Bournemouth Symphony Orchestra: Online Concert Programme | Thu 6 Nov 2025
- Extended Concert Programme
Bristol Beacon presents
Bournemouth Symphony Orchestra with Mark Wigglesworth and Jess Gillam
Thu 6 November 2025, 7pm
This evening’s performance:
Mark Wigglesworth Conductor
Jess Gillam Saxophone
Bournemouth Symphony Orchestra
Wagner Hidden Love Overture (8 mins)
Howard Saxophone Concerto (17 mins)
Interval
Berlioz Symphonie Fantastique (50 mins)
Pre-concert talk hosted by music educator Jonathan James
Welcome
We can always rely on our resident orchestra to serve up memorable programmes performed by the very best soloists, and this concert is no exception. It’s such a pleasure to welcome the sensational saxophonist Jess Gillam to Bristol Beacon. Jess’ passion for her instrument, and music-making in general, is truly infectious and we can’t wait to hear her perform the concerto Dani Howard composed for her.
Our Orchestral Season is already off to a great start, but there is so much more to look forward to. Later this month we’re delighted to welcome the City of Birmingham Symphony Orchestra for a feast of Sibelius and Shostakovich (20 Nov), followed by a return visit from Sir Antonio Pappano and the London Symphony Orchestra (13 Dec). They’re joined by violist Antoine Tamestit for a sumptuous British selection, including Walton’s Viola Concerto and Vaughan Williams’ Second Symphony.
Thank you so much for joining us tonight and we look forward to welcoming you back again soon!
With best wishes,
Simon Wales
Chief Executive, Bristol Beacon
Jonathan Dimbleby
Chair of the Board of Trustees, Bristol Beacon
Richard Wagner (1813-1883): Hidden Love Overture
Composed in 1836, and premiered the same year in Magdeburg, Das Liebesvebot (Hidden Love), was Wagner’s second opera and his first comic opera. His only other comedy was The Mastersingers of Nuremburg, premiered in 1868. As was his custom, he wrote the libretto of Das Liebesverbot himself, basing it on Shakespeare’s Measure for Measure. Wagner moved the setting from Vienna to Sicily, hence the sub-title ‘The Novice of Palermo’. Anyone innocently hearing the overture would not guess the composer’s identity but may think of Offenbach, Suppé or Hérold.
This exhilarating piece begins Molto vivace with four bars of unaccompanied percussion – castanets, tambourine and triangle – before a sprightly theme is played by violins and woodwind. This is rudely interrupted by a solemn idea in unison, but the jolly festive music continues to alternate with it. After a silence a lyrical third theme is introduced by violins and cellos. Both this melody and the opening music predominate in the remainder of the overture, although a fanfare for two trumpets heralds a brief galop-like passage.
The opera’s premiere was a fiasco. The singers did not know their parts, singing parts of other operas when their memories failed them. Then, on the second night the audience comprised only a handful of people, but the performance did not take place. Backstage the lead tenor was engaged in a fight with the prima donna’s husband, ignited by his discovery of a romantic affair.
© Philip Borg-Wheeler
Dani Howard (b.1993): Saxophone Concerto
I wrote my Saxophone Concerto specifically for Jess Gillam, a hugely dynamic and vibrant performer. It is an homage to Adolphe Sax, the visionary inventor of the instrument. Structured in three movements, the concerto reflects the pivotal moments in Sax’s life: his ingenuity, his resilience in the face of adversity, and the enduring legacy of his invention.
The first movement captures the inventiveness of Sax as he conceptualises his revolutionary instrument. Spirited exchanges between the soloist and orchestra depict the early stages of the creative process: exploration, playfulness and determination.
The second movement delves into the personal and professional challenges Sax faced. From financial instability to fierce opposition from his competitors. The movement is an extended cadenza featuring a lyrical solo line, interwoven with both lighter and darker orchestral colours.
The final movement ‘claims its space’ and is a celebration of Sax’s legacy. Bursting with rhythmic ideas and playful energy, it highlights the soloist’s versatility. Jess Gillam leads the orchestra in this final movement which brings together all of the ideas from the previous two movements, culminating in an explosive finale.
With huge thanks to the Royal Stockholm Philharmonic Orchestra and the Bournemouth Symphony Orchestra for commissioning the work. Its premiere performances took place on the 19th and 20th February 2005, by the Royal Stockholm Philharmonic Orchestra, conducted by Dalia Stasevska.
© Dani Howard
This performance of Dani Howard’s Saxophone Concerto is generously supported by The Marchus Trust.
Hector Berlioz (1803-1869): Symphonie Fantastique
1. Largo – Allegro agitato e appassionato
2. Valse: Allegro non troppo
3. Adagio
4. Allegretto non troppo
5. Larghetto – Allegro
On 11 September 1827, Hector Berlioz went to a performance in Paris of Shakespeare’s Hamlet. Playing the role of Ophelia was the Irish actress, Harriet Smithson. To say that the 24-year-old composer fell in love with her immediately is an understatement. From the moment he first saw her he was smitten and pursued her incessantly. Perhaps unsurprisingly, she refused to meet him and would not reply to the numerous love letters he sent her.
Berlioz’s response to this rejection was to write a ‘fantastic symphony’, a work that describes the life of an artist haunted by the vision of a perfect woman, and hallucinating with opium in order to cope with the hopeless dejection he felt from her indifference. The composer’s unrequited passion is represented by a constantly recurring theme that rises and falls with longing and despair. He called this an idée fixe, a contemporary medical term for an obsessive preoccupation. Berlioz knew this psychological condition could be ideally expressed through music but just to make sure there were no misunderstandings, penned a detailed programme note to go with his semi-autobiographical composition. ‘I conceive an artist,’ he wrote, ‘who sees for the first time a woman who epitomises an ideal of beauty and fascination that his heart has so long invoked, and falls madly in love with her.’
The first movement, Daydreams – Passions, introduces us immediately to the idée fixe. Berlioz describes the tune as ‘passionate, but noble and timid,’ and the movement as a whole as expressing ‘those depressions, those groundless joys that the artist experienced before he first saw his loved one, then the volcanic love that she suddenly inspired in him, his frenzied suffering, his jealous rages, his returns to tenderness, his religious consolations.’
In the next movement, A Ball, the artist encounters his loved one at a party but, to quote the composer again, ‘the tumult of the dance fails to distract him; his idée fixe haunts him still, and the cherished melody sets his heart beating during a brilliant waltz.’ Harps, used for the first time in any symphony, lead the way as we imagine the composer trying to attract his beloved amidst the frenzy of the dancers.
The third movement, Scene in the Country, offers respite. ‘One evening, finding himself in the country, the artist hears two shepherds playing their pipes. This pastoral duet, and the slight rustling of the trees gently stirred by the wind, conspire to restore to his heart an unaccustomed calm, to give his ideas a more cheerful colour. He reflects on his isolation; he hopes his loneliness will soon be over. But what if she betrays him! This mixture of hope and fear, these ideas of happiness, disturbed by some dark forebodings, form the subject of the movement. At the end, one of the shepherds resumes his call; the other no longer responds. Distant sound of thunder … solitude … silence…’
Berlioz’s description of the March to the Scaffold movement is even more vivid: ‘Having grown sure that his love is unappreciated, the artist poisons himself with opium. The dose of the narcotic, too small to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams he has killed the one he loved, that he is condemned, that he is being led to execution, and that he is witnessing his own guillotining.’ Berlioz grew up in post-revolutionary France. A march to the scaffold was very real. We hear the band escorting the prisoners, the gleeful shouts of a jeering crowd, and, after one final glimpse of love, the guillotine’s descent is as unmistakable as the sound of the dismembered head bouncing down the steps!
The finale, Dream of a Night of the Sabbath, is a Satanic dream in which Berlioz depicts a motley collection of ghosts, sorcerers and monsters gathering at the artist’s funeral. Even his beloved is there, but now her tune is distorted into something, in Berlioz’s words, ‘ignoble, trivial and grotesque.’ A bell peals the Dies Irae and a sinister, ritualistic, diabolical dance of death leads the artist’s soul to its damnation.
Two years after the work’s premiere in 1830, Berlioz invited Harriet Smithson to its second performance. The public success of the work had softened her attitude to the composer and realising that the music was about her, agreed to come and meet him. After the performance, Berlioz produced a vial containing a lethal dose of opium. She watched in horror as he gulped it down and, in her hysteria, agreed to marry him. At which point he immediately swallowed an antidote – (do not try this at home!). Berlioz and Smithson were married in 1833 and though the marriage only lasted seven years (neither speaking each other’s language can hardly have helped), they are buried side by side in the Montmartre Cemetery in Paris.
The Symphonie Fantastique is a breathtakingly original work, with many of its orchestral effects being completely new. But depicting such specific and raw human emotion without the use of words was also groundbreaking. We take it for granted now but at the time it marked a radical turning point for symphonic music as a whole. The storyline may be fantastical, but as an expression of humanity’s passion and sincerity it is completely real.
© Mark Wigglesworth
Mark Wigglesworth
Conductor
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In September 2024, Mark Wigglesworth became Chief Conductor of Bournemouth Symphony Orchestra.
Mark is recognised internationally for his masterly interpretations, both in the opera house and in the concert hall, and highly detailed performances that combine a finely considered architectural structure with great sophistication and rare beauty. As a highly respected conductor he has forged many enduring relationships with orchestras and opera companies across the world, conducting repertoire ranging from Mozart to Boulez.
Highlights have included performances with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, Cleveland Orchestra, and Tokyo Symphony. Recordings include a critically acclaimed cycle of the Shostakovich symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler’s Sixth and Tenth symphonies with the Melbourne Symphony, an album of English music with the Sydney Symphony, Britten’s Peter Grimes with Glyndebourne, and the Brahms piano concertos with Sir Stephen Hough.
In opera, Wigglesworth has enjoyed long relationships with The Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg, Rise and Fall of the City of Mahagonny, From the House of the Dead, La Clemenza di Tito, Hansel and Gretel) and English National Opera (Lady Macbeth of Mtsensk, Così fan tutte, Falstaff, Katya Kabanova, Parsifal, Force of Destiny, The Magic Flute, Jenůfa, Don Giovanni, Lulu) and operatic engagements elsewhere include The Metropolitan Opera, New York (The Marriage of Figaro, Orfeo) as well as at The Bavarian State Opera, Opéra National de Paris, and the Teatro Real, Madrid. In 2017 he received the Olivier Award for Outstanding Achievement in Opera.
He has written articles for The Guardian and The Independent and made a six-part TV series for the BBC entitled Everything to Play For. His book The Silent Musician: Why Conducting Matters is published by Faber & Faber and has been translated into Spanish and Chinese.
He has held positions as Associate Conductor of the BBC Symphony, Principal Guest Conductor of the Swedish Radio Symphony and the Adelaide Symphony, Music Director of the BBC National Orchestra of Wales and English National Opera and he was appointed Chief Conductor of the Adelaide Symphony Orchestra in January this year.
Jess Gillam
Saxophone
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Jess Gillam is a celebrated saxophonist and presenter. With her electrifying performances, vibrant stage presence and magnetic personality, the ‘uniquely mercurial’ (The Times) Jess has been invited to play on the world’s major stages since becoming the youngest ever soloist to perform at the Last Night of the Proms at the Royal Albert Hall, London. Equally at home behind the microphone, Jess’ award-winning weekly show, This Classical Life, on BBC Radio 3 is now in its seventh season.
Jess is passionate about broadening the repertoire for the saxophone, especially in the classical sphere. Recent commissions include Glasslands by Anna Clyne premiered with the Detroit Symphony. Other new works include Dani Howard’s Saxophone Concerto, first heard with Royal Stockholm Philharmonic Orchestra, and Karl Jenkins’s Stravaganza performed to a sold-out BBC Proms audience. Jess held the position of Associate Artist of the Royal Albert Hall until 2025 and was an Artistic Partner of Manchester Camerata.
Jess’ concerto appearances have included performances with the BBC orchestras, DSO Berlin, Baltimore Symphony Orchestra, Danish Radio Symphony Orchestra, the Royal Scottish National Orchestra, Gothenburg, Iceland, Lahti, London, NDR Elbphilharmonie and Sydney Symphony Orchestra as well as the London, Royal Liverpool and Munich Philharmonic, among others. Further afield, concerto highlights in the US have included the Houston Symphony and Minnesota Orchestra; she will debut with the Lincoln Center Festival Orchestra and the Cleveland Orchestra in the summer of 2025.
On the recital stage, Jess is seen performing across Europe, the US and beyond. As a former ECHO Rising Star, Jess has appeared throughout Europe’s most prestigious concert halls, including Amsterdam’s Concertgebouw, Wiener Konzerthaus, Konzerthuset Stockholm and Barcelona’s Palau de le Musica. An exclusive recording artist with Decca Classics, Jess is the first and only saxophonist to be signed to the major label. Both her albums have reached No. 1 in the UK Classical Music Charts and her debut album, Rise, was listed in The Times’ Top 100 albums of 2019. Alongside her weekly Radio 3 show, Jess has presented on BBC Radio 2, co-hosted a mini-series on BBC Radio 4’s Today Programme and presented at the BBC Proms and BBC Young Musician of the Year.
Jess loves collaboration and in 2020, she formed her band, the Jess Gillam Ensemble. Their bold, uplifting and open-minded approach is rooted in classical music but takes inspiration from different musical worlds. Since their launch, the ensemble has performed throughout the UK and Europe to multiple sold-out audiences at venues and festivals including the Wigmore Hall, Latitude Festival, Mozartfest Augsburg and Bath Festival.
In 2016, Jess Gillam made history after becoming the first saxophonist to reach the Finals of BBC Young Musician of the Year. She has been the recipient of a Classic BRIT Award, a The Times Breakthrough Award nominee and was awarded an MBE in the Queen’s Birthday Honours list 2021 for Services to Music. Returning to her roots in Ulverston in Cumbria, Jess continues to promote her own concert series in her hometown, inviting internationally renowned artists, a series she founded at age 12. She is a patron for Young Sounds UK, Music in Secondary Schools Trust, the London Music Fund and is a member of the Council of the Royal Philharmonic Society.
“Not just one of Britain’s most virtuosic instrumentalists, but also an unstuffy, inspiring personality” The Times
Bournemouth Symphony Orchestra
One of the UK’s best-loved orchestras, Bournemouth Symphony Orchestra is known for championing the role of culture in people’s lives. Based at Lighthouse, Poole, the Orchestra is resident in Bristol, Exeter, Portsmouth, Southampton, and Yeovil, and performs in towns and villages across the region. A leading arts charity, it is the largest cultural provider in the South West of England, serving one of the biggest and most diverse regions in the UK.
The Daily Telegraph described Mark Wigglesworth’s opening performance as Chief Conductor in 2024 as “a fine, fierce debut”. Celebrated globally for his outstanding musicianship, extraordinary interpretations, and breadth of repertoire, Wigglesworth’s first season has magnified the BSO’s reputation for the highest quality music-making. The Orchestra boasts an enviable list of named conductors, including Principal Guest Conductor Chloé Van Soeterstède, Marin Alsop, David Hill MBE, Kirill Karabits, and Andrew Litton.
In 2025/26, the BSO welcomes baritone Roderick Williams OBE as Artist-in-Residence: Williams performs five times across the season, including Zemlinsky’s Lyric Symphony, Tippett’s A Child of Our Time, and a 24-song cycle, An English Winterreise. The Orchestra also introduces Dani Howard as its Celebrated Composer, a series that shines a spotlight on new British music. It shares seven performances of Howard’s music, including the UK premiere of her Saxophone Concerto with Jess Gillam. Further highlights of the season include debut performances from organist Anna Lapwood, cellist Hugo Svedberg, guitarist Plínio Fernandes, viola player Timothy Ridout, among more. The Orchestra’s celebrated Digital Concert series continues into its sixth year, with 19 live performances broadcast globally from Poole.
The Orchestra is celebrated for its pioneering community-based BSO Participate work, spanning partnerships with health and care providers to inclusive events in schools and with music education hubs. In the 2025/26 season, highlights include the expansion of its creative health programme with Dorset County Hospital and Arts in Hospital into further Dorset HealthCare sites, and an extension of its support for Community and Wellbeing Orchestras supporting a range of needs across the region from Bodmin, Boscombe and Bristol to Chard and Wincanton.
Following international attention for igniting change, BSO Resound — the world’s first professional disabled-led ensemble at the core of a major orchestra, and winner of the 2019 Royal Philharmonic Society’s Impact Award — continues to challenge perceptions. The group unites with Calleva Assistant Conductor Enyi Okpara and members of the National Open Youth Orchestra to share its live music in schools in 2025/26.
A National Portfolio of Arts Council England, the BSO is a registered charity and relies on generous philanthropic support from individual donors, gifts in wills, corporate partners, and charitable trusts and foundations. In 2024, the Orchestra was delighted to receive its largest ever funding pledge from a charitable trust: a grant award of £300,000 over three years (2025-27) from the Garfield Weston Foundation towards BSO Participate.
The BSO’s Principal Broadcast Partner is BBC Radio 3.
The BSO is Classic FM’s Orchestra in the South of England.
bsolive.com
Orchestra Credits
Violin 1
Amyn Merchant (Leader)
Mark Derudder
Emre Endgin
Kate Turnbull §
Karen Leach §
Magdalena Gruca-Broadbent
Jennifer Curiel §
Isabella Fleming
Julie Gillett-Smith §
Kate Hawes §
Joan Martinez
Shuyang Josh Jia
Victoria Barnes
Elena Abad
Violin 2
Carol Paige *
Ricky Gore
Maren Bosma
June Lee
Boglarka György
Vicky Berry §
Eddy Betancourt
Rebecca Burns §
Hannah Renton
Lucia D’Avanzo-Lewis
Janice Thorgilson
Louise Bevan
Viola
Clement Pickering *
Miguel Rodriguez
Ben Norris
Carys Barnes
Liam Buckley
Melissa Doody
Judith Preston §
Alison Kay
Nathalie Green-Buckley
Kevin Saw
Cello
Jesper Svedberg *
Auriol Evans
Hannah Arnold
Philip Collingham Ω
Rebecca McNaught
Kate Keats
Judith Burgin
Alison Gilies
Double Bass
David Daly * §
Yat Hei Lee
Ben du Toit
Mike Chaffin Ω
Jane Ferns §
Joe Cowie
Flute
Anna Pyne * §
Robery Manasee
Owain Bailey
Piccolo
Owain Bailey *
Oboe
Daniel Finney
Rebecca Kozam
Cor Anglais
Holly Randall
Clarinet
Barry Deacon *
Cara Doyle
Eb Clarinet
Barry Deacon *
Bassoon
Tammy Thorn *
Emma Selby
Kim Murphy
Anthea Wood
Horn
Oliver Johnson
Ruth Spicer §
Rob Harris §
Kevin Pritchard §
Edward Lockwood §
Trumpet
Paul Bosworth *
Peter Turnbull §
Bob Farley
Peter Mankarious
Trombone
Kevin Morgan * §
Robb Tooley
Bass Trombone
Joe Arnold
Tuba
Stuart Beard
Aled Meredith-Barrett
Timpani
James Bower *
Laura Bradford
Percussion
Matt King * §
Ben Lewis
Jake Brown
Emmanuel Joste
Tom Plumridge
Harp
Lucy Wakeford
Anwen Thomas
Kate Ham
Nia Evans
* Section Principal
§ Long Service Award
Ω Diversity Champion