aam - in stil moderno

Welcome to this evening’s concert, full of theextraordinary sounds of early seventeenth- century Venice. Tonight’s music retains the same ear- catching qualities today as it did twohundred years ago, when an English visitor toVenice described hearing music “so good, anddelectable, so rare, so admirable, so super- excellent, that it even did ravish and stupifie allthose strangers who never heard the like”.

We are delighted to welcome AleksandraAnisimowicz as our soprano soloist. RichardEgarr tipped Aleksandra as one to watch afterher performance as Zerlina in a production ofDon Giovanni which he directed. But Aleksandrais equally at home performing music from theearly baroque, and last year gave a recital ofmusic by Monteverdi and Luzzaschi live onDutch national radio. Turn to page 11 to readmore about her sparkling career.

This year sees worldwide celebrations of the four- hundredth anniversary of the compositionof Monteverdi’s Vespers. The AAM will bemarking the date with performances with theChoir of King’s College, Cambridge acrossEurope. But, as Stephen Rose reminds us in hisprogramme note (pages 3–5), Monteverdi’soutput comprises so much more than theVespers and, together with that of hiscontemporary Castello, constituted “the

forefront of musical experimentation in earlyseventeenth-century Italy”. We very much hopethat you enjoy tonight’s colourful array ofinstrumental sonatas, sacred vocal works, operaexcerpts and madrigals from the foundations ofEuropean baroque.

For the final concerts in our 2009-10 WigmoreHall and WRCH season we will be joined bytenor James Gilchrist for a programmeencompassing four hundred years of Englishmusic, from Christopher Gibbons and HenryPurcell to Benjamin Britten and Gerald Finzi. Theperformance has already been nominated byBBC Music Magazine as one of the must- seeconcerts of June, and is sure to sell out quickly.Turn to page 18 for details of how to book.

The eagerly- anticipated launch of our 2010-11London and Cambridge season is almost uponus. Complete and return the AAM mailing listform on page 19 and we’ll make sure that you’reamong the first to hear about the AAM’sexciting music making over the next year.

This evening’s performance could not havetaken place without the support of RBC WealthManagement. We are delighted to have theopportunity to thank the Bank publicly for itstremendous generosity.

A C A D E M Y O F A N C I E N T M U S I C , 2 0 0 9 - 2 01 0 S E A S O N 1

The seventeenth- century Italian avant gardeAleksandra Anisimowicz sopranoRichard Egarr director & keyboards

26 April West Road Concert Hall, Cambridge27 April Theatre Royal, Bury St Edmunds28 April Wigmore Hall, London

‘In stil moderno’

Programme April 10_AAM programme April 2010 10/04/2010 09:34

DARIO CASTELLO (c.1590–c.1658)Sonata for two sopranos from Sonate Concertate in Stil Moderno, Libro II

CLAUDIO MONTEVERDI (1567–1643)Prologo from L’Orfeo

DARIO CASTELLOSonata à 3 for two sopranos and dulcian from Sonate Concertate in Stil Moderno, Libro II

CLAUDIO MONTEVERDIExulta filia Sion

DARIO CASTELLOSonata à 2 for soprano and violeta from Sonate Concertate in Stil Moderno, Libro II

CLAUDIO MONTEVERDILamento d’Arianna from L’Arianna

CLAUDIO MONTEVERDI‘Di misera regina’ from Il ritorno d’Ulisse in patria

DARIO CASTELLOSonata à 2 for soprano and dulcian from Sonate Concertate in Stil Moderno, Libro II

CLAUDIO MONTEVERDILaudate Dominum in sanctis eius

DARIO CASTELLOSonata à 3 for two sopranos and dulcian from Sonate Concertate in Stil Moderno, Libro II

CLAUDIO MONTEVERDI‘Se i languidi miei sguardi’ from Il Settimo Libro de Madrigali

DARIO CASTELLOSonata à 4 for two sopranos, violeta and dulcian from Sonate Concertate in Stil Moderno, Libro II

CLAUDIO MONTEVERDIConfitebor tibi Dominum

Programme

2 A C A D E M Y O F A N C I E N T M U S I C , 2 0 0 9 - 2 01 0 S E A S O N

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as muchas possible and ensure that watch alarms and any other electronic devices which may becomeaudible are switched off.

Interval of 20 minutesPlease check that your mobile phone is turned off if you used it during the interval.


At the start of the seventeenth century, Venicewas entering a musical golden age. The Englishtraveller Thomas Coryate, who visited the city in1608, noted how music was present at all levelsof Venetian society. On the streets, traders usedvocal and instrumental music to sell their wares.Describing one of the city’s many courtesans,Coryate noted how “shee will endevour toenchaunt thee partly with her melodious notesthat shee warbles out upon her lute... and partlywith that heart- tempting harmony of her voice”.Most lavish of all was the music at sacredcelebrations. Commenting on the patronal feastat the Scuola di San Rocco, Coryate marvelled:“This feast consisted principally of Musicke,which was both vocall and instrumental, sogood, and delectable, so rare, so admirable, so super- excellent, that it did even ravish andstupifie all those strangers that never heard thelike.! But how others were affected with it Iknow not; for mine own part I can say this, that Iwas for the time even rapt up with Saint Paulinto the third heaven.”

Tonight’s concert showcases compositions byClaudio Monteverdi (1567–1643) and DarioCastello (fl.1620s), two of the musicians workingat the basilica of St Mark’s in Venice. St Mark’swas renowned for its vocal music, in particularthe antiphonal effects that derived from dividedchoirs (or cori spezzati). But it also had a team ofinstrumentalists who played sonatas and theobbligato lines in vocal compositions. Indeed,Coryat observed how the sackbuts and cornetsat St Mark’s “yielded passing good music”, andhe commended the performance there “of atreble viol, which was so excellent, that I thinkeno man could surpasse it”. Monteverdi joined StMark’s as maestro di cappella in 1613, after aperiod of employment at the Mantuan court; hecombined his duties at St Mark’s with work inVenice’s opera houses. Castello was one of thewind players at the basilica, but otherwisevirtually nothing is known about his biography,not even the dates of his birth or death.

Both Monteverdi and Castello were at theforefront of musical experimentation in early seventeenth- century Italy. Instead of thepolyphonic style favoured in the previouscentury, composers were increasingly writingfor a single soloist against a chordalaccompaniment. In vocal genres, this monodictexture was regarded as a good way to capturethe subtleties of speech in tones and torepresent emotions in music. Indeed,Monteverdi’s contemporaries used the term stilerappresentativo for the solo recitatives of earlydramatic works. The preference for a solotexture also allowed performers to impressaudiences through their sheer virtuosity,whether on voice or instruments.

Monteverdi’s first essay in the stilerappresentativo was his opera L’Orfeo, writtenfor the Mantuan court in 1607 and emulatingearlier operas on the Orpheus myth by theFlorentine composers Jacopo Peri and GiulioCaccini. Monteverdi’s choice of subject matterwas apt for an era which wished to recapturethe emotional powers of music as described bythe ancients. According to classical legend,Orpheus moved inanimate objects such asstones to tears through the beauty of his music.His songs were so powerful that they evenallowed him access to Hades in order to bringback his lover Euridice to earth. Tonight we hearthe Prologo to L’Orfeo as sung by La musica, acelebration of the rhetorical power of song: “Iam music, and with sweet melodies / makepeaceful every restless heart / And, now withnoble anger, now with love / I can inflame thecoldest minds.” Although musica’s melody is asimple declamatory line, it is underpinned by apowerful musical logic: each verse is built overthe same harmonic structure, and is framed bythe same instrumental ritornello.

One year after L’Orfeo, Monteverdi wrote hisopera L’Arianna for a festival at the Mantuancourt celebrating the marriage of PrinceFrancesco and Margherita of Savoy. The official

Stephen Rose introduces Venice’s rich musical culture



account of the festival suggests that Monteverdihad succeeded in his aim to move theaudience’s emotions: “In the lament whichAriadne sings on the rock when she has beenabandoned by Theseus, [it] was acted with somuch emotion and in so piteous a way that...there was not one lady who did not shed somelittle tear at her beautiful plaint.” The Lamentod’Arianna (performed in tonight’s concert) is theonly part of Monteverdi’s music for the opera tosurvive, and it retains much of its power formodern audiences. Even the initial phrase is apoignant melodic gesture, rising tentatively on“Lascia” (“Let me”) but then falling downwardson “morire” (“die”); these two opposed melodicdirections are symbolic of the discord withinArianna’s tortured personality. In subsequentsections, she calls to her lover with the repeatedwords “O Teseo”, sometimes beseechingly andsometimes angrily (in the martial style known asthe stile concitato). Several of these calls toTheseus echo the memorable shape of thelament’s opening phrase.

Another sorrowful monologue is ‘Di miseraregina’, from Monteverdi’s 1640 opera Il ritornod’Ulisse in patria. It is sung by Penelope as sheawaits the return of her husband Ulysses fromthe Trojan wars. She describes herself as a“wretched queen” condemned to endless griefand crying, and she reprimands her husband forhaving abandoned her. Penelope’s mournfultone is matched by the low register of her lineand by the flatward harmonies of C minor andG minor that accompany her monologue.

An extreme form of the stile rappresentativo isfound in ‘Se i languidi miei sguardi’, a settingof Claudio Achillini’s lettere amoroso (love letter)that Monteverdi made for his 1619 Il SettimoLibro de Madrigali (Seventh Book of Madrigals).The poem voices the feelings of a bridegroomimpatient that his fiancée has postponed theirwedding. It mingles memories of the beloved’shair, eyes and mouth, with pained references tothe “languishing glances”, “broken sighs” and

“halting words” characteristic of a fracturedrelationship. Monteverdi’s setting lacks themelodic impulse of his Lamento d’Arianna; thevocal line is little more than heightened speech,and he even indicated that the piece should besung without a regular beat.

Not all of Monteverdi’s compositions were inthe stile rappresentativo. By the 1620s heincreasingly wrote in a tuneful style in whichmusic regained its ascendancy over the words.Many of his later pieces use string ritornellos,creating structure from the alternation of vocaland instrumental sections. Often these piecesare built on repeating bass patterns, frequentlyborrowed from the harmonic formulae forpopular dances. Above all, the older Monteverdifavoured triple- time vocal lines that combinememorable melodies with the infectiousrhythms of dance. This new style is particularlyevident in the sacred music that Monteverdiwrote during his time in Venice, of which weinclude three pieces in tonight’s concert.

Exulta filia Sion, for solo voice and continuo, isan exuberant hymn of praise possibly writtenfor the Christmas season. Monteverdijuxtaposes passages in dancing triple- time(“Exulta filia”, “Exulta terra”) with duple- timesections that pick out words such as “sanctus”,“venit” and “jubilate” with extravagant vocaldecoration. This ecstatic tone is interrupted onlywhen the soloist intones on stepwise pairednotes “quia consolatus est Dominus” (“the Lordhas consoled his people”). The piece ends withan energetic Alleluia, in which short phrases arerepeated in rising or falling sequences; suchsequences show Monteverdi indulging in thepower of purely musical (rather than speech- based) devices.

A similar mood of vocal elation pervadesLaudate Dominum in sanctis eius, a setting ofPsalm 150. After the initial call of “Laudate”,much of the piece is in a lilting triple- time. Thepsalmist’s evocation of the various instruments



that praise the Lord — the trumpet, psalteryand cymbals — is an opportunity forMonteverdi to get the singer to imitate fanfares, drum- rolls, plucked notes and otherinstrumental sounds. This is a piece that isemphatically music, not heightened speech.

Most ambitious of these sacred compositions isthe Confitebor tibi Domine, a setting of Psalm110 that is a veritable concerto for the voice.The psalm combines praise to God withmeditations on his mercy and steadfastness.Monteverdi sets each line of the text to adifferent type of figuration for the singer;coherence is given by the recurring harmonicpatterns and the instrumental ritornellos. In theconcluding doxology, excited triple- time writinggives way to grander gestures as the voice andfirst violin imitate each other’s motifs.

Whereas Monteverdi’s music exploits the powerof vocal virtuosity, an instrumental counterpartis found in the pieces from Dario Castello’sSonata Concertate in Stil Moderno (1629).Castello’s sonatas stand at a transitional

moment in the history of the sonata.Sometimes his instrumental parts are suitablefor a variety of different instruments (thus theterm ‘soprani’ may indicate cornetti, violins orrecorders). Other sonatas, however, specifyparticular instruments such as the dulcian,trombone or violeta (which may denote a tenorviolin or an early form of the cello). Castello’spieces are all built upon a set of formulaic yethighly effective devices. Typically they openwith duple- time imitative passages, thenalternate fast triple- time writing with chordaladagios or improvisatory solos. The endings useecho effects similar to those found in thedoxology of Monteverdi’s Confitebor tibi Domine,with upward scales passing between theinstruments. In their array of contrastingsections, Castello’s sonatas epitomise theVenetian love of musical variety and virtuosity.

© Stephen Rose 2010

Dr Stephen Rose is Lecturer in Music at RoyalHolloway, University of London



Texts and translations


CLAUDIO MONTEVERDIPrologo from L’Orfeo

Dal mio permesso amato a voi ne vegno, incliti eroi sangue gentil de Regi; di cui narra la fama eccelsi pregi, ne giunge al ver perch’è tropp’alto il segno.

Io la musica son, ch’ai dolci accenti so far tranquillo ogniturbato core;

et hor di nobil’ira et hor d’amore pos’infiammar le piùgelate menti.

Io su cetera d’or cantando soglio, mortal orecchio lusingar tal’horae in questa guisa a l’armonia Sonorade la lira del ciel più l’alme invoglio.

Quinci a dirvi d’Orfeo desio mi sprona, d’Orfeo che trasse al suo cantar le fere,e servo fe’ l’Inferno a sue preghiere, Gloria immortal di

Pindo e d’Elicona.

Hor mentre i canti alterno hor lieti hor mesti, non si mova augellin fra queste piante, ne s’oda in queste rive onda sonante, et ogni auretta in suo cammin s’arresti.

I come to you from my beloved Permesso,O great heroes, noble race of kings;fame sings your splendid qualities,but cannot do justice to your excellence.

I am music, and with sweet melodiesmake peaceful every restless heart;and now with noble anger, now with love,I can inflame the coldest minds.

I sing to this, my golden lyre,alluring mortal ears so wellthat my melodious harmonieswhet their desire for heaven’s harps.

Now do I wish to speak of Orpheus,who with his singing drew to him wild beasts,submitting even Hell unto his prayers,glory immortal of Pindo and Helicon.

Now, while I sing my songs both happy and sad,let not one bird dare move among these plants,nor should the wavelets sound upon these shores,and every breeze must halt upon its way.

TRANSLATION © CLIFFORD BARTLETT

CLAUDIO MONTEVERDIExulta filia Sion

Exulta, filia Sion; lauda, filia Hierusalem.Ecce rex tuus sanctus, ecce mundi salvator venit.Omnes gentes, plaudite manibus,jubilate Deo in voce exultationis,laetentur coeli in voce exultationis,exultet terra in voce exultationis,quia consolatus est Dominus populum suum;redemit Hierusalem.Exulta, filia Sion; lauda, filia Hierusalem.Alleluia.

Exult, daughter of Sion; sing praise, daughter of Jerusalem.Behold, your holy King, behold the saviour of the world comes.All nations, clap your hands,rejoice in God with the voice of exultation,let the heavens be praised in the voice of exultation,let the earth exult in the voice of exultation,for the Lord has comforted his people;he has redeemed Jerusalem.Exult, daughter of Sion; sing praise, daughter of Jerusalem.Alleluia.

TRANSLATION © CLIFFORD BARTLETT

CLAUDIO MONTEVERDILamento d’Arianna from L’Arianna

Lasciatemi morire, lasciatemi morire;e che volete voi che mi confortein così dura sorte, in così gran martire?Lasciatemi morire, lasciatemi morire.

O Teseo, o Teseo mio,sì che mio ti vo’ dir, che mio pur sei,benchè t’involi, ahi crudo! a gli occhi miei.Volgiti, Teseo mio, volgiti, Teseo, oh Dio!

Leave me to die, leave me to die!and what do you think can comfort mein so harsh a destiny, in so great martyrdom?Leave me to die, leave me to die!

O Theseus, O my Theseus,for mine I say, since you are that,although you flee, cruel, from my eyes.Turn back, my Theseus, turn back, Theseus, oh God!



Volgiti indietro a rimirar colei che lasciato ha per te la patria e il regno,

e in queste arene ancora, cibo di fere dispietate e crude,lascierà l’ossa ignude.O Teseo, o Teseo mio, se tu sapessi, oh Dio!Se tu sapessi, oimè! come s’affanna la povera Arianna,forse, forse pentito rivolgeresti ancor la prora al lito.Ma, con l’aure serene tu te ne vai felice et io qui piango;a te prepara Atene liete pompe superbe, et io rimango cibo di fere in solitarie arene;te l’uno e l’altro tuo vecchio parentestringerà lieto, et iopiù non vedrovvi, o madre, o padre mio.

Dove, dove è la fede, che tanto mi giuravi?Così ne l’alta sede tu mi ripon de gli avi?Son queste le corone onde m’adorni il crine?Questi gli scettri sono, queste le gemme e gli ori:lasciarmi in abbandono a fera che mi strazi e mi divori?Ah Teseo, ah Teseo mio, lascierai tu morire,in van piangendo, in van gridando aita,la misera Arianna che a te fidossi e ti diè gloria e vita?

Ahi, che non pur risponde!Ahi, che più d’aspe è sordo a’ miei lamenti!O nembi, o turbi, o venti, sommergetelo voi dentr’a quell’onde!Correte, orche e balene, e de le membra immonde empiete le

voragini profonde.Che parlo, ahi! che vaneggio?Misera, ohimè! che chieggio?O Teseo, o Teseo mio, non son, non son quell’io,non son quell’io che i feri detti sciolse:parlò l’affanno mio, parlò il dolore;parlò la lingua sì, ma non già’l core.

Misera! ancor dò locoa la tradita speme, e non si spegne,fra tanto scherno ancor d’amor il foco?Spegni tu, Morte, omai le fiamme indegne!O madre, o padre, o de l’antico regnosuperbi alberghi, ov’ebbi d’or la cuna,o servi, o fidi amici (ahi fato indegno!)mirate ove m’ha scorto empia fortuna!Mirate di che duol m’han fatto eredel’amor mio, la mia fede, e l’altrui inganno.Così va chi tropp’ama e troppo crede.

Turn back to look again on her who left for you her native land andrealm,

and on these sands, food for pitiless and cruel wild animals,will leave her bare bones.O Theseus, O my Theseus, if you knew, O God!If you knew, alas, how poor Ariadne suffers,perhaps, perhaps repentant you’d yet turn your prow toward the

shore.But with gentle breezes you depart happy while I weep;for you Athens is preparing joyful, magnificent celebrations, while I remain food for wild beasts on solitary sands;every aged relative of yours will happilyembrace you, while I will never again see you, O mother, O father of mine.

Where, where is the faith, that you swore so often to me?Is this how you place me on the high throne of your ancestors?Are these the crowns with which you adorn my hair?These the sceptres, these the gems and the gold:to leave me abandoned to a beast who will tear me apart and

devour me?Ah Theseus, ah my Theseus, will you leave me to die,weeping in vain, calling in vain for help,the pitiable Ariadne who trusted you and gave you glory and life?

Alas, he doesn’t even respond!Alas, he is more deaf than an asp to my laments!O storm-clouds, O tornados, O winds, submerge him under the

waves!Hurry, orcs and whales, and with his filthy limbs fill the deep abysses!What am I saying, alas! or raving?Wretched, O dear! what do I ask?O Theseus, O my Theseus,it’s not I, I am not the onewho unleashed such fierce words:my anguish spoke, my grief spoke;my tongue spoke, yes, but not my heart.

Poor me, do I still hold ontoa betrayed hope? Is the fire of love,despite so much scorn, not put out?At last extinguish, Death, the unworthy flames!O mother, O father, O magnificent palacesof my old realm, where I had a golden cradle,O servants, O trusted friends (alas, mean Fate!),look where evil fortune has brought me!Look what grief I am heir to throughmy love, my faith, and another’s deceit.Such is one’s lot if one loves and trusts too much.

TRANSLATION © BARBARA SACHS

CLAUDIO MONTEVERDI‘Di misera regina’ from Il ritorno d’Ulisse in patria

Di misera Regina non terminati mai dolente affanni!L’aspettato non giunge, e pur fuggono gli anni.La serie del penar è lunga ahi troppo:a chi vive in angoscie il tempo è zoppo.

Fallacissima speme, speranze non più verdi ma canute,all’invecchiato male non promettete più pace o salute.

The grievous sorrows of a hapless queen never come to an end.The long-awaited one does not come, and the years fly past.The succession of my woes is, ah, so long:to him who lives in anguish time is lame.

Most unfounded hopes,hopes no longer green, but hoary,to my age-old misfortuneyou no longer promise peace or wellbeing.



Twenty years have elapsed since the forgotten daywhen, through his abduction, the proud Trojancaused his great fatherland to be laid to ruins.

Troy was justly burned;for an impure love is a burning crime,purged in flames.But how unjust that, through the fault of another, innocently

condemned,I, by another’s guilt, should be the afflicted penitent.

Ulysses, shrewd and wise,you who boast of punishing adulterers,who whet your arms and kindle the flamesto avenge the transgressionsof a fugitive Greek, yet you forsakeyour faithful wife in the midst of hostile rivals,in peril of her honour, possibly her death.Every parting awaits a longed-for return.You alone have lost sight of the day of your return.

TRANSLATION © KATE SINGLETON / HMU

CLAUDIO MONTEVERDI‘Se i languidi miei sguardi’ from Il Settimo Libro de Madrigali

CLAUDIO MONTEVERDILaudate Dominum in sanctis eius

Laudate Dominum in sanctis eius.Laudate eum in firmamento virtutis eius.Laudate eum in sono tubae.Laudate eum in psalterio et citara.Laudate eum in timpano et choro.Laudate eum in cimbalis bene sonantibus.Laudate eum in cimbalis iubilationibus.Omnis spiritus laudat Dominum. Alleluia.

PSALM 150

Praise God in his sanctuary.Praise him in the firmament of his power.Praise him with the sound of the trumpet.Praise him with the psaltery and harp.Praise him with the timbrel and dance.Praise him upon the loud cymbals.Praise him upon the high-sounding symbols.Let everything that hath breath praise the Lord. Allelulia.

TRANSLATION FROM KING JAMES BIBLE

Scorsero quattro lustri dal memorabil giorno in cui, con sue rapine, il superbo Trojano chiamò l’alta sua Patria alle ruine.

A ragion arse Troia, poichè l’Amor impuro, ch’è un delitto di foco,sì purga con le fiamme. Ma ben contro ragione per l’altrui fallo innocente

condannata,de l’altrui colpe io sono l’afflita penitente.

Ulisse accorto e saggio, tu, che punir gl’adulteri ti vanti, aguzzi l’armi e susciti le fiamme per vendicar gli errori d’una profuga greca; e’n tanto lasci la tua casta consorte fra nemici rivali in dubbio de l’honor, in forse a morte.Ogni partenza attende, desiato ritorno.Tu sol del tuo tornar perdesti il giorno.

Se i languidi di miei sguardi, se i sospir interroti, se letronche parole non han sin or potuto, o bel’idolo mio, farvide le mie fiamme interra fede, leggete queste note,credete a questa carta in cui sotto forma d’inchiostro il corstillai. Qui sotto scorgerete quegl’interni pensieri che conpassi d’amore scorron l’anima mia; anzi, avvampar vedretecome in sua propria sfera nelle vostre bellezza il foco mio.

Non è già parte in voi che con forza invisibile d’amoretutto a sè non mi tragga: altron già non son io che divostra beltà preda e trofeo. A voi mi volgo, o chiome, carimiei lacci d’oro: deh, come mai potea scampar sicuro secome lacci l’anima legaste, come oro la compraste? Voi purvoi dunque siete della mia libertà catena e prezzo. Stamimiei preziosi, bionde fila divine, con voi l’eterna Parca sovrail fuso fatal mia vita torce.

Voi capelli d’oro, voi pur siete di lei, ch’è tutto il foco mio,raggi e faville; ma, se faville siete, onde avvien che adogn’ora contro l’uso del foco in giù scendete? Ah che a voi

If my languishing looks, if my suppressed sighs, if myunfinished words have not yet, oh my life, proved my passion,read these notes, believe this letter, this letter in which, like theink, my heart bled. There you shall see the secret thoughts thatwith loving gait wander in my soul; so, shall you see burn as inits own sphere, by your beauty, my fire.

There is nothing in you that does not drag me from theinvisible power of love: I am nothing more than prey and prizeof your beauty. To you I turn, O hair, beloved braids of gold:ah, how should I escape if you tied my soul like a plait, andbought it like gold?You, for you are the chain and the price of my freedom. Myjewels, fair divine twine, you are used by eternal Parca on herfatal spindle, weaving my life.

You, you braids of gold, you belong to she who is all my fire,my rays and lightning: for, if lightning you are, why unlike fire,do you descend? Ah, you need descent to go up to the high



per salir scender conviene, ché la magion celesteov’aspirate, o sfera de gli ardori o paradiso, è posta in quelbel viso.

Cara mia selva d’oro, richissimi capelli, in voi quel labirintoAmor intesse ond’uscir non saprà l’anima mia. Tronchi purmorte i rami del prezioso bosco e de la fragil carne scuotapur lo mio spirto, che tra fronde sì belle, anco reciso,rimarrò prigioniero, fatto gelida polve ed ombra ignuda.

Dolcissimi legami, belle mie piogge d’oro, quali or scioltecadete da quelle ricche nubi onde raccolte siete e,cadendo, formate preziose procelle onde con onde d’orbagnando andate scogli di latte e rivi d’alabastro, moresubitamente (o miracolo eterno d’amoroso desìo) fra sibelle tempeste arsi il cor mio.

Ma già l’hora m’invita, o degli affetti miei nunzia fedele,cara carta amorosa, che dalla penna ti dividi omai; vanne, es’amor e’l cielo cortese ti concede che de’begli occhi nont’accenda il raggio, ricovra entro il bel seno; chi sà che tunon gionga da sì felice loco per sentieri di neve a un cor difoco!

heaven that you yearn for, O, sphere of passion, O, paradise,lives in that radiant face.

My beloved forest of gold, finest braids, in you love wove alabyrinth where the soul is lost. Death may cut the branches ofthe lovely wood, and from delicate flesh free my spirit, but insuch a beautiful, yet pruned, canopy, I shall remain captive,made cold dust and knotted shadow.

Sweetest twine, my beautiful golden rain, each drop fallingfrom those rich clouds that hold you and, in falling, you makepretty storms and break waves and waves of gold, swiftlyshaded, in crags of milk and rivers of alabaster (oh, eternalmiracle of loving desire), in whose beautiful storms my heartwas burnt.

But now the hour bids me, oh, faithful messenger of myaffection, precious love letter, to separate my quill from you.Go, and if love and the courteous sky prevent the rays of hereyes from burning you, find shelter in her lovely breast: thatperchance you reach out from such a blessed place, acrosssnow-covered paths to a heart of fire.

TRANSLATION © TOM SKIPP / GLOSSA MUSICA

CLAUDIO MONTEVERDI Confitebor tibi Domine

Confitebor tibi, Dominum, in toto corde meo, in consilio iustorum et congregatione.Magno opera Domini, exquisite in omnes voluntates eius:confessio et magnificentia opus eius, et iustitia eius manet in saeculum saeculi.Memoriam fecit mirabilium suorum: misericors et miserator Dominus.Escam dedit timentibus se:memor erit in saeculum testamenti sui.Virtutem operum suorum annunciabit populo suo, ut det illis hereditatem gentium.Opera manuum eius veritas et iudicium; fidelia omnia

mandata eius. Confirmata in saeculum saeculi, facta in veritate et aequitate.Redemptionem misit populo suo: mandavit in aeternum testamentum suum:sanctum et terribile nomen eius.Initium sapientiae timor Domini:intellectus bonus omnibus facientibus eum. Laudatio eius manet in saeculum saeculi.Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula

saeculorum. Amen.

PSALM 110

I will give thanks unto the Lord with my whole heart,in the council of the upright and in the congregation.The works of the Lord are great, sought out for all of them that

have pleasure therein.His work is honour and majesty:and his righteousness endureth for ever.He hath made his wonderful works to be remembered: the

Lord is gracious and full of compassion.He hath given meat unto them that fear him:he will ever be mindful of his covenant.He hath showed his people the power of his works,in giving them the heritage of the heathen.The works of his hands are truth and judgement;all his precepts are sure.They are established for ever and ever,and are done in truth and uprightness.He hath sent redemption unto his people:he hath commanded his covenant for ever:holy and reverent is his name.The fear of the Lord is the beginning of wisdom:a good understanding have all they that do thereafter;his praise endureth for ever.Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning is now and ever shall be. Amen

TRANSLATION FROM KING JAMES BIBLE


Richard Egarr director & keyboards


Richard Egarr, acclaimed Music Director of theAcademy of Ancient Music, is one of the mostversatile musicians performing today. He hasworked with all types of keyboards, performingrepertoire ranging from 15th-century organmusic to Berg and Maxwell Davies on modernpiano. He is in great demand as a soloist and achamber musician as well as a conductor.

Richard enjoyed his musical training as achoirboy at York Minster, at Chetham’s School ofMusic in Manchester, and as organ scholar atClare College, Cambridge. His studies withGustav and Marie Leonhardt further inspired hiswork in the field of historically- informed performance.

As a conductor, Richard has directed repertoireranging from JS Bach’s St Matthew Passion toJohn Tavener’s Ikon of Light. Numerous opera,oratorio and orchestral performances havetaken him to venues ranging from

Glyndebourne to the Beijing Concert Hall toCarnegie Hall. On top of a busy schedule ofconcerts worldwide with the Academy ofAncient Music, he has recently collaboratedwith the Residentie Orchestra of the Hague, theBrabant Orchestra, the Flemish Radio Orchestraand Choir, the Netherlands Bach Society andthe Chamber Orchestra of Europe.

Richard has given innumerable soloperformances around Europe, Japan and theUSA. Recent USA tours have included JS Bach’s Well- Tempered Clavier and Goldberg Variations.As an orchestral soloist he has appeared withthe AAM, The English Concert, the Orchestra ofthe Age of Enlightenment, the Orchestra of the18th Century, the Dutch Radio ChamberOrchestra and the Netherlands Wind Ensemble.

In chamber music, Richard forms an “unequalledduo for violin and keyboard” (Gramophone) withviolinist Andrew Manze, performing music fromthe Stylus Phantasticus to Mozart and Schubert.They have toured extensively throughoutEurope, North America and the Far East.

Richard records exclusively for Harmonia MundiUSA. His solo output includes works byFrescobaldi, Couperin, Purcell, Froberger, Mozartand JS Bach. His award- winning recordings withManze include sonatas by JS Bach, Biber, Rebel,Pandolfi, Corelli, Handel, Mozart and Schubert.With the Academy of Ancient Music he hasrecorded JS Bach’s harpsichord concertos, JSBach’s complete Brandenburg Concertos, and aset of Handel’s complete instrumental musicOpp.1–7.

“It wouldn’t be a stretch to call Egarr the ‘Bernstein of Early Music”USA NATIONAL PUBLIC RADIO



Aleksandra Anisimowicz soprano

Aleksandra was born and brought up in Gdanskand had a wide- ranging artistic education,learning the piano and violin and beingschooled in EJ Dalcroze’s classical dancemethods. Her first stage performance came at the age of 11, as Tina Crome in Britten’s Little Sweep.

In 2001 Aleksandra began her vocal studies atthe Conservatory of Amsterdam, with HowardCrook as her baroque tutor. She received herBachelor’s (2008) and then Master’s Diplomas(2008), both cum laude, from the Dutch NationalOpera Academy.

It was on the operatic stage that Aleksandracaught the eye of Richard Egarr, when sheplayed Zerlina in a production of Don Giovanniwith the Dutch National Opera Academy — a performance which he directed. Aleksandrahas joined The Dutch National Opera Academyin several other roles, including as Contessa inLe nozze di Figaro and as Constance in Dialoguesdes Carmélites. She also played Susanna in aperformance of Le nozze di Figaro given forQueen Beatrix in Amsterdam’s Theatre Carré,and her first appearance at the Concertgebouwcame in 2006 with a staging of Don Giovanniconducted by Vincent de Kort and directed byLaurence Dale. Outside the Netherlands, shestarred in William Christie’s performance ofPurcell’s The Fairy Queen at the 2008 Festivald’Aix en Provence.

Aleksandra is one of a quartet of singers whomake up Le Donne di Ferrarra, a group devotedto the music of the early baroque. The namerefers to the ladies who sang at the Italian courtof Alfonso II in the 1590s, and whose famespread across Europe. In 2007 the ensemblewas invited to perform works by LuzzascoLuzzaschi at the Internationale MuziekzomerFestival in Gelderland. Aleksandra has given solo recitals, including a performance of workby Handel and Vivaldi in Amsterdam’sConcertgebouw. She has given a liveperformance for Dutch national radio from the Concertgebouw’s Spiegelzaal, and reachedthe semi- finals of the hall’s Vriendenkrans competition.

In 2009 Aleksandra performed works byMonteverdi and Luzzaschi with ClaronMcFadden, live on Dutch national radio.



Academy of Ancient MusicRecently hailed as “a superb period instrumentband” by the New York Times, the Academy ofAncient Music is a household name renownedworldwide for its energized, passionateperformances of baroque and classical music.Since it was founded by Christopher Hogwoodin 1973 the AAM has reached music lovers on aglobal stage with over 250 recordings and liveperformances on every continent except Antarctica.

The AAM specialises in performing oninstruments and in styles dating from the timewhen the music was composed. UnderHogwood’s stewardship it established itself as aleading authority on how music was originallyperformed. This pioneering work had atransformative impact on the world of classicalmusic, and lies at the heart of the AAM’sreputation for musical excellence.

In 2006, Hogwood passed leadership of theAAM on to Richard Egarr. In his first three yearsas Music Director, Egarr has led tours to fourcontinents, released CDs which have alreadywon Gramophone, MIDEM and Edison awards,and founded the award- winning Choir of the AAM.

Concerts with Egarr in 2009–10 see theorchestra performing music ranging fromMonteverdi to Britten around the world.Highlights include a tour of music byanniversary composers Purcell and Haydn toAfrica and the Far East, a Christmas tour ofHandel’s Messiah around Europe, and afascinating programme showcasing the musicof Monteverdi’s little- known contemporaryDario Castello.

The vitality of the AAM’s music makingcontinues to be fostered by a range of guestdirectors. This season the orchestra works withPavlo Beznosiuk, who directs a programmecontrasting the Pergolesi and Vivaldi settings ofthe Stabat Mater; violinist Giuliano Carmignola,

who directs early masterpieces by Schubert andMendelssohn; Stephen Cleobury, who conductsa major European tour of Monteverdi’s Vesperswith the Choir of King’s College, Cambridge;Paul Goodwin, who conducts Haydnsymphonies at Esterháza Palace, the historicseat of the composer’s patrons; and StephenLayton, who conducts the AAM’s traditionalGood Friday performance of JS Bach’s St JohnPassion with Polyphony.

The AAM’s pioneering recordings underHogwood for Decca’s L’Oiseau- Lyre label covermuch of the baroque and classical orchestralcanon. They include the first recordings onperiod instruments of Mozart’s completesymphonies and Beethoven’s piano concertos,and prize- winning opera recordings starringCecilia Bartoli, Emma Kirkby and JoanSutherland. Further projects have resulted inrecordings for EMI, Chandos, Erato andHarmonia Mundi, and the orchestra hasreleased award- winning recordings with thechoirs of King’s College, Cambridge, TrinityCollege, Cambridge and New College, Oxford.

With Richard Egarr, the orchestra has recentlycompleted a landmark new cycle of Handel’scomplete instrumental music published asOpp.1-7. Other recent releases include JS Bach’scomplete Brandenburg Concertos with Egarr,Purcell and Handel discs with Stephen Laytonand the Choir of Trinity College, Cambridge onHyperion, and, for EMI, Handel’s Messiah withStephen Cleobury and the Choir of King’sCollege, Cambridge.

The AAM is Orchestra- in- Residence at theUniversity of Cambridge.

“The peerless Academy of Ancient Music”BBC MUSIC MAGAZINE, JANUARY 2010



ViolinPavlo Beznosiuk*Rodolfo Richter

CelloJoseph Crouch*

DulcianWilliam Lyons

ChitarronePaula Chateauneuf

Harpsichord & organRichard Egarr

*Sponsored chairs

Leader Mr and Mrs George 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

Board of DirectorsAdam BroadbentKay Brock LVO DLJohn EverettMatthew FerreyJohn GrievesChristopher Hogwood

CBEHeather JarmanChristopher Purvis CBE

(Chairman)Dr Christopher TadgellSarah Miles Williams

Development BoardAdam BroadbentKay Brock LVO DLDelia BrokeJohn EverettMatthew FerreyJohn GrievesMadelaine GundersElizabeth Hartley- BrewerAnnie NortonChristopher Purvis CBEChris Rocker Dr Christopher TadgellMadeleine TattersallSarah Miles WilliamsAlison Wisbeach

Music DirectorRichard Egarr

Emeritus DirectorChristopher Hogwood CBE

Chief ExecutiveMichael Garvey

Orchestra ManagerAndrew Moore

Marketing &Development ManagerSimon Fairclough

Concerts & Tours ManagerKate Caro

Assistant Marketing &Development ManagerToby Chadd

Finance ManagerElaine Hendrie

AdministratorSamantha Fryer



The AAM SocietyThe Academy of Ancient Music has been abyword for musical excellence for over 30 years.The orchestra has enriched the lives of millionsof music lovers with its ground- breakingperformances and recordings of baroque andclassical music on period instruments; and it hasattained an important position as one ofBritain’s most active cultural institutions on theglobal stage.! Today over 50,000 people attendAAM performances annually; and the orchestrareaches hundreds of thousands more throughits recordings and broadcasts.

As its 40th anniversary approaches, the AAM isseeking to build upon and develop itsdistinctive traditions of excellence andinnovation for the music lovers of the future —but year by year the cost of sustaining thesetraditions is increasing.! Only a modestproportion of the cost of staging concerts liketonight’s is covered by ticket income, and theAAM receives no regular public funding.!!Thisyear, the AAM needs to raise £250,000 to makeits plans possible.

One way in which you can help the Academy ofAncient Music to transform its ambitious visioninto reality is to join the AAM Society. !TheSociety is the orchestra’s closest group ofregular supporters.!!It!was established ten yearsago by a committed group of foundermembers who appreciated the orchestra’s

superb artistry and wanted to secure its future.Membership ranges from £250 to £10,000+ perannum, and members’ annual contributionsprovide the vital core funding required if theorchestra is to continue to perform.

Society members enjoy a very closeinvolvement with the life of the AAM.! Afterperformances in London, members dine withthe director, soloists and AAM musicians.Members have the chance to become a part oforchestral life behind the scenes by sitting in onrehearsals for concerts and recordings, and fromtime to time by accompanying the orchestra oninternational tours.

Those at the Principal Benefactor level andabove receive invitations to special events inLondon; those at the Principal Patron level andabove have the opportunity to sponsor aspecific position in the orchestra; and those atthe Hogwood Circle level have the opportunityto support a specific concert each season.

If you want to get closer to the AAM’s musicmaking while helping to secure the orchestra’sfuture, do be in touch with me.

Simon Fairclough Development Manager01223 [email protected]



The AAM is indebted to the following trusts, companies, public bodies and individuals for theirsupport of the orchestra’s work during the 2009–2010 season:

AAM Business ClubCambridge University PressKleinwort BensonRBC Wealth ManagementSVG Capital

Anthony Travis Charitable TrustCHK Charities LtdJohn Ellerman FoundationThe Idlewild TrustGoldsmiths’ Company CharityMichael Marks Charitable Trust

Arts Council England through the Sustain programmeOrchestras LiveCambridge City Council

AAM Funders & Supporters

The Hogwood Circle (Donations £10,000 and above per annum)Matthew FerreyMr and Mrs George MaganChristopher and Phillida Purvis *Mrs Julia RosierLady Sainsbury of TurvilleDr Christopher and Lady Juliet Tadgell

Principal Patrons (Donations £5,000 – £9,999 per annum)Sir Nicholas and Lady Goodison *Richard Bridges and Elena VorotkoChristopher Hogwood CBE *Newby Trust Ltd *and other anonymous Principal Patrons

Patrons (Donations £2,500 – £4,999 per annum)Adam and Sara BroadbentMr and Mrs JE EverettJohn and Ann GrievesChristopher Rocker and Alison WisbeachSarah and Andrew WilliamsSVG Capitaland other anonymous Patrons

Principal Benefactors (Donations £1,000 – £2,499 per annum)Lady Alexander of WeedonGeorge and Kay BrockMrs D BrokeMr and Mrs Graham BrownClive and Helena ButlerSir Charles Chadwyck- Healey BtKate DonaghyElizabeth Hartley- BrewerElma Hawkins and Charles RichterLord HindlipJohn McFadden and Lisa Kabnick *Mark and Liza LovedayMr and Mrs C NortonLionel and Lynn PerseyNigel and Hilary Pye *Mr and Mrs Charles RawlinsonJoyce and John Reeve

Michael and Sophia RobinsonSir Konrad and Lady Schiemann *Sir David and Lady ScholeyJG StanfordMarcellus and Katharine Taylor- JonesMrs R Wilson Stephensand other anonymous Principal Benefactors

Benefactors (Donations £500 – £999)Dr Aileen Adams CBEBill and Sue BlythElisabeth and Bob Boas *Claire Brisby and John Brisby QC *Jo and Keren ButlerMr and Mrs Edward Davies- GilbertCharles DumasThe Hon Simon EcclesMr and Mrs Jean- Marie EveillardMarshall FieldAndrew and Wendy GairdnerWilliam GibsonThe Hon Mr and Mrs Philip HaversProfessor Sean HiltonHeather Jarman *Michael and Nicola KeaneSusan LathamTessa MayhewMrs Sheila MitchellMr and Mrs Hideto NakaharaRodney and Kusum Nelson- JonesNick and Margaret ParkerTimothy and Maren RobinsonBruno Schroder and FamilyJohn and Madeleine TattersallStephen ThomasPeter ThomsonCharles WoodwardPeter & Margaret Wynnand other anonymous Benefactors

Donors (Donations £250 – £499)Maureen Acland OBE *Angela and Roderick Ashby- JohnsonMrs Nicky Brown

Dr and Mrs S ChallahDavid and Elizabeth ChallenThe Cottisford TrustDerek and Mary DraperBeatrice and Charles GoldieSteven and Madelaine GundersGemma and Lewis Morris HallMrs Helen HiggsMr and Mrs G and W HoffmanLord and Lady Jenkin of RodingRichard LockwoodYvonne de la PraudièreRobin and Jane RawAnnabel and Martin RandallArthur L Rebell and Susan B CohenMichael and Giustina RyanMiss E M SchlossmannTom Siebens and Mimi ParsonsRt Hon Sir Murray Stuart- Smith *Robin VousdenPaul F. Wilkinson and Associates Inc.and other anonymous Donors* denotes founder member

Members of the AAM Bach PatronsLady Alexander of WeedonRichard Bridges and Elena VorotkoMr and Mrs Graham BrownCHK Charities LtdDunard FundThe Hon Simon EcclesDr Christopher and Lady Juliet TadgellStephen Thomas

The AAM Society



Join the AAM SocietyI would like to help secure the Academy of Ancient Music’s futureby joining the AAM Society.

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Giftaid declaration

Please complete this section only if you pay Income Tax and/orCapital Gains Tax at least equal to the tax that the AAM will reclaimon your donations in the appropriate tax year.

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

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Please complete this section if you would like to make yourdonation to the Academy of Ancient Music by standing order.

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Please pay: Academy of Ancient Music, Lloyds TSB, Gonville Place Branch,CambridgeSort Code 30-13-55, Account No. 2768172 the sum of

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Please return your completed form to Simon Fairclough,Development Manager, Academy of Ancient Music, 32 Newnham Road, Cambridge, CB3 9EY


At the heart of the AAM’s London andCambridge seasons in 2010–11 will be The BachDynasty — a groundbreaking concert seriescelebrating the output of history’s mostimportant musical family.

Johann Sebastian was just one of a great lineageof distinguished composers active inseventeenth- and eighteenth-century Germany.In modern times, the outstanding music of hisrelatives has been neglected. The Bach Dynastywill breathe new life into works by Heinrich,Johann Christoph, Johann Michael, JohannChristian, Johann Christoph Friedrich, CarlPhilipp Emanuel and Wilhelm Friedemann Bach— as well as including music by JS Bach himself.Guest soloists will include the world-famouscellist Steven Isserlis and four AAM Young Artists.

Funding of £70,000 is needed if this landmarkproject is to go ahead. Those supporting theseries with gifts of £500 or more will becomemembers of the AAM Bach Patrons — an innercircle of supporters whose special associationwith the series will include the exclusiveopportunity to sit in on rehearsals for concerts,the chance to join musicians for dinner afterperformances and an invitation to The BachDynasty launch party. Patrons may choose tomake a general gift of any amount over £500, orto target their contribution towards one ormore of the areas listed below which are inparticular need of support.

For more information, please contact SimonFairclough, AAM Development Manager, on01223 301509 or [email protected].

AAM Bach Patrons


Support towards Steven Isserlis’ appearances in the series £4,000 per concert £8,000 for 2 concertsSupport towards the Choir of the AAM’s appearances in the series £2,500 per concert £12,500 for 5 concertsSupport towards Richard Egarr’s appearances in the series £2,000 per concert £16,000 for 8 concertsSupport of the AAM Young Artists £1,400 per Young Artist £5,600 for four

Young ArtistsProvision of sheet music for the series £1,400 Provision of free programme booklets, each including a newly-commissioned scholarly essay £1,000 per concert £8,000 for the seriesProvision of harpsichords and chamber organs appropriate to the repertoire being performed £750 per concert £6,000 for the seriesConcert sponsorship By negotiation

WOODCUT OF JS BACH, AT THE CLAVICHORD, WITH HIS FAMILY. ONE SON PLAYS THE VIOLIN WHILE ANOTHER SINGS.©

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Wigmore Hall and West Road Concert Hall2009–2010 Season

Academy of Ancient Music

WEST ROAD CONCERT HALL, CAMBRIDGE

Ways to book• General booking is now open through the

Arts Theatre box office on 01223 503333.

WEST ROAD CONCERT WIGMORE HALL,

HALL, CAMBRIDGE LONDON

Baroque in high definition 24 September 25 SeptemberConcertos used in film

The virtuoso voice 21 November 22 NovemberCarolyn Sampson sings arias by Handel and Purcell

Prodigious minds 21 February 22 FebruaryGiuliano Carmignola directs early masterpieces by Schubert and Mendelssohn

‘In Stil Moderno’ 26 April 28 AprilMusic by composers from seventeenth- century Venice

The English school 17 June 18 JuneFour centuries of music by English composers

Booking informationWIGMORE HALL, LONDON

Ways to book• In person: 7 days a week; 10am – 8.30pm. Days without an evening

concert, 10am –5pm. No advance booking in the half hour prior to a concert.

• Telephone: 020 7935 2141, 7 days a week; 10am – 5pm. Days withoutan evening concert, 10am 5pm.

• Online: www. wigmorehall.org.uk, 7 days a week, 24 hours a day.



If you would like to hear about future AAM performances, please complete this form and either:• return it to the AAM staff at the CD sales desk after this evening’s performance; • fax it to 01223 323202; • or send it to: AAM, 32 Newnham Road, Cambridge CB3 9EY

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Join the AAM mailing list



Wigmore Hall

36 Wigmore StreetLondon W1U 2BPDirector: John GilhoolyThe Wigmore Hall TrustRegistered Charity No.1024838Wigmore Hall is a no-smoking venue.No recording or photographic equipment may be taken into theauditorium, nor used in any other part of the Hall without theprior written permission of the Hall Management. Wigmore Hall is equipped with a ’Loop’ to help hearing aid usersreceive clear sound without background noise. Patrons can usethe 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 thegangways intersecting the seating, or to sit in any of the othergangways. If standing is permitted in the gangways at the sidesand rear of the seating, it shall be limited to the numbersindicated in the notices exhibited in those positions.Facilities for Disabled People:

Please contact House Management for full details.

WEDNESDAY 12 MAY 2010, 7.30PMWIGMORE HALL, LONDON

Haydn — String Quartet in G Op.76 No.1Debussy — String Quartet Op.10

Schubert — String Quartet No.14 D.810 (‘Death and the Maiden’)

Tickets: £12, £16, £22, £ 24Box Office: 020 7935 2141

Book Online: www.wigmorehall.org.uk

WEDNESDAY 5 MAY 2010, 7.30PMWEST ROAD CONCERT HALL, CAMBRIDGE

Haydn — String Quartet in G Op.76 No.1Beethoven —!String Quartet in F minor Op.95 (‘Serioso’)

TBC — Quintet with Cambridge University Student

Tickets:! £20, £18 (OAP), £10 (Child, Student, Registered Disabled)

Box Office:! 01223 503333Book Online:! www.cambridgeartstheatre.com


aam - in stil moderno

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