annual review 2009-10
DESCRIPTION
Annual Review 2009-10TRANSCRIPT
Academy ofAncient Music
Annual Review
2009–10
enRiching life with bARoque And clAssicAl Music
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An outstanding year...49 concerts performedon three continents
25,000+ concertgoers reachedin london and cambridge, in towns and cities around the uK, and in Austria, belgium, china, france, libya, the netherlands, Poland, Portugal, spain and turkey
handel recording cycle completedAward-winning recording cycle of handel’s instrumental music opp.1–7 completed with the release of the trio sonatas opp.2 and 5
neglected composers championedMasterpieces by little-known composers including christopher gibbons and dario castello unearthed and showcased
AAMplify new generation programme launched placing young audience members, musicians and arts
managers at the heart of our work
£412,000 raisedin voluntary income — more than ever before
£86,000 surplus achievedincreasing reserves to £284,000
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contentsintroductionfrom AAM chairman christopher PurvisPage 6
looking backAAM Music director Richard egarr reflects on a successful yearPage 11
AAM tomorrowchief executive Michael garvey outlines our vision for the future of the Academy of Ancient MusicPage 21
financial reviewPage 26
supporting usPage 32
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the year under review was not an easy one for the arts. concert halls and promoters around the world found the level of financial support from governments being cut; and the financial environment placed pressure on the ability of traditional donors to give the same level of support to the arts.
but in spite of this environment the Academy of Ancient Music had another outstanding year. the orchestra and choir gave 49 concerts and a surplus of £85,907 was achieved.
the artistic standard of the orchestra remained at the highest level. we explored some lesser known repertoire as well as performing well-known masterpieces such as Monteverdi’s Vespers, haydn’s The Creation and beethoven’s symphony no.6. we were particularly pleased with the
introductionfrom AAM Chairman Christopher Purvis
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“one of the world’s greatest period-instrument bands, the Academy of Ancient Music is stuffed with the superstars of the historically-informed style of playing... 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.”
glAsgow heRAld, 2010
artistic development of the choir of the AAM, which is now well known as a leading choir in its field. Richard egarr looks back at our artistic achievements on pages 11-15.
the arrival in May of Michael garvey as our new chief executive has encouraged us to revisit our plans for the future. Already we have made organisational changes which will help us to deliver an even better programme of concerts, recordings and educational outreach activity in the lead-up to our 40th anniversary season, 2013-14. Michael introduces our vision for the future of the AAM on pages 19-20.
it is particularly heartening in these difficult economic times to have raised a considerably greater sum in fundraised income than ever before. i would like to thank the trusts and foundations as well
as companies that have given support this year, and to express particular appreciation to the many individual donors, members of the AAM society and others. it is i suspect the case that the requirement for a higher level of donated funds to arts organisations such as ours will not be short-lived; we are in the happy position of having a wonderful base of support — but the future will no doubt be challenging.
i would like to thank all those who support the Academy of Ancient Music as audience members, and all those who dedicate themselves to making our work a success: our trustees, members of our development board, our talented staff, and above all our wonderful musicians.
Christopher Purvis CBEMarch 2011
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“even for the well-travelled Academy of Ancient Music, this was no ordinary performance of Dido & Aeneas. the cellos had cloths safety-pinned under their strings to stop the varnish melting in the African sun. the harpsichord had been impounded by customs and only released at the last minute. And in the middle of dido’s lament two policemen strolled behind the backdrop — the gaping, golden wreckage of the Roman theatre at sabratha, libya — dramatically silhouetted against the sky and sea.
As the last note hummed in the stones, it was clear they had a triumph on their hands. everyone stood up as one to applaud.”
the dAilY telegRAPh, 2009
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Purcell’s Dido & Aeneas at Sabratha, Libya
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“when i heard that england’s Academy of Ancient Music had hired keyboardist and conductor Richard egarr, i was absolutely delighted. it wouldn’t be a stretch to call egarr ‘the bernstein of early Music’. he is a virtuoso of nuance, of dancing rhythms and sparkling melodies... he’s one of the most exciting and delightful musicians of our time.”
nAtionAl Public RAdio, usA
London and Cambridge residenciesi look back with pleasure and satisfaction on a busy and successful 2009–10 season.
our london and cambridge concert seasons are at the heart of all that we do.
the 16 concerts which made up this year’s series saw us working with a wonderful array of guest artists: our longstanding friend giuliano carmignola directed music written by Mendelssohn and schubert during their teens; carolyn sampson gave memorable performances of vocal works by handel and Purcell; we teamed up with the choir of King’s college, cambridge and stephen cleobury for performances of haydn’s The Creation and Monteverdi’s Vespers; stephen layton directed Polyphony and a superb cast of soloists including ian bostridge in a good friday performance of
looking backAAM Music Director Richard Egarr reflects on a successful year
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Js bach’s st Matthew Passion, and we gave our first-ever performance with the choir of clare college, cambridge.
we’re passionate about promoting and championing the new generation of musical talent, and it gave me particular pleasure to invite young stars including sopranos elizabeth watts and Aleksandra Anisimowicz to work with us this year.
one of my particular ambitions is that, alongside our performances of the great masterworks, we should go out of our way to uncover items from the huge corpus of baroque and classical music which remains forgotten. it was a joy to introduce people in london and cambridge to music by christopher gibbons (orlando’s son), whose works i discovered a few years ago in oxford manuscripts, and by dario castello (a wind player in Monteverdi’s band at san Marco in Venice).
UK and global touringenriching the lives of audiences in the uK regions and around the world remains a key aspect of our work. in 2009-10 we gave 20 performances on tour internationally, and a similar number of regional performances within the uK.
early in the year i travelled with the band on a tour of three continents which included a performance in Macau, china, and a visit to sabratha, libya for a performance of Purcell’s opera Dido & Aeneas.
we were particularly pleased to tour a number of larger-scale classical and early romantic programmes. highlights included performances of beethoven’s symphony no.6 and Piano concerto no.4 in the netherlands, Mozart’s Requiem with the choir of the AAM at symphony hall in birmingham, and haydn’s nelson Mass.
the orchestra completed its commemoration of the 200th anniversary of haydn’s death with a second visit under Paul goodwin to esterhazy Palace in Austria, where the composer spent most of his working life. the programme included several of his greatest symphonies.
in the summer the orchestra reached audiences in seven towns and cities around the uK and at the istanbul Music festival with Nature’s Voice and Verse, a programme directed by our leader Pavlo beznosiuk interspersing Vivaldi’s the four seasons with baroque arias inspired by the forces of nature. citylife magazine wrote “Pavlo
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beznosiuk led the Academy in playing of impeccable baroque style... highly inventive and very entertaining”. earlier in the year Pavlo had directed a programme contrasting the Pergolesi and Vivaldi settings of the Stabat Mater which featured soprano carolyn sampson and counter-tenor daniel taylor.
in november 2009 we were delighted to be joined on a tour to Porto and lisbon by members of the AAM society. it’s a pleasure to develop stronger friendships with the people who do so much to enable us to continue our work, and i am looking forward to having members of the society with us on tour at least once a year from now on.
RecordingsAAM recordings new and old keep baroque and classical music alive for millions of
music lovers the world over, and the AAM’s recordings form a backbone of radio station libraries everywhere.
in october 2009 our commemoration of the 250th anniversary of handel’s death culminated with the release of the final recording in a landmark cycle of the composer’s complete instrumental music opp.1–7, and we were honoured to learn that the recording had been shortlisted for a gramophone Award. it’s been great fun working on the handel project with the band over my first few years as Music director, and it’s a particular joy to see all seven discs so warmly received by critics and listeners alike.
our next release — the world premiere recording of music by christopher gibbons — is due in the shops in 2011.
15“i’m here to tell you that the new egarr-AAM brandenburgs really blow. in a good way. they blow centuries of library dust off these pieces, and they blow fantastic horn and trumpet lines. egarr & co are in it to win it. whew. the first disc had hardly played 10 seconds when i was grabbing for the remote control to play again the most amazing horn parts i have ever heard — wild, outdoorsy, jazzy, almost bebop...”
steReoPhile MAgAZine, 2009
... on historically-informed performance“i think the golden combination is to have enough learning — enough historical awareness — to inform the music-making and to make it different from what happens in modern orchestras, but to wear that learning lightly, and not to have it get in the way of your own personal creativity. that’s something which Richard manages to bring off incredibly well.”
PAVlo beZnosiuKleader
Perspectives...... on our partnership with King’s college choir“i am delighted that the partnership between King’s college choir and the AAM continues to develop. the professionalism of the players is a model for our young singers, and i feel that really creative music-making takes place when we meet together.”
stePhen cleobuRY cbedirector of Music, King’s college, cambridge
... on performing music by dario castello“AAM aficionados may, like me, know some of castello’s Sonate Concertate through Andrew Manze’s recordings. to have a chance to delve more deeply into this riotous carousal between harmony and instrumental techniques was truly joyous, and given the perfect foil by Aleksandra Anisimowicz’s revelatory Monteverdi performances.”
JosePh cRouchPrincipal cello
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Artists 2009–10
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the Academy of Ancient Music is on an exciting journey — a journey which began over a decade ago when christopher hogwood took the decision that the orchestra should come of age; that it should begin to prepare for a time when it would continue his work beyond his active involvement.
when i joined the AAM in May 2010, i was acutely aware not only of the orchestra’s distinguished history, but also of the impressive progress which it has made as an organisation over the last few years.
the orchestra had appointed Richard egarr to succeed hogwood as Music director, and had achieved great success under his leadership. it had developed strong artistic partnerships with a range of guest directors and choirs. it had maintained its recording tradition with distinction, in spite of the difficulties in the record industry. it had become one of the first western cultural institutions to work regularly in the emerging markets of the far east. closer to home, it had developed an active uK performing programme, and had launched its own concert series in london and cambridge. it had sustained its increased workload by launching a fundraising programme; and had grown as an organisation to support all this new activity.our vision for the period up to and
AAM tomorrowMichael Garvey, Chief Executive, outlines our vision for the future of the Academy of Ancient Music
get in touch:[email protected]+44 (0)1223 301509
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beyond our 40th anniversary in 2013–14 is all about the next phase of this process of transformation.
Artistic ambitionArtistic ambition has always been at the heart of the AAM’s vision. we want to be the benchmark period instrument band: the orchestra which does more than any other to showcase the lesser-known repertoire of the baroque and classical periods; the orchestra which identifies, promotes and develops the world’s most promising young artistic talent; the orchestra with which the world’s best soloists and conductors work when performing in a historically-informed style. in short, we strive to be the orchestra which people want to hear and to support so we can enrich as many lives as possible with world-class performances of baroque and classical music.
to this end we are investing more time and — through the wonderful generosity of our supporters — more money in developing our artistic programme. in particular, we are working to enrich our london and cambridge concert seasons. As i write, our major concert series The Bach Dynasty is in full swing, and we are working on equally compelling projects for 2011–12 and beyond. watch this space!
The new generationwe also want to secure the future of the period-instrument movement by developing the audiences, artists, arts managers and philanthropists of tomorrow. in May 2010 we launched our AAMplify new generation programme, which aims to secure our long-
term future by placing young people at the heart of our work. initially, the programme has three strands:• AAMplify audiences, giving concertgoers
aged under 26 access to tickets for our london and cambridge performances for just £3;
• AAMplify artists, training the next generation of period instrument performers;
• AAMplify arts managers, giving young people with a genuine interest in a career in arts management valuable training at the heart of the AAM team through funded six–to–twelve month placements.
Recordings and digital technologywe want to harness the power of digital technology to keep baroque and classical music alive for a mass global audience, in just the way that our records and radio broadcasts have over the last 37 years. this year we will be launching a new website; and we will be looking at ways to use it as a platform for a wide range of recorded content.
As christopher Purvis cautioned in his introduction, these are undoubtedly challenging times for the arts sector as a whole. but they are also times which remind us just how important our work is in enhancing the lives of people around the world. for the AAM, they are therefore times for positivity, for vision, and for ambition. we hope you will find ways to become part of the story: discover baroque and classical music on our website; buy a cd; come to a concert; consider getting closer to our work by supporting us financially. i look forward to welcoming you as the journey continues.
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Richard egarr“The Bernstein of Early Music”
usA nAtionAl Public RAdio
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“sitting side by side with the AAM in an AAMplify workshop was absolutely the best experience of my musical life.”helen RocheAAMplify member and Phd student, university of cambridge
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AAMplify workshop at the University of Cambridge
the net surplus on the year was £85,835. total income amounted to £1,184,164, and expenditure to £1,098,329.
income from concert engagements dropped back to 2007–08 levels, from £1,273,692 in 2008–09 to £716,462 in 2009–10. this reduction was a direct result of fewer overseas engagements, and is a reflection of the ongoing impact of the worldwide recession. notwithstanding this reduction in turnover, the AAM maintained a surplus generated on concert-giving at £11,625 (2008–09: £156,683).
Voluntary income of £412,148, partly deferred into 2010–11 and therefore showing £322,368 plus £11,000 in these accounts, largely comprised grants from trusts and foundations and support from AAM society members. we are grateful to all these supporters, without whose generosity the orchestra would be unable to continue to perform. the orchestra was particularly glad to receive a one-off grant of £120,000
financial reviewElaine Hendrie, Finance Manager, introduces the accounts
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from Arts council england. this funding was given to sustain the organisation through the difficult economic period, and £108,000 had been received by the end of the financial year.
A significant amount of income raised in the current year has been deferred to the subsequent year as it was given specifically to support The Bach Dynasty, the major concert series taking place in 2010–11.
Impact of public sector funding cutsthe AAM has never received regular public subsidy, and will not, therefore, be directly affected by the forthcoming reductions in public cultural expenditure. we do, however, expect to be affected indirectly. state-funded concert halls in the uK and around the world which in the past hired orchestras like the AAM to perform concerts on tour at economically viable rates are facing a serious reduction in their budgets, and the fees which they are able to offer in the future will be significantly lower than
they have been in the past. the fundraising burden will, in effect, be transferred from venues to performing arts organisations, and if the AAM is to maintain and develop its work we will need to achieve a significant increase in our own fundraised income.
Reserves and investment policyAt the end of the year the AAM had reserves of £280,494, approximately 26 per cent of annual expenditure. the reserves policy is to build a level of funds in cash on deposit sufficient to provide security against the high degree of volatility in fee income. in the light of the changing environment in public sector support of the arts, not only in the uK but also in other countries in which the AAM performs, we are now actively taking steps to build our reserves and to move towards fundraising for an endowment. endowment income will ultimately provide some of the financial basis and security which in the past has been provided, albeit indirectly through engagements, from the public sector.
27Voluntary
income28%
London and Cambridge ticket sales
9%
Concert engagement
fees62%
CD royalties1%
Income by sources
income and expenditure account
Unrestricted funds £
Restricted funds £
Total funds 2010 £
total funds 2009 £
incoming resourcesincoming resources from generating funds:
Voluntary income1 235,989 86,470 322,368 161,370Activities for generating funds 11,000 - 11,000 -investment income 57 - 57 1,030
incoming resources from charitable activities 850,739 - 850,739 1,404,805other income resources - - - 75Total incoming resources 1,097,694 86,470 1,184,164 1,567,280
Resources expendedcost of generating funds:
costs of generating voluntary income (8,742) - (8,742) (17,282)
charitable activities (1,044,904) (32,156) (1,077,060) (1,445,665)governance costs (12,527) - (12,527) (11,998)Total resources expended (1,066,173) (32,156) (1,098,329) (1,474,945)
net income for the year 31,521 54,314 85,835 92,335
Reconciliation of fundstotal funds brought forward 180,659 14,000 194,659 102,324Total funds carried forward 212,180 68,314 280,494 194,659
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Copies of the full audited accounts, together with the Trustees’ Report, are available from the Charity Commission website, http://www.charity-commission.gov.uk/.
balance sheet
£2010
£ £2009
£
fixed assetstangible assets 8,829 4,616
current assetsstocks 12,327 17,404debtors 93,923 116,490cash at bank and in hand 315,753 180,758
422,003 314,652
creditorsAmounts falling due within one year1 (150,338) (124,609)
net current assets 271,665 190,043
total assets less current liabilities 280,494 194,659
net assets 280,494 194,659
fundsRestricted income funds 68,314 14,000unrestricted income funds 212,180 194,659
total funds 280,494 194,659
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Notes:1 the creditors figure in the balance sheet includes £78,780 of voluntary income raised during 2009-10 for expenditure in the 2010-11 concert season. this is excluded from current year voluntary income.
Rehearsing Beethoven’s Piano Concerto No.4
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The world is full of worthy causes. Why support an orchestra like the AAM?
for centuries, people have understood the importance of culture. the arts enrich society and change lives. they help to make life worth living. but for centuries people have also understood that great art is costly, and that it can only thrive if those who are in a position to sustain it do so generously.
the music which the AAM performs only ever came into being because of a culture of patronage: Monteverdi was supported by the duke of Mantua; Js bach composed many of his instrumental masterpieces while employed at the courts of weimar and Köthen; and haydn’s 104 symphonies might never have been written had he not enjoyed the backing of the wealthy esterházy family. their music stands as testament not only to individual genius, but
supporting usSimon Fairclough, Head of External Relations, explains why your support matters and how you can help
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also to support from generous individuals and institutions which enabled them to realise their potential.
for a time, it seemed that the future of the arts in britain would be taken care of by the state; that the need for private support was a thing of the past. for better or worse, those days are long gone. the Academy of Ancient Music does not receive any regular public funding, and income from ticket sales will fall short of covering the full cost of sustaining the orchestra by at least £400,000 in the coming year.
You can help in a number of ways.
The AAM Societythe AAM society is the Academy of Ancient Music’s core group of regular supporters. society members’ annual gifts provide the vital support without which the orchestra
would be unable to continue to perform.
Members enjoy a close and ongoing involvement with the life of the orchestra: they dine with the director, soloists and musicians after performances in london; they receive regular invitations to open rehearsals, private recitals in fellow society members’ homes, and other special events; and at least once each year they are invited to travel with the orchestra on tour internationally.
Membership starts at £250 per annum — or £100 for young supporters aged up to 40 — and goes up to £20,000+.
Special projectsfrom time to time, syndicates are formed to support special artistic projects. in 2009-10 the AAM bach Patrons was formed to raise £100,000 in support of The Bach Dynasty
33“the society’s Porto-lisbon trip was memorable. we socialised with the players, heard wonderful music twice over with soprano carolyn sampson, had an exclusive tour and tasting of graham’s Port and were introduced to Porto’s extraordinary churches by an expert — with an optional trip to the gulbenkian thrown in. All smoothly organised, relaxed and with the bonus of excellent company, meals and wine.”
el iZAbe th de fRiendAAM society member
— the concert series at the heart of the orchestra’s work in 2010-11. in the coming year, a syndicate will be formed to support Musical Revolutions, the 2011-12 concert series.
AAM Tomorrow Fundthe AAM tomorrow fund has been established for those who wish to invest at a substantial level in the future of the orchestra. the fund will support major strategic developments which the AAM is planning for the period up to and beyond its 40th anniversary in 2013-14. in 2009-10 a generous leading gift was made to the fund by lady sainsbury of turville. lady sainsbury’s support has enabled the AAM to upgrade all its basic infrastructure, including its it hardware, telephone systems, fundraising and orchestra management software and its web presence, thus maximising the efficiency of its staff team over the long term.
Leaving a legacyover the last four decades the Academy of Ancient Music has brought joy and inspiration to millions of people. our aim over the next is to begin to build up an endowment fund which will ultimately enable it to do so in perpetuity.
leaving a legacy is one of the most enduring ways in which you can support the AAM. whether you give £5,000 or £5 million, your bequest will have a real impact in enabling the AAM to keep the music of the baroque and classical periods alive, and to enrich the lives of music lovers for generations to come.
Tax efficient givingbecause the AAM is a charity, gifts can be made in a tax-efficient manner. in some circumstances the cost of the gift to the donor may be well under half its eventual value to the AAM. Visit our website, www.aam.co.uk, to find out more.
34“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!”
R ichARd And elenA bRidgesAAM society members
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the background may have been one of economic turmoil, but the AAM didn’t settle for mere survival this year.
under Richard egarr’s inspired leadership it thrived artistically; it developed still further its ambitious vision for the period up to and beyond its 40th anniversary in 2013–14; and, by investing in the launch of AAMplify, the staging of The Bach Dynasty at the heart of its 2010–11 season and the upgrade of its it systems and web presence, it took important steps in transforming that vision into a reality.
All of this was made possible through the ongoing generosity and loyalty of the supporters whose names are listed opposite. we were deeply grateful to receive £125,000 more from private funders in 2009–10 than we have received in any year previously; and we were equally grateful for a significant one-off grant from Arts council england.
At a time when much concern is being expressed about the future of the arts in britain, your commitment and dedication to the AAM is enabling us to sustain music as an essential part of our lives. we cannot thank you enough.
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cambridge university Press Kleinwort benson Rbc wealth Management
chK charities ltddunard fundesmee fairbairn foundationfidelity uK foundationthe Michael Marks charitable trustnewby trust ltdAnthony travis charitable trustand other anonymous trust funds
the AAM is deeply grateful to Arts council england, which made a significant one-off grant to the orchestra from its sustain fund during the course of the year.
AAM Tomorrow Fundthe 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 CirclechK charities ltddunard fund
The Hogwood CircleMatthew ferreylord and lady Maganchristopher and Phillida PurvisMrs Julia Rosierdr christopher and lady Juliet tadgelllady linda wong davies (Kt wong foundation)
Principal Patronssir nicholas and lady goodisonRichard and elena bridgeschristopher hogwood cbe Mrs sheila Mitchellnewby trust ltd chris Rocker and Alison wisbeachterrence and sian sinclairand other anonymous Principal Patrons
PatronsAdam and sara broadbent
Mr and Mrs graham brownMr and Mrs Je everettRichard and elizabeth de friendJohn and Ann grievesMark and liza lovedayJohn and Joyce ReeveMark westsarah and Andrew williamsand other anonymous Patrons
Principal Benefactorslady Alexander of weedongeorge and Kay brockMrs d brokeclive and helena butlerJo and Keren butlersir charles chadwyck- healey btKate donaghythe hon simon eccleselma hawkins and charles Richterlord hindlipJohn Mcfadden and lisa Kabnick Mr and Mrs c nortonlionel and lynn Perseynigel and hilary Pye Mr and Mrs charles Rawlinsonsir Konrad and lady schiemann Jg stanfordJohn and Madeleine tattersallMarcellus and Katharine taylor-Jonesstephen thomasMrs R wilson stephenscharles woodwardand other anonymous Principal benefactors
BenefactorsMaureen Acland obe dr Aileen Adams cbebill and sue blythelisabeth and bob boas claire brisby and John brisby qc Mr and Mrs edward davies-gilbertcharles dumasMr and Mrs Jean-Marie eveillardsimon faircloughMarshall field cbeMichael and Michele footAndrew and wendy gairdnerwilliam gibsonthe hon Mr and Mrs Philip haversProfessor sean hiltondr and Mrs g and w hoffmanheather Jarman david and linda lakhdhirsusan lathamtessa MayhewMr and Mrs hideto nakaharaRodney and Kusum nelson-Jones
nick and Margaret Parkertimothy and Maren Robinsonbruno schroder and familyPeter thomsonPeter and Margaret wynnJulia Yorkeand other anonymous benefactors
DonorsAngela and Roderick Ashby-JohnsonMrs nicky browndr and Mrs s challahdavid and elizabeth challenthe cottisford trustderek and Mary draperbeatrice and charles goldiesteven and Madelaine gundersgemma and lewis Morris hallMrs helen higgslord 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 schlossmannMichael smithRt hon sir Murray stuart-smith Robin VousdenPippa wicksPaul f. wilkinson and Associates inc.and other anonymous donors
Members of the AAM Bach Patronslady Alexander of weedonRichard and elena bridgesMr and Mrs graham brownJo and Keren butlerchK charities ltdMatthew ferreydunard fundelizabeth hartley-brewerthe hon simon ecclesProfessor sean hiltongraham and Amanda huttonMark and lisa lovedayMrs sheila MitchellMr and Mrs charles RawlinsonJohn and Joyce Reevedr christopher and lady Juliet tadgellJohn and Madeleine tattersallstephen thomasMark westcharles woodwardcambridge bach supporterscambridge bach friendsand other anonymous AAM bach Patrons
current funders and supporters
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Board of Trusteeschristopher Purvis cbe (chairman)Adam broadbentKay brock lVo dlJohn everettMatthew ferreyJohn grievesheather Jarmandr christopher tadgellsarah Miles williams
Development Boardchristopher Purvis cbe (chairman)Adam broadbentKay brock lVo dldelia brokeKate donaghyJohn everettMatthew ferreyelizabeth de friendJohn grievesMadelaine gundersAnnie nortonchris Rockerdr christopher tadgellMadeleine tattersallsarah Miles williamsAlison wisbeach
Audit and Risk CommitteeJohn everett (chairman)John grievessarah Miles williams
Nominations CommitteeAdam broadbent (chairman)Kay brock lVo dlJohn everettMatthew ferreyJohn grieveschristopher Purvis cbe
Fundraising CommitteeJohn everettMatthew ferreychristopher Purvis cbeMadeleine tattersall
Music DirectorRichard egarr
Emeritus Directorchristopher hogwood cbe
Chief ExecutiveMichael garvey
Head of External Relationssimon fairclough
External Relations Manager: Communicationstoby chadd
External Relations Manager: Developmentdr Anne leone
Orchestra ManagerAndrew Moore
Finance Managerelaine hendrie
Administration Managersamantha fryer
Academy of Ancient Music32 newnham Roadcambridge cb3 9eYunited Kingdom
+44 (0)1223 [email protected]
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the Academy of Ancient Music exists to enrich people’s lives with historically-informed baroque and classical music revealed to the highest international standard in live performance, on record and through educational work.
we achieve world-beating standards, and though firmly rooted at home in london and cambridge we serve a global audience.
enriching life with baroque and classical music