full colour and three dimensions. "That was just the rehearsal. I'd travelled up to Birmingham (in the English midlands) from Orange Thief HQ and the composer Rupert had invited me to the final run-through a few hours before the show, an offer I was all too happy to accept. He'd kept the details of the game's orchestral arrangement deliberately vague and it was my first time hearing it, sat alone and privileged in the later to be filled audience. "The percussive waves of the opening precipitated a first dreamy then rousing rendition of Adrift, Ashore, the suite mirroring the start of our player character Leit's adventure. I laughed as a Bassoon solo abruptly transitioned into the comedic woodwinds of Meeting the Locals, a piece that was always imagined as a conversation between the quirky inhabitants of Melody Village, an idea now made real by the different instruments of the orchestra. It was an unexpected and joyful distraction but smiles turned to shivers as the orchestra launched into Traversing the Tonal Plains, the once tiny pocket sized adventure now a grandiose expedition into a sweeping musical landscape. Snatches of An Audience at the Castle propelled the performance into its first dungeon and boss fight, challenging the listener through complex and surprising rhythms. "There was a climactic release, a moment of silence, then the celeste and harp began the beautiful Arabella's Theme, an already standout piece on the Playdate now elevated and refined and holding me entranced. In its second half the strings struck up, layering texture into the melody as the whole arrangement had throughout. Then, after the lull, I was back on the beach and approaching the final passage with the dramatic and driving Courage's Call. The final boss of both the game and the arrangement was once again a chaotic, climactic cacophony, in the best and most enjoyable sense of the word, and I was again surprised and delighted as it ended with the final chiming of the sacred bells, played by the whole orchestra and tubular bells included, giving way to a beautifully brief reprisal of Arabella's Theme, and at last a return to those rich percussive waves, played by Rupert himself. "Then I got to experience it all again, surrounded by an audience and with the atmosphere that only exists at the inaugural performance of a new piece of music. The conductor held up a Playdate to introduce the suite. The audience strained to hear the tiny beeps and boops from which the music they were about to hear originated. Everything I just described above repeated but with an added electricity. Then at the end, deserved and sustained applause from audience and orchestra alike for Rupert, the composer. "When I started making Resonant Tale I never imagined it would be as well received as it was, let alone that two years after release I'd be sat hearing its soundtrack performed in concert by an orchestra. It was an incredibly special experience and one that I'll remember for a long, long time. Thank you to the Birmingham Philharmonic Orchestra, to the conductor Jack Lovell-Huckle, and of course to the composer Rupert Cole for making it happen!" We are proud to have premiered this remarkable orchestral reimagining, celebrating the meeting of contemporary game music and live symphonic performance. Resonant Tale is a pocket-sized puzzle-box adventure for the Playdate, available now on Playdate Catalogue and itch.io. The original chiptune soundtrack is available on Bandcamp. Scott's review was re-published with permission. The original can be read here: https://orangethiefgames.itch.io/resonant-tale/devlog/1139735/resonant-tale-in-concert Thank you to everyone who joined us for this unforgettable evening of new music.

Everything you need to know about a BPO concert at the Royal Birmingham Conservatoire

Who is Behind the Birmingham Philharmonic Orchestra's Annual Concerto Prize Competition? The Birmingham Philharmonic Orchestra (BPO) Annual Concerto Prize Competition is one of the most distinguished musical events in the UK, offering talented musicians a platform to showcase their skills. But who makes this prestigious competition possible? Several key organisations and individuals work together to ensure its continued success. The Ludlow Philharmonic Prize Fund (LPPF) Established in 1978 by the Ludlow Family and the BPO, the Ludlow Philharmonic Prize Fund provides the essential financial backbone of the competition. The fund covers various expenses, including: The cash prize of £2,000 for the winning soloist. The BPO’s participation fee , which is around £2,000 . The cost of the competition trophy . Other sundry expenses necessary for the event’s execution. The LPPF is managed by a board of seven trustees, who oversee the fund’s operations and ensure its resources are allocated effectively. The trustees include: Alastair Moseley (Chair of the Trustee Board) Paul Dilkes (Treasurer). Michael Lloyd . Hollie Whittles . Chris Marshall . Dr. Shirley Thompson . Professor David Saint . The Royal Birmingham Conservatoire (RBC) A crucial partner in the competition, the Royal Birmingham Conservatoire plays a significant role in organizing and hosting the event. RBC’s contributions include: Hosting the entire competition at no cost to the BPO . Covering venue hire fees . Paying the fees for key musical contributors , including: Michael Lloyd (Conductor). The Leader of the Orchestra. Additional musicians as needed (including harpists) The RBC’s commitment to the Birmingham Philharmonic Concerto Prize highlights its dedication to nurturing young musical talent. This year, the RBC is also providing opportunities for two conducting students, Ryan Bunce and Tommaso Nista , to participate in the event alongside the three outstanding soloists. The Birmingham Philharmonic Orchestra (BPO) Since 2013 , the BPO has played a pivotal role in the competition by providing orchestral accompaniment for the finalists . This unique feature sets the Birmingham Philharmonic Concerto Prize apart from similar competitions, making it a one-of-a-kind event not just in the UK but potentially across Europe. The opportunity for competitors to perform with a full orchestra is invaluable for their professional growth and artistic development. The 2025 Concerto Prize Final This year’s final will take place on: Sunday, 6th April, at 15:00 at the Royal Birmingham Conservatoire . Adjudicator Alice Farnham BEETHOVEN: Egmont Overture (11’) – Conducted by Tommaso Nista PROKOFIEV: Violin Concerto No. 2 (28’) – Conducted by Michael Lloyd – Soloist: Tiago Filipe Soares Silva IBERT: Flute Concerto (22’) – Conducted by Michael Lloyd – Soloist: Maia Roberts PROKOFIEV: Piano Concerto No. 3 (27’) – Conducted by Michael Lloyd – Soloist: Roberto Rumenov BRAHMS: Hungarian Dances 1, 3, and 10 (10’) – Conducted by Ryan Bunce A Collaborative Effort in Supporting Musical Excellence The Birmingham Philharmonic Concerto Prize Competition is a testament to the power of collaboration. Thanks to the generous support of the Ludlow Philharmonic Prize Fund, the Royal Birmingham Conservatoire, and the Birmingham Philharmonic Orchestra , young musicians have an exceptional platform to develop their careers and gain valuable performance experience. With an exciting lineup of talented soloists and dedicated conductors, the 2025 final promises to be an unforgettable musical event. Be sure to attend and witness the future stars of classical music take the stage!

BPO concert history: women composers Since 1941, Birmingham Philharmonic Orchestra has performed over 950 concerts, playing the music of nearly 300 composers. Yet over those eighty years of music-making, and including performances in 2024 of Amy Beach’s Gaelic Symphony and Louise Farrenc’s Overture № 1, just twenty-two concerts have featured music written by women, ten composers in total. Between 1955 and 2014, BPO did not play music written by women at all — a gap of well over half a century. Of course, BPO should not be singled out in this respect: orchestras amateur and professional across the world similarly overlook music written by women. The most recent ‘Equality and Diversity in Global Repertoire’ report from the Donne Women in Music foundation investigated the 2021/22 season of 111 orchestras across 31 countries and found that 92.3% of the 20,400 scheduled compositions were written by men — and the 7.7% of pieces by women represented a marginal improvement on the previous year. The top ten composers (those whose pieces were most performed) were — unsurprisingly — European men. Together they accounted for 27.5% of all scheduled works, nearly four times more than all works by women combined. There is no question of the popularity and cultural value and importance of music by Beethoven, Mozart, Tchaikovsky, Dvořák, Stravinsky, R Strauss, and Shostakovich. BPO’s core repertoire comprises the large orchestral works from the early 19th century to the present day, most of them written by men, and BPO will continue to explore and present these pieces. But this is not a zero-sum game: performing Beach, Price, Holmés, Smyth, Farrenc, Munktell, and others will not diminish the status of Wagner or Mahler. So while our 2024/25 season includes Holst, Walton, Elgar, Bruch, Brahms, Nielsen, and Copland, in June 2025 BPO will perform blue cathedral written in 1999 by American composer Jennifer Higdon as part of an American programme. Our aim is not mere tokenism but always the thoughtful curation of music, sometimes seldom heard, for BPO’s engaged and discerning audience. Between 1942 and 1944, Teresa del Riego’s song ‘Homing’ was sung four times by soprano Minneth Shaw, including at the first of BPO’s popular series of ‘Music for All’ concerts. In March 1946 BPO performed an orchestration of the suite A Lover in Damascus by Amy Woodforde-Finden, and did so again twice more the following year; however, although the concerts were reviewed in the local press, Woodforde-Finden’s music was not mentioned. As part of the city’s contribution to the Festival of Britain, September 1951 saw the premiere across four performances (with Barfield Grand Opera Society) of Margaret More’s opera The Mermaid (her first major work) at Moseley and Balsall Heath Institute. While More was credited as the composer, her married name — Mrs Raymond Bantock — was prominently noted in the programme and press reviews, as though marriage to Sir Granville Bantock’s second son was the passport she required to being taken seriously as a composer. The opera’s Prelude appeared in 1952, and a year later BPO played ‘Forward – A Marching Song for 1953’ by More at Town Hall in Birmingham. Featured twice in 1955 was an arrangement of Marjory Kennedy-Fraser’s Songs of the Hebrides. Sixty years later, the BPO Concerto Prize competition saw the return of music by women: first in 2014 was Alexandra Pakhmutova’s trumpet concerto performed by Emily Walker; and in our seventy-fifth anniversary year of 2016, marimba soloist Yu-Cheng Chen achieved second place, playing Keiko Abe’s Prism Rhapsody. To commemorate the centenary of the 1916 film The Battle of the Somme, the Imperial War Museum commissioned a new score by Laura Rossi; on 15 July 2017 at Walsall Town Hall, BPO accompanied the ninety-ninth screening (of one hundred) of the film. BPO’s concerts for Christmas 2019 featured music from the Disney film Frozen, co-written by Kristen Anderson Lopez. In 2024, BPO concerts included Beach’s Gaelic Symphony and Farrenc’s Overture № 1. Credit: Owen Gregory (BPO oboe and cor anglais) https://fullcreammilk.co.uk/

As Christmas fast approaches, many of us are feeling the pressure to find thoughtful, unique gifts for the special people in our lives. The quest to uncover something meaningful, memorable, and within budget can feel like a holiday stress all its own. But what if you could give a gift that removes the guesswork and delivers an experience to treasure long after the wrapping paper is gone? This year, skip the generic gift sets and opt for something extraordinary: the magic of live music. For just £32.00, you can gift two tickets to one of our upcoming world-class performances. Whether it’s the sweeping beauty of our Sibelius concert in February or the vibrant energy of our American Programme in June , these events promise an unforgettable experience for any music lover—or anyone who could use a little joy and inspiration. Why Live Music is the Perfect Present Unlike traditional gifts that might end up gathering dust or hidden away in a cupboard, live music is a gift that keeps on giving. It’s a shared moment, an opportunity to connect, and a chance to escape into the beauty of sound and emotion. Music has the power to uplift, inspire, and transport us in ways that no material gift ever could. Imagine sitting together in a grand concert hall, the sound of the orchestra enveloping you, and sharing a moment that words can’t quite capture. That’s the kind of memory your gift will create—a moment that lasts a lifetime. Affordable and Exceptional Value We all love finding gifts that strike the perfect balance between thoughtfulness and affordability. For just £32.00, you’re not only giving two tickets to an exceptional musical performance but also offering an experience that feels priceless. Compare that to a typical holiday gift: An aftershave kit from the high street? Functional, sure—but forgettable. A set of chemically-scented bath bombs? They’ll dissolve in minutes and might not even get used. With live music, you’re giving an immersive experience that stands out from the crowd. It’s a gift with heart and soul, one that speaks volumes about your care and consideration for the recipient. Who is This Gift For? The beauty of live music is its universal appeal. Whether you’re shopping for a partner, parent, friend, or colleague, these tickets are a thoughtful way to show you care. It’s perfect for: The music enthusiast who loves attending live performances. The busy parent or professional who could use a night of inspiration and relaxation. The person who has everything —because experiences always mean more than things. A Gift That Says 'I Love You' Christmas is about expressing love and gratitude, and what better way to do so than by sharing the joy of music? Whether you’re surprising someone under the tree or pairing it with a heartfelt card, this gift says, “I care about creating moments we’ll remember.” So why not skip the usual holiday hustle and give something truly special? 🎁 How to Buy Buying couldn’t be easier. Simply follow the link below to secure your tickets. With just a few clicks, you’ll have a gift that’s guaranteed to stand out. This Christmas, don’t just give a gift—give an experience. Give the gift of live music.  BUY TICKETS FOR SCANINAVIAN SOUNDSCAPES BUY TICKETS FOR SYMPHONIS ASPECTS OF AMERICA

The Birmingham Philharmonic Orchestra (BPO) delivered an unforgettable evening at the Broadway Arts Festival, leaving audiences captivated by an exquisite programme of English music that celebrated the country’s rich orchestral heritage. Under the baton of their esteemed conductor, Michael Lloyd, the orchestra presented a vibrant repertoire that perfectly encapsulated the beauty and power of British classical music. Adding to the evening’s prestige, Julian Lloyd Webber , the renowned cellist and patron of the orchestra, was in attendance. Julian delivered an engaging introductory talk, sharing his passion for the evening’s programme and his pride in supporting the BPO. Following the concert, Julian commented: "It was lovely seeing everyone after so long. I really enjoyed the concert. I thought the orchestra played wonderfully and were magnificently conducted by Michael! All best wishes, Julian." A Programme of English Masterpieces The concert opened with Holst's A Somerset Rhapsody , a pastoral masterpiece evoking the charm of the English countryside. The orchestra brought Holst’s sweeping melodies to life, painting a musical picture that set the tone for an exceptional evening. Next, the audience was treated to a breathtaking performance of Elgar's Cello Concerto by the remarkably talented Ella Harrison . Ella’s profound musicality and technical brilliance were on full display as she navigated the emotional depths of this iconic work. Having studied with Judith Brearley and Ben Davies at The Purcell School, Ella brought both maturity and sensitivity to her performance, earning a well-deserved standing ovation. Playing on an 1800s English cello provided by Benslow Music on full scholarship, Ella’s interpretation resonated deeply, highlighting why she is one of the most promising young cellists of her generation. The programme continued with Eric Coates’ London Again Suite , a nostalgic journey through the character and charm of London. Coates’ evocative melodies and the orchestra’s vibrant performance transported listeners to the bustling streets of the capital. This was followed by William Walton's Spitfire, Prelude and Fugue , a powerful tribute to British resilience, which the orchestra delivered with stirring intensity. The concert concluded with two more works by Coates and Elgar. Coates’ spirited Calling All Workers and Elgar’s delightful Cockaigne (In London Town) brought the evening to a rousing finale, showcasing the orchestra’s precision and flair. Both pieces left the audience energized, a fitting end to an evening filled with outstanding performances. Celebrating Ella Harrison's Rising Star A highlight of the evening was the performance by cellist Ella Harrison , whose achievements are already extraordinary. A member of the National Youth Orchestra of Great Britain and co-principal cellist for their winter residency, Ella has demonstrated a commitment to excellence. Her award-winning performances and her studies at The Purcell School, supported by the government’s Music and Dance Scholarship scheme, have solidified her place as a rising star in the classical music world. A Festival to Remember The Birmingham Philharmonic Orchestra’s success at the Broadway Arts Festival is a testament to their artistry and dedication. The carefully curated programme, combined with exceptional musicianship, highlighted the richness of British music and the enduring impact of these timeless works. With such a strong performance, the BPO continues to establish itself as one of the leading orchestras in the region, delighting audiences and fostering a love for classical music. The presence of Julian Lloyd Webber added an extra layer of significance to the evening, and his praise for the orchestra speaks volumes about their exceptional performance. The festival provided the perfect setting for this celebration of music, ensuring a memorable night for everyone in attendance. Whether seasoned concertgoers or first-time listeners, the audience was left inspired by the brilliance of the Birmingham Philharmonic Orchestra and the exceptional talents of Ella Harrison.

The Birmingham Philharmonic Orchestra (BPO) is seeking a new Principal Trumpet player. The BPO is one of the leading amateur orchestras in the country, specialising in large symphonic works and by composers such as Mahler, Richard Strauss and Shostakovich, and we are looking for a new Principal Trumpet player to lead our trumpet section.  Role The Principal Trumpet will be responsible for the musical leadership of the trumpet section, normally playing the first trumpet part for the majority of the BPO concerts. They will be responsible for arranging players for each concert, including booking guest players if required, and managing the seating of the section. They will also responsible for the strength, standards and discipline of their section. Principals hold regular meetings (the principals forum) at which they recommend membership and are consulted about the future schedules and the organisation of the orchestra. If applicable, we would consider two Principal players sharing the role, as this is an approach that has been successful in the past for other instruments within the orchestra. The successful applicant(s) for the Principal Trumpet role would be expected to become a member of the BPO, for which an annual subscription fee is applicable. About the BPO The BPO was founded in 1941 to raise money for wartime charities. It has gradually evolved into a non-profit-making association of non-professional musicians from across the West Midlands, who gather together for the pleasure of making music to a very high standard. The BPO is a large symphony orchestra with a core repertoire of orchestral music from the early nineteenth century to the present day. The orchestra rehearses each Sunday morning from 10am to 1pm and performs about 10 concerts per year, usually on Sundays. The Bradshaw Hall at the Royal Birmingham Conservatoire (RBC) is our regular rehearsal and concert venue. We give three or four concerts each season there with other concerts in a variety of venues, mostly within a fifty-mile radius of Birmingham, including Symphony Hall and Birmingham Town Hall. Highlights of recent years have been Mahler’s 8th Symphony and a concert performance of Das Rheingold ( “a mind-blowing performance by what just has to be the finest non-professional orchestra in the land” ), both in Symphony Hall. Our typical repertoire incorporates music from the mid-nineteenth century to the present day, in particular large symphonic works by composers such as Mahler, Richard Strauss and Shostakovich; in recent years we have also performed works for smaller groups that have included prominent trumpet parts such as the Septet in Eb for Trumpet, Piano and Strings by Saint-Saëns, and Prelude, Fugue and Riffs by Bernstein. The BPO engages professional leaders and soloists as well as a professional Music Director. Contact If you are interested in the role or would like additional information, please contact Tim Stidwill ( Horn1@bpo.org.uk ) or Phil Harrison ( Trombone1@bpo.org.uk ).

SHOWTIME! A celebration of 100 years of Broadway and West End masterpieces.  We’ll be counting down to our Showtime concerts by featuring all of the fantastic numbers from our concerts.  2 – Wicked – Stephen Schwartz (2003)  Get ready to be transported back to the magical Land of Oz with … Continue The post Showtime – the Grand Finale! Wicked and The Greatest Show first appeared on BPO.