a musical feast · · 2012-09-18a musical feast. 2. ... that is dominated by the solo violin;...

Welcome! Tonight marks the beginning of our 2012–13 season, and what better way to celebrate than with a musical feast? I am delighted to present a vibrant forthcoming year, which sees numerous AAM firsts: we’ll hold a two-day festival in November, ‘Handel the Londoner’ — which features our first-ever AAM Explore workshop, giving you the chance to try out a period instrument yourself; we begin new relationships with celebrated singers Andreas Scholl and Lucy Crowe; and this month we launch a new Association at London’s Barbican Centre.

Amongst other highlights are performances across the UK of JS Bach’s Orchestral Suites, a pinnacle of his instrumental music; a collaboration with mezzo-soprano Bernarda Fink in a moving programme from the Italian baroque; performances of both of JS Bach’s Passion settings; and the return of AAM founder Christopher Hogwood in a performance of Handel’s “farewell to Italian opera” Imeneo.

New-season festivities continue in just a week’s time, when we give performances of Handel’s jubilant royal music in London and Cambridge, following a tour across Europe and marking the beginning of our Association at the Barbican Centre. Ahead of the London performance on 26 September, we also celebrate the launch of our new Friends Scheme with a special open rehearsal — turn to page 11 to find out more about how you can get involved.

I look forward to sharing the season with you!

Richard Egarr Music Director

A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N 1

Richard Egarr director & harpsichord

19 September West Road Concert Hall, Cambridge21 September Wigmore Hall, London

A musical feast

A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N 32 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N

Since ancient times, the pleasures of music have often accompanied the pleasures of feasting. The addition of music made a banquet a delight not just for the taste buds but also for the ears. In ancient Israel, feasts were a common occasion for music-making, as Isaiah 5:12 indicates: “And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the LORD, neither consider the operation of his hands.” In the Middle Ages, illustrations of courtly banquets frequently show musicians such as trumpeters, string players and singers gathered to entertain the dining aristocrats. In the sixteenth century, German princes often had a trumpet ensemble playing sonatas during their feasts; whereas in Italy, aristocrats preferred their banquets to be accompanied by a vocal consort performing villanellas and madrigals.

“ convenient rest before meat may both with profit and delight be taken up in recreating and composing [the pupils’] travail’d spirits with the solemn and divine harmonies of Musick heard or learnt”J O H N M I LTO N , 1644

The sixteenth and seventeenth centuries were also an era of moral reform, when music was often regarded as a way to regulate the unruly human body. The harmonious perfection of polyphonic music was thought to aid digestion and to dissuade over-indulgence. For this reason, at schools in sixteenth-century Germany, music lessons were often scheduled immediately before or after lunch. In seventeenth-century England, a similar use of music was recommended by John Milton. Writing in his 1644 letter On Education (describing an ideal school curriculum), Milton suggested that

“convenient rest before meat may both with profit and delight be taken up in recreating and composing [the pupils’] travail’d spirits

with the solemn and divine harmonies of Musick heard or learnt; either while the skilful Organist plies his grave and fancied descant, in lofty fugues, or the whole Symphony with artful and unimaginable touches adorn and grace the well studied chords of some choice Composer…”

After mealtimes, Milton again recommended that pupils would benefit from music: “The like also would not be unexpedient after Meat to assist and cherish Nature in her first concoction, and send their minds back to study in good tune and satisfaction.”

By the eighteenth century, table music had become a normal part of daily life for the aristocrats of central Europe. An entry in an early German encyclopedia (Zedler’s Universal-Lexicon, 1732–54) explains that: “Tafelmusik is heard daily at princely courts... when at midday and in the evening the court and chamber musicians attend in a room besides the banqueting hall, and must play pleasing symphonies and concertos on all manner of instruments for the amusement of gentlemen of renown.” The music theorist Johann Adolph Scheibe advised that orchestral music was preferable in such contexts: courtly mealtimes were so noisy that “a symphony will never have much effect unless it is reinforced by full and loud harmony, with lively movement in its inner parts”.

This concert explores some of the first compositions to be designated as table music — the Banchetto Musicale (1617) of Johann Hermann Schein and the Taffel Consort (1621) of Thomas Simpson. Together with Heinrich Biber’s Mensa Sonora (1680), these collections show the emergence of table music for stringed instruments in German-speaking lands during the seventeenth century. The concert closes with movements from Georg Philipp Telemann’s Musique de table (1733), which adapted

Stephen Rose sheds light on the phenomenon of table musicProgrammeJOHANN HERMANN SCHEIN (1586–1630)Suite from Banchetto Musicale (1617) Suite V (Padouana — Gagliarda — Courente) Suite VII (Padouana)

THOMAS SIMPSON (1582–1628)Taffel Consort (1621) Selection from works by John Dowland (Paduan — Aria) Thomas Simpson (Ricercar on ‘Bonny sweet Robin’ — Paduan)

HEINRICH IGNAZ FRANZ VON BIBER (1685–1704)Mensa Sonora Suite III in A minor (1680) Gagliarda — Sarabanda — Aria — Ciacona — Sonatina

GEORG PHILIPP TELEMANN (1681–1767)Musique de table Production II (1733) Ouverture Quartet (Andante — Vivace — Largo — Allegro) Concerto (Allegro — Largo — Vivace) Trio (Affetuoso — Allegro — Dolce — Vivace) Sonata (Andante — Vivace — Cantabile — Allegro) Conclusion (Allegro — Adagio — Allegro)

Interval of 20 minutesPlease check that your phone is switched off, especially if you used it during the interval

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other devices that may become audible are switched off.

Tonight’s performance will end at approximately 10pm

Who paid for your seat tonight?When you bought your tickets for tonight’s concert, you only paid for a third of your seat.

How is that? Who paid for the other two thirds?

Even if this performance is sold out, ticket income will fall far short of the full cost of getting the AAM on stage to perform. About two thirds of the cost is covered by generous donations from the orchestra’s supporters — indeed this year the AAM must raise £700,000 to support its work.

Turn to page 16 to find out how you can help us meet this target and pay for the rest of your seat.

A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N S E A S O N 54 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N

Tonight’s concert contains two pieces by John Dowland from Simpson’s collection; these include a Pavan, in which Dowland uses the intricate polyphonic writing typical of English consort music, as well as allowing the two violins to break out in a dialogue of florid passagework. Simpson himself is represented by a Pavan (divided, as was typical, into three sections), and by a Ricercar on the English ballad tune ‘Bonny sweet Robin’. This ballad was part of English popular culture (it is quoted by Shakespeare in Hamlet); Simpson’s Ricercar transports it in an artful polyphonic setting to the continent.

Heinrich Ignaz Franz von Biber, Mensa Sonora (1680)The Bohemian violinist Heinrich Biber composed a variety of ingenious instrumental sonatas that feature unusual scorings or vivid programmatic concepts. His Mensa Sonora (‘Sonorous Table Music’) is dedicated to the Archbishop of Salzburg, Maximilian Gandolph von Khuenburg (1622–87), whom Biber had served since 1670. Biber’s dedication speaks of presenting a “rare culinary dish at your most noble table”. The collection consists of six suites scored for violin, two violas and continuo, each containing a variety of dance movements. Suite III begins with a duple-time Gagliarda that is dominated by the solo violin; Biber also achieves a broken-chord effect from the ensemble, whereby each performer plays a note of the chord in turn. A short Sarabanda is followed by an Aria characterised by its regular two-bar phrases, like a simple song. In the Ciacona the upper strings spin variations over a repeated bass; this bass theme initially consists of four descending notes, but later other patterns are heard. The suite ends with a quirky Sonatina, in which a chordal texture suddenly switches to imitation.

Georg Philipp Telemann, Musique de table Production II (1733)The concept of table music reached its zenith in Georg Philipp Telemann’s Musique de table. Telemann published this immense collection of music in 1733 for an array of over 200 subscribers spread across Europe (including 33 subscribers in France, aristocrats and musicians in Germany, and ‘Mr Hendel Docteur en Musique from London’). Writing to his friend Johann Reinhold Hollander shortly before the collection was published, Telemann said: “I hope this work will one day bring me fame. At no time will you regret its cost.” More modestly, he wrote to the composer Carl Heinrich Graun claiming that there was nothing new in the melodies of the collection, so novelty must be instead sought in its harmonic content.

“ I hope this work will one day bring me fame. At no time will you regret its cost”G E O R G P H I L I P P T E L E M A N N , 1733

Musique de table consists of three ‘Productions’, each containing the following sequence of movements: Overture, Quartet, Concerto, Trio, Solo, and Conclusion. Each Production contains over an hour’s worth of music, and should be

the genre for eighteenth-century tastes by including wind and brass instruments alongside the strings, and by combining elements of the concerto and the dance suite within a single sequence of movements.

Johann Hermann Schein, Suites from Banchetto MusicaleJohann Hermann Schein (1586–1631) held the post of cantor (music teacher) at the St Thomas School in Leipzig from 1616 until his death. This was the same job that would be held just over a century later by Johann Sebastian Bach; it carried responsibility for directing music in the city. Schein’s first publication on assuming his post in Leipzig was Banchetto Musicale, a collection of dance suites for instrumental ensemble. The title ‘Musical Banquet’ suggests that the origins of the collection lay in his previous employment at the Weimar court, where table music would have been performed; yet these suites also proved popular with the municipal musicians and the music-loving students of Leipzig.

Schein’s instrumental suites established a formal model that became standard in German consort dance suites, whereby movements within a suite are linked thematically. This procedure can be heard in his fifth suite. It begins with a Padouana (pavan) in three sections, each with a distinctive theme (a tattoo of repeated notes; a perky dotted rhythm; and then a quaver stepwise theme used in imitation). The ensuing Gagliarda reworks each of these three themes in triple metre and with plain inner parts. Finally, the Courente uses the tattoo theme now turned upside down.

The seventh suite uses the melodic gestures of the Phrygian mode; for modern ears it may sound like a quirky mix of E minor and A minor, but seventeenth-century listeners would have associated it with the mood of lamentation. The Padouana opens with close imitation between the violins and violas over a slow-moving bass. Gradually Schein introduces more rhythmic activity in the upper strings, culminating in his use of dotted rhythms.

Thomas Simpson, suite from Taffel ConsortThomas Simpson was one of several English musicians who made their careers in German-speaking lands and Denmark in the early seventeenth century. He was born in Kent in 1582; he worked at the courts in Heidelberg, Bückeburg and Copenhagen; and he died in Copenhagen before 1628. In 1621 his collection Taffel Consort was published in Hamburg; it contains pieces by Simpson, by other English musicians who worked on the continent (such as John Dowland and Maurice Webster) and by German musicians from the Bückeburg court (such as Nicolaus Bleyer and Johann Grabbe). Simpson’s publication is historically significant as one of the first collections to be scored for string quartet (two violins, viola and bass), rather than the textures with multiple violas otherwise so popular in the seventeenth century.

Johann Hermann Schein (1586–1630)

Georg Philipp Telemann, after a lost painting by Ludwig Michael Schneider, 1750


regarded as an à la carte menu from which musical dishes can be selected depending on the audience’s taste and appetite. Telemann combined a variety of fashionable styles in each Production, with allusions to different national styles and skilful use of concerto textures even within dance movements. The strings-only scoring found in seventeenth-century table music is here enriched by selected use of the woodwind and brass.

The second Production begins with an overture scored for strings with oboe and trumpet. This overture is framed by Lentement sections that have the swaggering dotted rhythms and tirades of the French overture; they also digress into the Polish folk style often favoured by Telemann, briefly imitating bagpipe drones and hurdy-gurdy melodies. The central section of the overture combines fast fugal passages with concerto-like writing for solo violin, oboe and trumpet. In Telemann’s original edition of the Musique de table, the overture is followed by four dance movements (‘Airs’) that are omitted from tonight’s concert.

Telemann then writes a series of pieces for smaller forces, including a quartet scored for recorder (or bassoon or cello), two flutes and continuo; a trio for flute, oboe and continuo; and a sonata for solo violin and continuo. Each of these pieces is in four movements, following the Italian model of slow—fast—slow—fast.

The slow movements typically bear such rubrics as Affetuoso and Dolce, and are in a galant style characterised by delicate melodic

ornamentation and daintily articulated melodic motifs. The fast movements are in a forthright Italian manner with succinct contrapuntal themes and exuberant passage-work. Particularly memorable is the variety of textures achieved by Telemann in the quartet, where he explores the different pairings possible among the three upper melody instruments. The quartet is all in minor keys, apart from a sunlit episode in D major in the final Allegro.

There is also a concerto in F major scored for string ensemble, with three solo violins reinforced by a ripieno ensemble of violins, violas and continuo. The concerto is in three movements and has the verve of Vivaldi’s string writing, with rushing semiquaver scales and arpeggiated figures. Telemann’s tendency in the first movement to explore the minor key is also Vivaldian, giving a dramatic intensity that might have surprised the more sedate diners.

The conclusion of the second Production of Musique de table features again the trumpet and oboe, with bravado figuration and exhilarating scales in the strings. Such an exuberant finale would surely have the diners leaving their table in high spirits.

Stephen Rose © 2012Dr Stephen Rose is Lecturer in Music at

Royal Holloway, University of London

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World-première recording of music by Christopher Gibbons released

The AAM broke new ground this summer, releasing the world-première recording for works by long-neglected English composer Christopher Gibbons.Son of the famous Orlando, Richard Egarr unearthed works by the composer following a tip-off in the diary of eighteenth-century gentleman Samuel Pepys. Richard Egarr tells the story:

“It was about 15 years ago. As I was gently reading through the magnificent diary of Samuel Pepys, I noted again and again references to a great keyboard master ‘Mr.Gibbons’. I was fully aware of the music sung by Orlando Gibbons, whose music I had sung and known since the age of eight as a chorister at York Minster.

“The Gibbons of Pepys could not be Orlando, who died decades before the diary was written. Curiousity duly peaked, I quickly discovered that this famous mid-seventeenth-century Gibbons was Christopher, Orlando’s son. Why, if he was indeed so feted in Pepys’ lifetime, had I not come across his music?

“I began digging for information and looking for scores. Further rummaging increased my amazement: there was a large repertoire of music

by this composer — anthems, fantasies, fantasy-suites and keyboard music. Was this music so uninteresting that it wasn’t worthy of attention? I ordered microfilms of all the music and discovered extraordinary music of great emotional power; real masterpieces.”

At aam.co.uk...➤ Read a choir-member’s recording session diary➤ Listen to excerpts ➤ Read reviews

In the foyer tonight...➤ Buy the CD for just £10

News at the AAM

JS Bach’s The Art of Fugue: Mahan Esfahani’s new arrangement premièred at BBC Proms

At this summer’s BBC Proms we premièred a pioneering new arrangement of JS Bach’s The Art of Fugue by Mahan Esfahani.

Esfahani’s new arrangement scores the work for a variety of instruments from strings to cornetto, exploring Bach’s intricate keyboard score through a range of musical ‘languages’.

Nothing is known for sure about the ‘original’ score of The Art of Fugue, which was added to and amended by Bach and his followers. For Mahan, this rich history is part of the beauty of the work: rather than try to recover an ‘original’, his arrangement takes inspiration from the way composers have responded to the work, including Telemann, Anton Webern and Bach’s own son.

At aam.co.uk...➤ Watch in-depth films about the project➤ Read Mahan’s feature on Iran from The Guardian➤ Read reviews of the performance➤ Find details of our forthcoming Scandinavia tour with Mahan

“ The instrumental pieces are wonderfully imaginative, but it’s the vocal works that stand out with their startling modulations and expressively charged vocal lines.”T H E G UA R D I A N , 2012

Barbican Association launched

This month the AAM launches its new position as Associate Ensemble at London’s Barbican Centre. This new relationship will bring regular AAM performances to the Barbican’s musical community.

AAM Chief Executive Michael Garvey commented: “The AAM’s Association at the Barbican Centre provides us with a new and stimulating opportunity to grow; we’re very excited about putting baroque and classical music at the heart of one of the world’s most diverse and vibrant artistic communities.

“The Association gives us a world-class London home and will allow us to give ever more ambitious performances in both London and Cambridge, and to connect with new audiences in stimulating ways.“

Similar sentiments were reflected by Barbican Head of Music Angela Dixon: “AAM has a history of inspirational performances at the Barbican and we are in the enviable position of being able to increase their number. They have a strong team and their collaborative nature makes the artistic possibilities extremely exciting.”

The AAM takes on this new role alongside Britten Sinfonia. Helen Lax from Arts Council England said: “These high profile roles for AAM and Britten Sinfonia confirm their positioning in the top echelon of international ensembles. We are very proud to support these orchestras and the excellent work they produce.”

The AAM’s first season as Associate Ensemble includes performances at the Barbican of Handel’s royal music and JS Bach’s St John Passion with Music Director Richard Egarr, and a performance of Handel’s “farewell to Italian opera” Imeneo with AAM founder Christopher Hogwood. Plans for future seasons include a cycle of Monteverdi operas, performances with Alina Ibragimova and Andreas Scholl, and a series of celebratory concerts and events in 2013–14 to mark the AAM’s 40th anniversary.

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AAM Chief Executive Michael Garvey at the Barbican Centre

New members of staff

We’re delighted to welcome two new members of staff to the AAM office.

Brittany Wellner James joins the Fundraising team as Development Officer. She joins us having recently completed a Ph.D at the University of Cambridge. Brittany will lead the new Friends’ scheme, and will support the AAM in its work to reach ever-growing fundraising targets.

Ceri Humphries joins the team as Concerts & Administration Assistant, having recently graduated with a BMus in Music from Royal Holloway, University of London. She will work closely with the Head of Concerts & Artistic Planning in managing, facilitating and supporting the work of the orchestra.

St Matthew Passion booking now open

In 2013 the AAM will give performances of JS Bach’s St Matthew Passion in London (Kings Place, 29 January) and Cambridge (King’s College Chapel, 25 and 26 March) continuing a long-standing collaboration with the Choir of King’s College, Cambridge. Booking for both performances is now open.

Bach’s epic setting of the passion story will be brought to life by soloists including James Gilchrist (Evangelist, London), Christoph Genz (Evangelist, Cambridge) and David Wilson Johnson (Christ, London).

In the foyer tonight...➤ Collect a booking form for Cambridge performances ➤ Pick up a season brochure with full details of our

London and Cambridge season


Join the Friends of the AAM todayMembership from just £2.50 per month

Glimpse orchestral life behind the scenesBenefit from priority booking

Meet the musiciansSupport the music you love

HOW TO JOINPick up a leaflet in the foyer tonight

Visit aam.co.uk/support

Exclusive Friends’ open rehearsal26 September 2012

Watch Richard Egarr rehearse the AAM and Choir of the AAM in Handel’s glorious royal music at

the Barbican. Sign up as a Friend tonight to join us at this exclusive event.

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There’s also a difference in the way we approach our music making. Composers prized the creativity of musicians, expecting them to make the music come alive and to communicate its thrill to the audience — an ethos we place at the heart of all that we do. Very often we don’t have a conductor, but are directed by one of the musicians, making for spontaneous, sparky and engaged performances. It’s not just about researching the past; it’s about being creative in the present.

In everything we do, we aim to recapture the intimacy, passion and vitality of music when it was first composed. The result? Performances which are full of energy and vibrancy, the superb artistry and musical imagination of our players combined with a deep understanding of the music’s original context.

Academy of Ancient Music: our ethos

The history of the AAM is the history of a revolution. When Christopher Hogwood founded the orchestra almost forty years ago, he rejected the decades-old convention of playing old music in a modern style. Hogwood and the AAM were inspired by original performances and, along with musicians across Europe, were beginning to discover the sound worlds which Bach, Handel and Haydn would have known. These bold initial steps would lead to a radical transformation in musical performance, allowing baroque and classical masterworks to be heard anew from that day to this.

So what’s different about the AAM? Partly it’s the instruments, which are originals (or faithful copies of them). The stringed instruments have strings made of animal gut, not steel; the trumpets have no valves; the violins and violas don’t have chin-rests, and the cellists grip their instruments between their legs rather than resting them on the floor. The result is a sound which is bright, immediate and striking. Additionally, the size of the orchestra is often smaller, meaning that every instrument shines through and the original balance of sound is restored; and where possible we play from first edition scores, stripping away the later additions and annotations of editors and getting back to composers’ initial notes, markings and ideas.

Academy of Ancient Music: our past, present and future

The AAM was founded in 1973 by Christopher Hogwood, under whose leadership the orchestra developed the global reputation for inspirational music making which continues today. In its first three decades the AAM performed live to music lovers on every continent except Antarctica, and millions more heard the orchestra through its astonishing catalogue of over 300 CDs: Brit- and Grammy-Award-winning recordings of Handel operas, pioneering accounts of the Beethoven, Mozart and Haydn symphonies, and revelatory discs which championed neglected composers.

This artistic excellence was fostered by a stunning roster of guest artists: singers Dame Emma Kirkby, Dame Joan Sutherland and Cecilia Bartoli and pianist Robert Levin were among those performing regularly with the AAM. A range of collaborations continue to inspire the group with new ideas and fresh approaches. The current relationship with the Choir of King’s College, Cambridge recently produced the world’s first live classical cinecast, with Handel’s Messiah streamed live into hundreds of cinemas across the globe; and ongoing work with the likes of soprano Elizabeth Watts, tenor James Gilchrist, violinist Alina Ibragimova and harpsichordist Mahan Esfahani lie at the heart of the AAM’s present-day artistic success.

In 2006 Richard Egarr succeeded Hogwood as Music Director, and keeps the trailblazing spirit alive. Already Egarr has directed the first-ever performances in China of Purcell’s Dido and Aeneas and JS Bach’s complete Brandenburg Concertos. Recent recordings, including a complete cycle of Handel’s instrumental music Opp.1-7 and the world-première recording of music by long-neglected composer Christopher Gibbons, have won MIDEM, Edison and Gramophone Awards. In 2007 Egarr founded the Choir of the AAM, which a year later was awarded the title of ‘Choir of the Year’ at the Beijing Classical Elites.

The future is just as bright. Performances in 2012–13 feature music from Biber to Beethoven, with outstanding artists including Andreas Scholl and Lucy Crowe making their AAM debuts. In November, the AAM will present a two-day festival, Handel the Londoner, exploring the composer’s links with the eighteenth-century capital through talks, workshops and concerts.

The AAM is Associate Ensemble at London’s Barbican Centre and Orchestra-in-Residence at the University of Cambridge.

At aam.co.uk...➤ Watch films about projects with Alina Ibragimova and

Mahan Esfahani➤ Listen to excerpts from the new Christopher Gibbons CD

NEW IMAGE HERE

“a band that, for nearly 40 years, has consistently established a benchmark of veracity and authority in getting composers’ music played as it was intended to be played: free of accretions, stripped of varnish, and as straight and true as an arrow”G L A S G O W H E R A L D, 2010

RICHARD EGARR AND THE AAM REHEARSING HANDEL’S ROYAL MUSIC AT SCHLOSS GRAFENEGG, AUSTRIA, THIS AUGUST. VIS IT YOUTUBE.COM/ACADOFANCIENTMUSIC TO WATCH AN AAM PERFORMANCE OF THE MUSIC FOR THE ROYAL F IREWORKS


Board of DirectorsAdam BroadbentKay Brock LVO DLJohn EverettMatthew FerreyJames GolobJohn GrievesHeather JarmanChristopher Purvis CBE (Chairman)John ReeveTerence SinclairDr Christopher TadgellJanet Unwin

Development BoardAdam BroadbentKay Brock LVO DLDelia BrokeElizabeth de FriendKate DonaghyJohn EverettMatthew FerreyJames GolobJohn GrievesMadelaine GundersAnnie NortonChristopher Purvis CBEJohn ReeveChris Rocker Terence Sinclair (Chairman)Dr Christopher TadgellMadeleine TattersallSarah Miles WilliamsAlison Wisbeach

Music Director Richard Egarr

Emeritus DirectorChristopher Hogwood CBE

Chief ExecutiveMichael Garvey

Head of Projects & Administration

Samantha Martin

Head of Concerts & ArtisticPlanning

Andrew Moore

Concerts & Administration Assistant

Ceri Humphries

Head of CommunicationsToby Chadd

Communications ManagerAnna Goldbeck-Wood

PR ConsultantRebecca Driver

Head of Finance Elaine Hendrie

Head of Fundraising Simon Fairclough

Fundraising Manager Oriel Williams

Fundraising OfficerBrittany Wellner James

Violin IPavlo Beznosiuk*Lucy RussellPersephone Gibbs

Violin IIBojan ČičićRebecca LivermoreLiz MacCarthy

Viola Jane Rogers

Cello Sarah McMahon*

Double bass Judith Evans

FluteRachel Brown*Guy Williams

OboeFrank de Bruine

Bassoon Ursula Leveaux

TrumpetDavid Blackadder

Harpsichord Richard Egarr

Keyboard TechnicianMalcolm Greenhalgh

Frank de Bruine oboeBaroque music was my first love, and when I discovered the baroque oboe while still a student, I knew immediately: this is it, nothing else will do. What makes the baroque oboe such a great instrument to play? With a sound resembling the human voice it is perfectly equipped to tell the story of the music — Johann Mattheson didn’t characterise it as “eloquent” for nothing. It has the power to hold its own against the trumpet, yet it is also a match for the flute in sweetness. Telemann, very well aware of these qualities, exploited them to the full in tonight’s pieces.

*Sponsored chairs

Leader Lord and Lady Magan

Principal cello Dr Christopher and Lady Juliet Tadgell

Principal fluteChristopher and Phillida Purvis

Sub- principal violaSir Nicholas and Lady Goodison

Sub- principal celloNewby Trust Ltd

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Academy of Ancient Music

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Richard Egarr director & harpsichord

Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music– making. As well as being an accomplished conductor, Richard is a brilliant harpsichordist and equally skilled on the organ, fortepiano and modern pianos. His many roles include directing from the keyboard, playing concertos and giving solo recitals, and he relishes the chance to talk about music at every opportunity.

Richard trained as a choirboy at York Minster, atChetham’s School of Music in Manchester andas organ scholar at Clare College, Cambridge.His studies with early music pioneers Gustavand Marie Leonhardt further inspired his work inthe field of historical performance.

Richard was appointed Music Director ofthe AAM in 2006, since when he has led theorchestra on tours to four continents and ina number of acclaimed recordings. Richard isalso involved with a number of other periodensembles: he appears in America with theHandel and Haydn Society and PortlandBaroque, and with Philharmonia Baroque in San Francisco. He has performed as a soloist with The English Concert and the Orchestra of the Age of Enlightenment.

In 2007 Richard established the Choir of theAAM, and operas and oratorios lie at the heartof his repertoire. He regularly appears at theConcertgebouw in Amsterdam with, amongothers, the Netherlands Opera Company; andin 2007 he made his Glyndebourne debut in astaged performance of JS Bach’s St MatthewPassion. Richard is also renowned as aninspiration for young musicians: alongsidehis teaching position at the AmsterdamConservatoire, he has regular relationships withthe Britten–Pears Foundation in Aldeburgh andwith the Netherlands Opera Academy.

Richard is increasingly sought after by non–period orchestras. He appears regularly with the Rotterdam Philharmonic Orchestra and the Philadelphia Orchestra, and was appointed Associate Artist with the Scottish Chamber Orchestra in December 2011.

“genuinely exhilarating and constantly surprising”T H E G UA R D I A N , J U LY 2011

Richard has performed as a soloist throughoutEurope, Japan and the USA, and his solorecording output comprises works byFrescobaldi, Orlando Gibbons, Couperin, Purcell,Froberger, Mozart and JS Bach. For many yearshe formed an “unequalled duo for violin andkeyboard” (Gramophone) with violinist AndrewManze, which resulted in acclaimed concertsand award-winning recordings of music fromStylus Phantasticus to Mozart and Schubert.

Richard has directed the AAM in recordings byJS Bach, including the Brandenburg Concertos; in a complete cycle of Handel’s Opp.1-7instrumental music which has won MIDEM,Edison and Gramophone Awards; and most recently, in music by forgotten composer Christopher Gibbons (read more on page 8).

Richard lives in Amsterdam with his wife anddaughter.


Join the AAM Society I would like to join the AAM Society

I would like to give membership of the AAM Society to someone else as a gift

Your detailsName: ...................................................................................................................................................................................................................................................................................................................

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Gift membership — member’s detailsPlease complete this section only if you are giving Society membership to someone else as a gift.

Member’s name: ............................................................................................................................................................................................................................................................................................

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Membership level The Chairman’s Circle £20,000+ Principal Benefactor £1,000–£2,499

The Hogwood Circle £10,000–£19,999 Benefactor £500–£999

Principal Patron £5,000–£9,999 Donor £250–£499

Patron £2,500–£4,999 Young Supporter (under 40 only) £100–£249

Acknowledgement Please acknowledge my gift using the following wording ......................................................................................................................................................................................

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Payment details I enclose a cheque for £.......................... (please make payable to ‘AAM’) I would like to pay by standing order (see below)

I enclose a CAF cheque for £.......................... (please make payable to ‘AAM’) I would like to make a gift of shares (please contact the AAM)

Gift Aid declarationPlease complete this section if you pay UK income tax and/or capital gains tax at least equal to the tax which the AAM will reclaim on your donations in the appropriate tax year.

Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations.

Signed .................................................................................................................................................................................... Date ...........................................................................................................

Standing order mandatePlease complete this section only if you would like to make your donation by standing order.

Name of bank ...............................................................................................................................................................................................................................................................................................

Bank address .................................................................................................................................................................................................................................................................................................

Account number .............................................................................................................. Sort code .............................................................................................................................................

Please pay Academy of Ancient Music, Lloyds TSB. Gonville Place Branch, Cambridge, sort code 30-13-55, account number 02768172,

the sum of £.......................... per month / quarter / year, starting on...........................................................................................................................................................................

Signed .................................................................................................................................................................................... Date ...........................................................................................................

Please return this form to:Oriel Williams, Academy of Ancient Music, 11b King’s Parade, Cambridge CB2 1SJ

The AAM Society

On 17 September 1973, 23 musicians gathered in Richmond to record Arne’s Eight Overtures under the young director Christopher Hogwood.

Nobody travelling to the church that morning could have begun to imagine that that the Academy of Ancient Music (as Hogwood had christened the group) would be in flourishing health 40 years later.

Yet funded by Decca the AAM began to build a pioneering discography. Over the next 25 years it released more recordings than any other period instrument orchestra in the world, and gave thousands of performances at the finest concert halls on every continent.

By the late 1990s, when Hogwood began to plan for the appointment of his successor, the world was changing. The record industry was in decline, and financial pressures facing international concert halls meant that the generous performing fees of old were no longer available. Putting down roots at home in the UK had become a pressing priority.

In 2000, founder-members of the AAM Society contributed £10,000 to fund the orchestra’s first London season. It was AAM Society members too who financed the establishment of the orchestra’s residency at Cambridge, and who provided the support needed to appoint Richard Egarr as Hogwood’s successor. Over the last decade, the generosity of an ever-expanding group of supporters has transformed the AAM from a private enterprise directed by Hogwood into a major charitable institution

which continues his work beyond his active involvement.

The strength of support offered by Society members and other funders has enabled the AAM to develop an ambitious vision for the next stage of its development. It recently established the AAMplify new generation programme to nurture the audiences, performers and arts managers of the future; in January 2012 it was appointed as Associate Ensemble at the Barbican Centre; and it is now working to establish its own record label.

The orchestra’s supporters have risen magnificently to the challenge of funding the initial costs of these developments, and the greatest priority now is to make the step-change permanent. You can help us to do so by joining their number.

Because the AAM is a charity it can claim Gift Aid on donations, boosting their value by 25%. Even better, the orchestra has received a generous challenge grant which means that every pound donated by a new Society member will be matched.

We would be thrilled to welcome you as a member — and your support would enable us to enrich more lives than ever before with our music.

To find out more please contact Oriel Williams, our Fundraising Manager, on 01223 341093 or [email protected].

We love the AAM’s excellent performances, academic depth and innovative programming, and as AAM Society members we share the musical life of this superb ensemble project by project. The AAM is as welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage! RICHARD AND ELENA BRIDGES AAM SOCIETY MEMBERS

Why we support the AAM

“ ”


PPLATINUM CONSORT

STORM OF LIGHTPalestrina Missa Papae MarcelliBates Storm of Light world premiere

Bates Veni Veni Emmanuel world premiereWhitacre Alleluia

Britten Hymn to the Virgin

Friday 16th November 2012, 7:30pmSt Giles' Cripplegate, London EC2Y 8DA

Tickets £15 / £25www.platinumconsort.com

"Their sound is glorious"CLASSIC FM 2012

Directed by Scott Inglis-Kidger

"Pristine tonal balance and pure tuning...intimatemusic-making...sensitively sung...vigorously projected"

BBC MUSIC MAGAZINE 2012

20TH20THBIRTHDAY GALA CONCERTA CELEBRATION OF BRITTEN SINFONIA, PRESENT AND FUTUREBARBICAN HALL

SATURDAY 27 OCTOBER 7.30PMTICKETS FROM £8020 7638 8891BARBICAN.ORG.UK

International PartnerA Britten Sinfonia and Barbican co-production

CAMBRIDGE WEST ROAD CONCERT HALLMONDAY 22 OCTOBER 7.30PM01223 357851BRITTTENSINFONIA.COM

020 7638 8891Box office

Reduced booking fee onlinew

ww

.barbican.org.uk

Associate Ensemble

Wigmore Hall 36 Wigmore Street, London W1U 2BPDirector: John Gilhooly, The Wigmore Hall Trust, Registered Charity No.1024838Wigmore Hall is a no-smoking venue.

No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management.

Wigmore Hall is equipped with a ’Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ’T’.

In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions.

Facilities for Disabled People:

Please contact House Management for full details.

Tickets £10–£25 (talks free with a concert ticket) 0845 120 7500 | barbican.org.uk/AAM

“ Fans of Richard Egarr and the AAM know the extent to which Handel’s music sparkles and breathes under their fingertips”

Handel the Londoner

Academy of Ancient Music

A two-day festival of tours talks and concerts exploring Handel’s links with the capital

FRIDAY 16 NOVEMBER TOUR: Handel House5.00pm Handel House Museum

TALK: Sir Nicholas Kenyon6.00pm St George’s Hanover Square

CONCERT: Handel and heroes7.00pm St George’s Hanover Square

SATURDAY 17 NOVEMBERTOUR: Foundling Museum5.00pm Foundling Museum

TALK: Edward Blakeman6.00pm Foundling Museum

CONCERT: Handel and friends7.00pm Foundling Museum

A5 landscape prog ad.indd 1 9/11/2012 6:04:58 PM

LONDON 26 September, 7.30pm Barbican Hall, London

Tickets £8–£35 0845 120 7500 | barbican.org.uk/AAM

Music for the Royal FireworksCoronation AnthemsWater Music‘Hallelujah!’ and ‘Amen’ from Messiah

Richard Egarr conductorChoir of the AAM

“ Fans of Richard Egarr and the AAM know the extent to which Handel’s music sparkles and breathes under their fingertips” CLASSIC FM MAGAZINE, JANUARY 2012

Handel’s royal music

CAMBRIDGE 27 September, 7.30pm Corn Exchange, Cambridge

Tickets £25–£33.50 01223 357851 | cornex.co.uk

20 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N

The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work:

Thank you

Special giftsThe Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestra’s work at a particularly significant level this year.

The Chairman’s Circle(Donations £20,000–£49,999 per annum)Matthew FerreyCHK Charities LtdDunard Fund

The Hogwood Circle(Donations £10,000 - £19,999 per annum)Lord and Lady MaganChristopher and Phillida Purvis *Mrs Julia RosierDr Christopher and Lady Juliet TadgellLady Linda Wong Davies (KT Wong Foundation)

Principal Patrons (Donations £5,000 – £9,999 per annum)Richard and Elena BridgesChristopher Hogwood CBE *Mrs Sheila MitchellNewby Trust Ltd *Chris and Ali RockerTerence and Sian Sinclairand other anonymous Principal Patrons

Patrons (Donations £2,500 – £4,999 per annum)Lady Alexander of WeedonAdam and Sara BroadbentRichard and Elizabeth de FriendMr and Mrs JE EverettMr and Mrs James GolobSir Nicholas and Lady Goodison *John and Ann GrievesGraham and Amanda HuttonDavid and Linda LakhdhirMark and Liza LovedayNigel and Hilary Pye *John and Joyce ReeveMark Westand other anonymous Patrons

Principal Benefactors (Donations £1,000 – £2,499 per annum)John and Gilly BakerGeorge and Kay BrockMrs D BrokeMr and Mrs Graham Brown

Clive and Helena ButlerJo and Keren ButlerSir Charles Chadwyck- Healey BtPeter Stormonth DarlingKate DonaghyThe Hon Simon EcclesThe Hon. William GibsonElma Hawkins and Charles RichterLord HindlipJohn McFadden and Lisa Kabnick * Steven Larcombe and Sonya LeydeckerMr and Mrs C NortonLionel and Lynn PerseyMr and Mrs Charles Rawlinson Mark and Elizabeth RidleySir Konrad and Lady Schiemann *JG StanfordMr Michael StumpJohn and Madeleine TattersallMarcellus and Katharine Taylor- JonesStephen ThomasSarah and Andrew WilliamsMrs R Wilson StephensCharles Woodwardand other anonymous Principal Benefactors

Benefactors (Donations £500 – £999)Dr Aileen Adams CBEBill and Sue BlythClaire Brisby and John Brisby QC *Mr and Mrs Edward Davies- GilbertCharles DumasMr and Mrs Jean- Marie EveillardSimon FaircloughMarshall FieldMichael and Michele Foot CBEAndrew and Wendy GairdnerHon William GibsonThe Hon Mr and Mrs Philip HaversProfessor Sean HiltonDr and Mrs G and W HoffmanHeather Jarman *Susan LathamTessa MayhewMr and Mrs Hideto NakaharaRodney and Kusum Nelson- JonesNick and Margaret ParkerBruno Schroder and FamilyPeter ThomsonJanet UnwinPippa WicksOriel Williams

Peter and Margaret WynnJulia Yorkeand other anonymous Benefactors

Donors (Donations £250 – £499)Angela and Roderick Ashby- JohnsonElisabeth and Bob Boas *Mrs Nicky BrownJeremy J BuntingMr Alexander ChaddDr and Mrs S ChallahDavid and Elizabeth ChallenCottisford TrustStephen and Debbie Dance Derek and Mary DraperBeatrice and Charles GoldieSteven and Madelaine GundersGemma and Lewis Morris HallMrs Helen HiggsLord and Lady Jenkin of RodingAlison KnockerRichard LockwoodYvonne de la PraudièreJane Rabagliati and Raymond CrossRobin and Jane RawAnnabel and Martin RandallArthur L Rebell and Susan B CohenDenys RobinsonMr and Mrs Timothy RobinsonMichael and Giustina RyanMiss E M SchlossmannMichael SmithRt Hon Sir Murray Stuart- Smith *Janet UnwinRobin VousdenPaul F. Wilkinson and Associates Inc.and other anonymous Donors* denotes founder member

The AAM Society

AAM Business ClubCambridge University PressKleinwort BensonRoyal Bank of Canada

Public fundersArts Council EnglandOrchestras LiveCambridge City Council

Trusts and foundationsThe Backstage TrustCHK Charities LtdDunard FundJohn Ellerman FoundationEsmée Fairbairn FoundationFidelity UK FoundationGatsby Charitable FoundationJ Paul Getty Jnr Charitable TrustNewby Trust LtdSir Siegmund Warburg’s Voluntary SettlementConstance Travis Charitable TrustGarfield Weston Foundationand other anonymous trusts and foundations

a musical feast · · 2012-09-18a musical feast. 2. ... that is dominated by the solo violin;...

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