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THE GRAFENEGG MUSIC FESTIVALA FIVE NIGHT HOLIDAY | 7 SEPTEMBER 2016

This year the Festival ends with performances by three great European orchestras, including the Vienna Philharmonic with whom Festival director and pianist Rudolf

Buchbinder will perform all five Beethoven piano concertos in a single day – a veritable tour de force.

Concerts are held in the architecturally dramatic Wolkenturm, in the grounds of the Metternich estate. Staying at the 4* Steigenberger Hotel set amongst the Grüner-Veltliner vineyards, we will also enjoy day trips to the picturesque village of Dürnstein, the Benedictine Abbey at Melk, and a panoramic tour of Vienna.

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Contents

Introducing this season 03

Marin, Madness and MusicSaturday 6 February 2016 04

Compulsive Lyres and Fowl Play Sunday 14 February 2016 13

Bach, Secular and SacredThursday 10 March 2016 22

OAE Biography 41

The OAE Team 42

Glossary 43

Education 45

News 47

Future Concerts 48

OAE Supporters 50

01

Welcome to this concert with the Orchestra of the Age ofEnlightenment, one of Southbank Centre’s four ResidentOrchestras.

This is our sixth season of offering free programmes and wehope that they’re helping you enjoy our concerts. Thisprogramme covers three different concerts. So if you’recoming to another one, don’t forget to bring it back withyou. You can also download copies of our programmes fromoae.co.uk/programmes.

Some of our concerts this year will be held at St John’sSmith Square. They’re still part of our Southbank Centreresidency, but while the Queen Elizabeth Hall is closed forrefurbishment, they’re taking place at St John’s SmithSquare instead.

At both St John’s Smith Square and Southbank Centre,please do not hesitate to approach our Duty Manager andushers/hosts with any questions you may have. Eating,drinking, shopping? There are numerous cafes, restaurantsand shops around the Southbank Centre site, includinginside the Royal Festival Hall itself. At St John’s SmithSquare the Footstool Restaurant in the Crypt will serveinterval and post-concert refreshments, but please note atboth venues that refreshments will not be allowed in theconcert hall.

If you wish to make a comment following your visit pleasecontact Visitor Experience Team at Southbank Centre,Belvedere Road, London SE1 8XX, phone 020 7960 4250or email [email protected].

We look forward to seeing you again soon.

Spring Concerts 2016

Max Mandel, co-principal viola

03

A small group of period instrument-playing pioneers formed the Orchestraof the Age of Enlightenment 30 years ago. At that point public enthusiasmfor historically performed performance was still relatively recent and the ideaof a player-led period group revolutionary.

A lot has changed since then, but the Orchestra of the Age of Enlightenmentcontinues to ride a wave of adventure and experimentation. This season is nodifferent, and curators Andrew Watts (bassoon) and Cecelia Bruggemeyer(double bass) have put together a series of concerts that includes old, firmfavourites alongside new ground for the Orchestra to tread.

The Old

Cecelia comments on how the Orchestra remains true to its roots thisseason:

One of the primary motivations of OAE was to be player-led rather thandirector-led, and 30 years on that’s still very much at the heart of what wedo now. So you have players like Andy and me curating the season. Youhave players directing concerts – Steve Devine will be directing theopening concert and Matt Truscott directing the Winds of Changeconcert. And you have soloists from within the Orchestra throughout theseason such as Lisa Beznosiuk, Antony Pay, Margaret Faultless, KatiDebretzeni and David Blackadder to name a few.

Andrew adds:

We felt it was important to feature the Baroque and Classical repertoirethat has always been at the heart of the OAE’s work but to bring ourapproach up to date with the latest scholarship and research. So we’redelighted that John Butt is joining us for an all Bach programme. John isone of the leading Bach scholars of our time with a formidable breadth ofknowledge and insight.

The New

2015–2016 also sees the Orchestra venturing into later repertoire. Ceceliasays, ‘We’ve also got Mahler’s Second Symphony to look forward to withJurowski – who would have thought when the OAE started 30 years ago,we would one day be talking about a period instrument performance ofMahler. It’s extraordinary how far we’ve come’

This season we perform with Principal Artists Sir Mark Elder, VladimirJurowski and Sir Simon Rattle and we’re reunited with EmeritusConductor Sir Roger Norrington. But we’ll be forging new relationshipsas well, not least with our new Principal Artist John Butt. Cecelia comments:

I’m so looking forward to working for the first time with PatriciaKopatchinskaja, and hearing what Michael Gordon composes for theclassical bassoon. It will be fascinating to see what the chemistry betweenthem and us will create. I can’t wait to see how David Pountney brings DerFreischütz to the concert platform. And I’m really delighted that we areplaying with Sir András Schiff again. It’s only the second time I’ll haveworked with him and the Orchestra still have such wonderful memories ofthe Haydn and Mozart project we did together.’

Introducingthis season

04

A message from OAE supporter Nigel Jones

Marin, Madness and Music – 6 February 2016

I have worked in the City for the last three decades and have the privilege ofserving as a board member of both the City Mental Health Alliance (CMHA)and the Orchestra of the Age of Enlightenment (OAE). I am in no doubt thateveryone will benefit, both personally and professionally, if together we allconsider people’s mental health more proactively. As this concert willdemonstrate, music has an important part to play in that effort. Hence thepleasure my wife and I, and my CMHA colleagues, have in supporting it.

Those of you are not already familiar with the OAE can find out more about itswonderful work elsewhere in this programme. As for CMHA, it was founded in2013 to help City-based organisations be more open about mental health, toimprove literacy around the topic, and to encourage more practical approaches topromoting positive mental health in our working environments. Our membershipincludes many leading City organisations (banks, professional service and lawfirms, and corporates), all of whom share a commitment, including at Board level,to addressing these challenges. If you would like to know more, including abouthow your organisation can get involved, please visit the CMHA websitewww.citymentalhealthalliance.org or email [email protected]

I hope you enjoy this evening’s performance, and come away mentally refreshed.

Nigel JonesPartner, Linklaters LLP and Board member, CMHA & OAE

Brahms Variations on a theme by Haydn

Schumann Violin Concerto

Interval

Schumann Symphony No. 3, Rhenish

Marin Alsop conductor

Patricia Kopatchinskaja violin

Part of Southbank Centre's Changing Minds festival.

We are grateful to the CMHA (through memberswho wish to remain anonymous) without whosesupport this concert would not have been possible.We also acknowlege with gratitude the support ofpatrons Selina & David Marks.

This concert will finish at approximately 8.45pm,with an interval of 20 minutes.

OAE Extras at 5.45pm, free admissionClore Ballroom A panel of speakers including Marin Alsop andGillian Moore (Director of Music, SouthbankCentre) discuss whether madness and genius reallydo go hand in hand. Or does this notionmisrepresent both creativity and mental healthproblems?

Aftershow Clore Ballroom, immediately after the concertJoin members of the Orchestra for a Q&A session. 05

Marin, Madness and MusicSaturday 6 February 20167pmRoyal Festival Hall

Violins 1 Matthew Truscott Jennifer Godson Ken Aiso Julia Kuhn Roy Mowatt Leonie Curtin Declan Daly Lucia Veintimilla* Simon Kodurand Persephone Gibbs Noyuri HazamaJayne Spencer Lucy Waterhouse

Violins 2 Richard Blayden Andrew Roberts Claire Holden Henry Tong George Clifford Andrej Kapor* Stephen Rouse Colin Callow Stephen Pedder Catherine Ford Flora Curzon

Violas Sophie Renshaw Nicholas Logie Annette Isserlis Kate Heller Marina Ascherson Thomas Kirby Penny Veryard Elisabeth Sordia* Christopher Beckett

CellosLuise Buchberger Andrew Skidmore Ruth Alford Helen Verney Catherine Rimer Richard Tunnicliffe

Double basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer Kate Aldridge John-Henry Baker

FlutesLisa Beznosiuk Katy Bircher

Piccolo Neil McLaren

Oboes Daniel Bates Leo Duarte

Clarinets Antony Pay Jane Booth

Bassoons Meyrick Alexander Sally Jackson

Contrabassoon David Chatterton

Horns Roger Montgomery Martin Lawrence Gavin Edwards David Bentley Brendan Thomas

Trumpets David Blackadder Phillip Bainbridge

Trombones Philip Dale Hilary Turner Patrick Jackman

Timpani Adrian Bending

Percussion Glyn Matthews

*OAE Experience Scheme

Recorded for BBC Radio 3 for broadcast on 8 February 2016.

Marin, Madness and Music Saturday 6 February 2016

06

Concert in context

The relationship between RobertSchumann and Johannes Brahmsremains one of the mostfascinating and significant inmusical history. Schumann’sforceful imagination, hisinquisitive mind filled withliterature and art, and his music ofinstant power and poetry had ahuge effect on European music andhelped shape the minds of ageneration of composers after him.One of those was JohannesBrahms, who picked-up whereSchumann left off in matters ofmelodic construction, fascinationwith counterpoint, the ordering ofmusical keys and in the sheerforcefulness of his orchestralexpression.

Schumann recognizedBrahms’s potential, and in onesense dropped everything tonurture it, such was his generosity.Perhaps, as he slipped towards themania that took full control afterthe propulsive joy of his ThirdSymphony, Schumann was keen tonurture a creative spirit in someoneelse. As for Brahms, the jury’s outon how well he repaid the favour.Rumours abound that he enjoyed aromance with the composer’swidow Clara and that he helpedsuppress Schumann’s ViolinConcerto. But perhaps Brahms,the nervous perfectionist, had hisreasons…

Tonight we hear one ofBrahms’s most delicately chiseledcreations, a set of variations on atheme that allowed him to deployhis proportionate perfectionismwith unusual straightforwardnessand clarity. Brahms and thevirtuoso Joseph Joachim believedSchumann’s Violin Concertounbecoming of the genius that hadspawned countless masterpiecesfor piano, voice, orchestra andensemble. Were they right? IsSchumann’s concerto bad, odd, orjust different? You can decide foryourself, but there’s no disputingthe wonder of Schumann’s third

and final Symphony, a tour de forcecapable of inspiring anyone…except, perhaps, those with anaversion to the interval of theperfect fourth.

*Words indicated by an asteriskare explained on page 43

07

Programme Notes

Johannes Brahms(1833–1897)

Variations on a themeby Haydn, Op. 56(1873)

In 1853, Robert Schumann optedto go public with his belief in theoutstanding young composer he’dbeen mentoring. Schumanndeclared his discovery ‘a mansingled out to make articulate thehighest expression of our time.’The composer in whom Schumannhad placed so much confidence wasJohannes Brahms. History hasshown how prescient thatconfidence was.

But for all Brahms’s fluentgenius, he didn’t have it easy. HisFirst Symphony of 1876 took anage to emerge through the mists ofself-doubt and aesthetic stasis. Toshake those problems off and re-sethis creative compass, Brahmswould spend many an hourcopying-out scores by others headmired – a process of creativejump-starting that somecomposers still use today. One ofthe figures Brahms most frequentlyturned to was Joseph Haydn, theso-called ‘father of the symphony.’

Some time around 1870, and inconsultation with his friend theHaydn scholar Carl FerdinandPohl, Brahms copied out a melodythat the two believed had flowedfrom Haydn’s pen. Brahms decidedin the summer of 1873 to composea freestanding set of variations onthe tune, initially for two pianos. InSeptember of the same year, heorchestrated it; on 2 November, heconducted the ViennaPhilharmonic in the first orchestralperformance of the work, whichhas come to be known as the StAnthoni Chorale (we now knowthe tune to be a pilgrim’s hymnhonouring that saint).

It wasn’t just Haydn’s tune thatshaped Brahms’s work. Thecomposer also took his structurallead from Haydn, alternatingmajor and minor keys at the startof his 8-variation design just asHaydn had in his set of F minorvariations for piano (Brahms mighthave been expected, at the time, tobegin with a stream of stylistic

contrasts before moving intoalternating tonalities).

So, the theme. It certainly has ahymn-like quality, and you’ll hearit first played on winds overplucked cellos and double basses.The first variation follows: anembellishment of the theme fromthe violins over a darkenedorchestra punctuated by timpanistrokes. The theme becomes moreanimated as it turns into the minorwith something like a dance, andthen more lyrical as it’s sung-out byan oboe and subsequently byviolins.

Brahms’s fourth variationreturns to the minor and uses ascalic version of the theme as thebasis for some stern counterpoint,while the fifth variation presentsanother contrast with nonchalantwoodwinds playing in thirds.French horns energetically launchthe sixth variation and mutedcellos and violas characterize theveiled seventh. Brahms had wantedto end with a giant fugue, but madedo with a grand, imposing finale inwhich theme, restored to itsoriginal shape, is rendered by fullorchestra after a festival ofinstrumental imitation.


08

Programme Notes

Robert Schumann(1810–1856)

Violin Concerto in D minor, WoO. 23(1853)

I In kräftigem, nicht zu schnellen tempo

II LangsamIII Lebhaft, doch nicht schnell

In the Spring of 1853 Schumannsaw the great virtuoso JosephJoachim play Beethoven’s ViolinConcerto. The performance made adeep impression on the composerand prompted him to write twoworks for violin and orchestra withJoachim in mind. One was thisconcerto, started on 21 September1853, finished on 1 October, andfully orchestrated two days later.

Joachim, though, wasn’t tootaken with Schumann’s efforts,which is where an extraordinarystory begins. The violinist acted tostop the concerto being publishedwith the support of Brahms; neitherbelieved the score worthy ofSchumann’s name (a combinationof Brahms’s cripplingly unrealisticperfectionism and Joachim’s lack ofjudgment). Joachim squirreled thescore away in the Prussian StateLibrary.

Seven decades later, enter stageleft Joachim’s great niece Jellyd’Aranyi – a London violinist with apenchant for the supernatural.According to d’Aranyi, she heard ofthe unknown concerto’s existencewhen Schumann himself spoke toher from the grave during a sessionusing a Ouija Board. D’Aranyispread the word of the concerto’sexistence and before long themanuscript stashed by Joachim washunted down. D’Aranyi, the BBCSymphony Orchestra and SirAdrian Boult gave the first UKperformance of the work on 16 February 1938 in London,shortly after the German premierein Berlin a few months earlier.

Critics, eager to find reasoningfor the actions of Brahms andJoachim, pointed to the work’sstructural weaknesses. In a sense,they got to the bottom of it: theconcerto’s relationship withtraditional sonata form is uneasyand Schumann doesn’t always

appear to develop his themes as acomposer of his stature would havebeen expected to. They pointed, too,to a general lack of drama and aprofusion of irritating repetition.

These days, it’s easier toappreciate the piece as ‘different’rather than simply ‘sub-standard’.The musicologist Alfred Niemanhas noted Schumann’s lack ofinterest in pitting clashingopposites against one another, asmost Romantic concertos werewont to do. Instead, writes Nieman,Schumann’s themes should beheard ‘as if characters in a play,forming new alignments in varyingscenes but seldom drasticallychanging their basic personalities.’

In his first movement,Schumann fashions a traditionalopening structure that’s eclipsed byhis very different-sounding themes:two are presented by the orchestrabefore the soloist has played a note;towards the middle of themovement Schumann appears todeconstruct one of them as theorchestra and soloist trade shortchords and delicate arpeggios in amoment of strange fragility.

The theme of the slowmovement is particularly touching(Brahms used it as the basis foranother set of variations) not leastwhen, towards the end of themovement, we hear it in acompletely different light: shifteddown a third and suddenly in aminor key. A short transition leadsto the final movement, a cheerfulPolonaise in which three themes arerecalled no less than five times. Butall is not jolly. At one point themusic suddenly glances over itsshoulder, recalling the main musicalidea of the slow movement in whatseems to be a moment of sudden,chilling fear. Schumann surelysensed what was coming his way.

INTERVAL

Programme Notes

Robert Schumann

Symphony No. 3 in E flat major, Op. 97,Rhenish (1850)I LebhaftII Scherzo: Sehr massigIII Nicht schnellIV FeierlichV Lebhaft

Mirroring its route through thewestern regions of Germany inwhich the composer spent his latteryears, the Rhine cut its owndubious path through RobertSchumann’s life. It was in the river’swide and treacherous waters thatthe composer attempted suicide in1854, four years after thecompletion of this, his lastsymphony (the so called ‘fourth’was actually composed second). Itremains a paradox that such amagnificent, energetic, confidentand joyous work was born at a timewhen the composer wasapproaching a peak of insecurityand illness.

Schumann and his wife Clarahad taken up residence inDüsseldorf in 1850, charmed by theRhineland. But Robert remainedfrustrated by poor workingconditions and became exhaustedby his schedule (which included asignificant amount of conducting).He started the symphony inNovember 1850, completing itshortly after a month later andconducting its first performanceeight weeks after that (fast work,but Schumann had clearly mappedthe piece in his mind before he putpen to paper). Two years later,Schumann would fall into anemotional tailspin. By 1854 he hadbeen admitted by his own requestto an asylum and by 1856 he wasdead.

Momentum is often cited as oneof Schumann’s most fascinatingand endearing compositionalcharacteristics, and this symphonyhas it in spades. It commands fromits first bar, launching as if mid-sentence with a propulsive themeon first violins supported bypulsating orchestral machinationsunderneath. This theme drivesrelentlessly forward – encouragedby braying horns and egged-on byrhythmic syncopations – towards asecondary theme that continues themusic’s obsession with the intervalof a fourth (think the first two notes

of Away in a Manger), but in a moreswaying guise and now in theminor.

Falling fourths also characterizethe second movement thatSchumann originally titled‘Morning on the Rhine’, a smoothflowing movement whose use ofthe characteristic rhythm of theGerman Ländler give it anunmistakable sonic geography.There follows a delicate transitionalmovement marked Nicht schnell(‘not fast’), an intermezzo thatmight be seen as a stationeryriverside picnic against the keenjourneying of the othermovements.

Schumann was in bed ill when anew cardinal was installed atCologne Cathedral on 12 November1850, a ceremony that is often saidto have shaped the grandprocession of his fourth movement,Feierlich (‘Solemn’). Still, themovement was undoubtedlyinspired by Cologne Cathedral:grand, imposing and built like ahuge cathedral’s nave in itssequence of paragraphs abutted byfirmly placed orchestral chords, andin its use of a single motif (built,again, on rising fourths).

The fourth movement returnsto Schumann’s Lebhaft (‘lively’)marking and begins diligently butjauntily with the spelling out of afourth and the notes in between.Orchestral sections work hard atformulating and suggesting themesfor some time before arriving at theunanimous statement of a fresh,skipping theme. As in the ViolinConcerto, the previous movementis recalled, but here with multipleflashbacks: in grandiose brassstatements or in the transformationof that movement’s solemn, minor-key theme into the major before ablazing statement of the firstmovement’s propulsive motif.

Programme notes by Andrew Mellor © 2016

09


10

Boffin’s Corner Schumann’s Violin Concerto…and the Nazis

Never shall I forget the moment when my mother came in to us and said, with deep but suppressed emotionon her face, ‘I have just settled with Joachim and Johannes [Brahms] that the concerto is not to be published,not now, or at any time’. So recalled Schumann’s youngest daughter Eugenie in an interview with The Timesin 1938, a few days before the Violin Concerto’s UK premiere.

Just one year before, Jelly d’Aranyi’s psychic gifts had lead hunters to the Prussian State Library where theunknown Violin Concerto in Eugenie’s father’s hand lay. D’Aranyi’s original plan was to perform theconcerto in London in October 1937, but there was a problem. The Nazis had claimed copyright on thescore as the property of a state-controlled library. There appeared to be an impasse. But d’Aranyi and SirAdrian Boult were determined. Diplomatic wheels were set in motion, which involved an act of odd pre-warappeasement. With the agreement that the violinist Georg Kulenkampff could present the world premiere ofthe piece in Berlin in late 1937, D’Aranyi and Boult got the UK premiere and radio broadcast they wanted.

11

BiographyMarin Alsopconductor

Photo: Grant Leighton

Marin Alsop is an inspiring and powerful voice in theinternational music scene, a Music Director of visionand distinction who passionately believes that ‘music hasthe power to change lives’. She is recognised across theworld for her innovative approach to programming andfor her deep commitment to education and to thedevelopment of audiences of all ages.

Her outstanding success as Music Director of theBaltimore Symphony Orchestra since 2007 has beenrecognised by two extensions in her tenure, nowconfirmed until 2021. As part of her artistic leadership inBaltimore, Marin Alsop has created bold initiatives thathave contributed to the wider community and reachednew audiences.

Alsop took up the post of Principal Conductor of theSão Paulo Symphony Orchestra in 2012 and becameMusic Director in July 2013. She continues to steer theorchestra in its artistic and creative programming,recording ventures and its education and outreachactivities.

Since 1992, Marin Alsop has been Music Director ofCalifornia’s Cabrillo Festival of Contemporary Music,where she has built a devoted audience for new music.

In September 2013, Marin Alsop made history as thefirst female conductor of the Last Night of the Proms.She returned to the Proms in 2015 to conduct the LastNight and an all-Brahms programme with the OAE.

Marin Alsop is the recipient of numerous awards andis the only conductor to receive the prestigiousMacArthur Fellowship, given to US residents inrecognition of exceptional creative work. She was theonly classical musician to be included in the Guardian’s‘Top 100 women’, celebrating the centenary ofInternational Women’s Day in 2011. Alsop is anHonorary Member of the Royal Academy of Music andthe Royal Philharmonic Society and was recentlyappointed Director of Graduate Conducting Program atthe Johns Hopkins Peabody Institute.

Born in New York City, Marin Alsop attended YaleUniversity and received her Master’s Degree from TheJuilliard School. Her conducting career was launchedwhen, in 1989, she was a prize-winner at the LeopoldStokowski International Conducting Competition andin the same year was the first woman to be awarded theKoussevitzky Conducting Prize from the TanglewoodMusic Center, where she was a pupil of LeonardBernstein.


12

BiographyPatricia Kopatchinskajaviolin

Violinist Patricia Kopatchinskaja’s versatility showsitself in her diverse repertoire, ranging from Baroqueand Classical often played on gut strings, to newcommissions and re-interpretations of modernmasterworks.

Highlights of the 2015–2016 season includeperformances with Staatskapelle Berlin, a residency atthe Laeiszhalle in Hamburg and a collaboration withTeodor Currentzis and Musica Aeterna with whomshe will appear at Bremen Festspiele and tour acrossEurope. Kopatchinskaja will also tour with CamerataSalzburg under Langrée, La Chambre Philharmoniqueunder Krivine, Chamber Orchestra of Europe,collaborate with Vladimir Jurowski and his StateAcademic Symphony Orchestra in Moscow andperform with the Houston Symphony and SeatleSymphony Orchestra.

In London, Kopatchinskaja appears with theLondon Philharmonic Orchestra under Jurowski andshe is the central figure of the Changing Mindsfestival at Southbank Centre – where she performswith the Orchestra of the Age of Enlightenment,Kafka Fragments with Anu Komsi and works byUstvolskaja.

Kopatchinskaja performs a number of newcommission premieres this season: Turnage’s newpiece for Violin and Cello with Sol Gabetta; MauricioSotelo’s new composition for string orchestra,flamenco dance and percussion with The Saint PaulChamber Orchestra – where she is an Artistic Partner- as well as a new piece by Michael Hersch and theFrench premiere of Michael van der Aa’s new ViolinConcerto.

Last season’s highlights included her debut withthe Berliner Philharmoniker performing Peter Eötvös’DoReMi under the baton of the composer himself.She also performed at the closing concerts of LincolnCenter’s Mostly Mozart Festival, appeared with theLondon Philharmonic Orchestra at the EdinburghInternational and Santander festivals and touredSwitzerland with the Royal Stockholm PhilharmonicOrchestra under Sakari Oramo.

Chamber music is immensely important toKopatchinskaja and she performs regularly with artistssuch as Markus Hinterhäuser and Polina Leschenkoas well as members of her own family. She is afounding member of the acclaimed quartet-lab - astring quartet with Isabelle van Keulen, Lilli Maijala

and Pieter Wispelwey – with whom she undertakes amajor European tour in autumn 2015.

A prolific recording artist, this 2015–2016 seasonwill see three major releases, one with Gidon Kremerand the Kremerata Baltica a CD of Kancheli’s music,TAKE 2 on Outhere/Alpha and Tchaikovsky’s ViolinConcerto with Teodor Currentzis and MusicaAeterna on the Sony label. Her release for NaïveClassique with concerti by Bartók, Ligeti and PeterEötvös won Gramophone’s Recording of the YearAward in 2013, the ECHO Klassik Award and a 2014Grammy nomination.

Photo: Marco Borggreve

HaydnSymphony No. 83, La Poule

Mozart Concerto for Flute and Harp

Interval

Chevalier de Saint-Georges Overture from L'Amant anonyme

Beethoven Symphony No. 2

Sir Roger Norrington conductor

Lisa Beznosiuk flute

Frances Kelly harp

We are very grateful to Julian and Annette Armstrongand Bruce Harris for their support of this concert.

We are delighted to dedicate this concert to ourSupporting, Bronze, Silver and Gold Friends andPatrons in recognition of all their support of theOrchestra’s work.

This concert will finish at approximately 9.30pm,including an interval of 20 minutes.

OAE Extras at 6.15pm, free admissionRoyal Festival Hall Has period performance done its job? With the OAE marking its 30th Birthday this year wehost a panel debate looking at what the periodperformance movement has achieved and ask, is its jobnow done?

13

Compulsive Lyres and Fowl PlaySunday 14 February 20167.30pmRoyal Festival Hall

Violins 1 Margaret Faultless Huw DanielAlison Bury Jennifer Godson Sophie Barber Rachel Isserlis Andrew Roberts Noyuri Hazama

Violins 2Matthew Truscott Colin ScobieRoy Mowatt Claire Holden Debbie Diamond Stephen RouseCatherine FordGeorge Clifford

Violas Max Mandel Nicholas Logie Martin Kelly Annette Isserlis Kate Heller Thomas Kirby

Cellos Andrew Skidmore Catherine Rimer Helen Verney Ruth Alford Jennifer Morsches

Double basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer Christine Sticher

FlutesLisa BeznosiukNeil McLaren

OboesDaniel LanthierNicola Barbagli

ClarinetsAntony PayJane Booth

BassoonsPeter WhelanSally Jackson

HornsPhillip EastopMartin Lawrence

TrumpetsDavid BlackadderMatthew Wells

TimpaniAdrian Bending



Rarely in living memory have webeen made so acutely aware ofParis’s cultural significance andmulticultural makeup. Two of thepieces we hear tonight areinextricably linked to a black manwho fought hard in a time of racismand slavery to become one of theFrench capital’s most respectedmusicians. Joseph de Bologne, akaLe Chevalier de Saint-Georges,conducted a string of ensembles inthe city including the orchestra thatcommissioned and performedHaydn’s landmark ParisSymphonies. We hear one of thosesymphonies tonight, the only one ofthe six that occupies the darkshading of a minor key. After thatcomes a strong-willed, three-partOverture by Saint-Georges himselfin which we hear the sure signs ofHaydn’s influence.

The centre of musical gravitymight have looked like it wasdrifting west towards Paris in thelate 1700s, which was one reasonthe twenty-something Mozartmoved to the city. But Wolfgang’stime in the French capital didn’t gowell. The French wound him up, hewas visited by personal tragedy andhe never seemed to get on side withParisian audiences and theirparticular tastes. That didn’t stopMozart writing some sublimemusic in the city, including aconcerto for flute and harp in whichhe toys with the perceivedcharacteristics of French music inhis own inimitable way. As forFrance’s pole position on the musicscene, thanks to one Ludwig vanBeethoven it never really got going(not for another century, at least). InBeethoven’s Second Symphony of1802, we begin to hear theimpetuousness, boldness, zeal andinvention that would make itscreator the most importantsymphonist for many generations –and make Austro-Germany theepicentre of musical creativity oncemore.

Concert in context

14

Unlike his friend and pupilWolfgang Amadeus Mozart,Joseph Haydn spent the vastmajority of his career in one place:Esterházy in Austro-Hungary,home to the aristocratic family whopaid his wages. But that didn’t stopHaydn’s reputation from traveling.In early 1780, the composer’s musicwas pricking up ears all over Paris.

A French aristocrat andfreemason named ClaudeFrançois-Marie Rigoley, Count ofOgny, developed a particularpenchant for Haydn’s works.Perhaps the Count recognised thatthe composer’s symphonies werestarting to hit upon somethingnew: that his experience with operawas seeping into symphonic scoresincreasingly concerned withdramatic flow; that his handling ofcontrasting keys was becoming evermore overarching and broadwithout losing its sense of impishcheek.

In 1784, the Count askedHaydn to write six symphonies forthe huge orchestra of his masoniclodge, known colloquially as theLoge Olympique. Haydn, nowcontractually permitted to acceptexternal commissions despite hiscontinuing employment atEsterházy (he was offered anastronomical fee by the Count),wrote six symphonies that built onall those burgeoning symphonicideas. The so-called Parissymphonies felt more lively,engaging, emotionally true andstructurally sound than any thathad flowed from Haydn’s penbefore.

Haydn took his small Esterházyorchestra through the pieces beforesending the scores off to the Count.The Orchestra of the LogeOlympique took two years toschedule them but when iteventually presented the works, itwent all out. Each concert of the1787-88 series contained at leastone symphony of the Paris set,

sometimes two. The huge orchestraplayed the scores in its distinctivesky blue uniform, each musiciancarrying a sword. Theperformances were conducted byone Le Chevalier de Saint-Georges, more of whom anon.

The ‘Paris’ Symphonynumbered 83 was probably writtenin 1785. Of the six, this is the onlyexample in a minor key, though intruth the first movement sees muchof its ominous darkness off and bythe fourth the music is singing outresolutely in the major. That firstmovement builds in intensity fromits initial idea stalked by silence to amore lighthearted secondary themewhich, long after Haydn’s time,gave the symphony its ‘the hen’nickname: an oboe repeats a singlenote while violins play a theme thatclucks along with a little gracenote.The contrast between those twothemes is underlined when they arediscussed together in Haydn’sdevelopment section.

Haydn instructs the gentleAndante to be played mostly at‘piano’ and ‘pianissimo’ volumes(‘quiet’ and ‘very quiet’) but thatstate is briefly but abruptlyinterrupted by invading forces. Twodance movements round thesymphony off: a minuet with thegait of a waltz, and a finalecharacterized by a gigue-like themewhose energy takes the music fromkey to key – no less than seven keysare visited in one particular 20-barstretch. Haydn’s musical phraseshere are typically short and snappy,but all the while his orchestra isgrowing in independence,instruments blossoming intocharacters or individual phraseswhere they might have been usedfor accompaniment or harmonicfilling before. The music feels fullof spirit, until it reaches a hesitantpause…and then an emphaticclose.

Programme Notes

Franz Joseph Haydn(1732–1809)

Symphony No. 83 inG minor, Hob. I:83,La Poule (1785)

I Allegro spiritosoII AndanteIII Menuet: AllegrettoIV Finale: Vivace

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Compulsive Lyres and Fowl Play Sunday 14 February 2016

Programme Notes

Wolfgang AmadeusMozart (1756–1791)

Concerto for Flute,Harp and Orchestrain C major,K. 299/297c (1778)

I AllegroII AndantinoIII Rondo. Allegro.

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Mozart claimed to dislike the fluteand apparently wasn’t overly keenon the harp either. The composertold his mother that he wrote thisdouble concerto for the twoinstruments to avoid having towrite individual ones. But therewere positive impulses behind thework’s birth, too. During histroubled early weeks in Paris in1778, Mozart was looked uponkindly by the Count of Guines,whose flute playing the composerdescribed as ‘incomparable’. TheCount soon had Mozart teachinghis daughter, who was equallyproficient on the harp – enough forMozart to describe her playing as‘magnificent’.

The relationship, like much elsein Mozart’s Paris period, soonturned sour. But not before thecomposer had written thisconcerto for the father-daughterduo, cannily bearing his Frenchaudience in mind. What it might

lack in bold gestures the concertocertainly makes up for in eleganceand texture – not least the verydistinct and luminous combinationof those plucked and blown soloinstruments.

More than that, though,Mozart put his concerto onsomething of a French footing byemploying a native dance in hisfinal movement (a gavotte) andscattering the music with Gallicdecoration in the form of trills andturns. Mozart often criticisedFrench aesthetics and some say hewanted to challenge them in thispiece – creating a tension betweenhis natural voice and his parodyingof debonair stylistics that propelsthe music forwards. But there’splenty of straightforwardlybrilliant Mozart in here too, notleast in the ravishing slowmovement where soloists andorchestra constantly shift roles tounique and charming effect.

INTERVAL

Boffin’s Corner The glitz and glamour of the Loge Olympique

Many 18th-century musicians were freemasons, including the first three composers we hear from tonight.When Saint-Georges’s orchestra Le Concert des Amateurs folded in 1781, a group of masons founded anensemble sponsored by one of the most prominent lodges in Paris, L’Olympique de la Parfait Union (‘TheOlympic of the Perfect Union’). In keeping with the flair and sporting prowess of its conductor Saint-Georges, the orchestra played in an outlandish uniform of sky-blue dress coats with elaborate lace ruffs andaccessory swords, as reported by the music historian HC Robbins Landon. All very impressive, especiallywhen you consider the ensemble’s size: it had over forty musicians in its violin section alone (more than inHaydn’s entire orchestra at Esterházy).

The first performance of Haydn’s Paris symphonies attracted much attention, not least from the Queen,Marie-Antoinette, who attended the first airing of each of the symphonies and was rather taken with No85, hence its nickname (not ‘the hen’ but La Reine, ‘The Queen’). Haydn would have been quite taken withhis fee, too, which at 25 gold coins for each symphony plus another five for the publication rights wasaround four times what he would have expected elsewhere. If that seemed outlandish, it was. ClaudeFrançois-Marie Rigoley, the Count of Ogny – the prominent member of the lodge who commissioned thesymphonies, stumped up the cash and himself played the cello in the orchestra – was found to have amassedhuge debts when he died.

Joseph de Bologne, aka LeChevalier de Saint-Georges, wasthe son of a French aristocrat andone of the slaves that worked on hisplantation in Guadeloupe. Anoutstandingly talented fencer,lover, violinist, keyboardist,conductor, and no mean composereither, Saint-Georges was livingproof that the only way blackpeople could gain true recognitionand acceptance in 18th-centuryEurope was though a combinationof formidable talent and extremelyhard work.

Saint-Georges might havebecome famous for his antics with asword – he was once lured toEngland by the Prince of Wales fora celebrity fence-off with a well-known swordswoman – but hemastered his musical technique andfound his voice as a composer prettyearly on. Much of the music hewrote was induced by the orchestrashe played in, directed andtransformed into first-rateensembles (including, late in hiscareer, the famous Le Cercle del’Harmonie). When Saint-Georgesbecame one of the first blackfreemasons in France at the LogeOlympique, he was entrusted withthe directorship of its orchestra, thesuccessor to Le Concert desAmateurs, which he had alreadytaken to new heights.

Seven years earlier, with Haydnclearly on his radar, Saint-Georgeswrote the only one of his comicoperas that survives in score today:L’Amant anonyme (The AnonymousLover). After its first performancein Paris on 8 March 1780, it becamethe most popular of the composer’sstage works. The music might notbe on the consistently inspired levelof Haydn’s, but it certainly revealsthat composer’s influence in thebustling energy and rhythmicgameplay of its symphonic, three-movement Overture. TheOverture’s three movements areoften built on elegant elaborations

on simple figures, but it launcheswith an angular theme, full ofpurpose. A whimsical slow sectionfollows, and then a return to fastmusic full of brightness but with adash of intrigue too.

Programme Notes

Le Chevalier deSaint-Georges (1745-1799)

Overture fromL’Amant anonyme(1780)

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A wise individual once wrote that ifBeethoven’s symphonies werepresented un-dated andunnumbered, the easiest to guess theposition of – after the Ninth – wouldbe the First and Second. Whether ornot you feel you could deliver onthat challenge, it’s a usefulobservation. These are symphoniesthat demonstrate a distinct processof expansion and exploration, notonly as a pair but also in the contextof the soil from which they grew: thelate symphonies of Mozart andHaydn.

Beethoven, though, was alreadyhis own man. The forces that were tomake him the most importantmusician for centuries were alreadybeginning to form at the time ofthis, the Second Symphony. One ofthe most significant of those forceswas the decline in the composer’shearing. As he began toacknowledge that performing as apianist with an orchestra wouldbecome increasingly difficult givenhis encroaching deafness,Beethoven veered towards thecreation of symphonies whichwould prove that the same dramaand intensity could be achievedwithout a pianist on stage at all. HisFirst Symphony had famouslylaunched with a discord; his Secondwould speak even more of theunorthodoxy, grandeur andbrilliance that was soon to usher ‘thesymphony’ into the new century.

Beethoven was in one of hisdarkest emotional states whileworking on this symphony. Oneconcurrent, non-musical piece ofwriting on his desk in 1801-2 wasthe Heiligenstadt Testament – adetermined railing against hishearing condition from Beethovenin the form of a letter to his brothersin which he explores the full extentof his despair and at one pointcontemplates suicide. Perhaps this iswhat we hear in the symphony’sopening bars. Clouds gather as thelong, slow introduction becomesincreasingly tense, twisting itself up

through various remote keys to anangst-ridden D minor stalematebefore slipping into the firstmovement’s ‘fast’ theme which itselfprompts wild snaps and blows fromthe orchestra.

What follows is particularlyinteresting. A slow movementwhich unveils for the first time thesort of rich, lyrical wind ideas andhymn-like melodies that Beethovenwould develop fully in the mostexalted moments of his latesymphonies and string quartets.Then we have Beethoven’s firstorchestral Scherzo, the joke being athree-note fragment that’s tossedmerrily between instrumentalgroups – listen in particular for themisplaced accents in the violins, theemergence of one of Beethoven’smost distinctive hallmarks.

It’s in the finale that the mostexplicit facets of Beethoven’s epicsymphonic imagination are laid out.Initially we hear a pithy theme that’spicked up and thrown away inupper-register instruments andgreeted gruffly by lower ones. Thatidea is taken forward until anextraordinary ‘coda’ arrives, builtfrom a subdued, lyrical theme thatpassed almost unnoticed earlier inthe movement; here it combineswith the earlier motif in a massivecranking-up of symphonicmomentum that demands a wildlydramatic ending.

That’s what one critic wasgetting at when he described thesymphony after its first performanceon 5 April 1803 as ‘a hideouslywrithing wounded dragon thatrefuses to expire’. They might havesounded bizarre and savage to thosefirst listeners, but we now recognizethese early protests from Beethoven– his first outcries in the face of fate– as strides towards Romanticismand an appropriate prelude to theupheavals of his symphonies tocome.

Programme notes by Andrew Mellor © 2016

Programme Notes

Ludwig vanBeethoven (1770-1827)

Symphony No.2 in Dmajor, Op. 36 (1802)I Adagio molto –

Allegro con brioII LarghettoIII Scherzo: AllegroIV Allegro molto

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19

BiographySir Roger Norringtonconductor

Sir Roger Norrington came from a musical family inOxford, England and played the violin and sang froma young age. He studied History at WestminsterSchool and English Literature at CambridgeUniversity, where he was a choral scholar. Severalyears’ wide experience of top class amateur musicmaking, while working as a publisher of scholarlybooks, ended with a return to musical studies at theRoyal College of Music in London and the start of hisprofessional career as a singer and conductor.During the 1980s and 1990s Norrington was much indemand as a guest conductor (as he still is today). Heworked in Britain at Covent Garden and the EnglishNational Opera, with the BBC Symphony and thePhilharmonia orchestras, and was Chief Conductor ofthe Bournemouth Sinfonietta. Abroad he appearswith the Berlin Philharmonic, the ViennaPhilharmonic, the Royal Concertgebouw Orchestra,the Orchestre de Paris, and in America the New York,Washington, Boston, Chicago, Cleveland,Philadelphia, San Francisco and Los Angelesorchestras.

Since 1998 Norrington has been the PrincipalConductor of the Stuttgart Radio SymphonyOrchestra (SWR), and until 2006, of the CamerataSalzburg. Since the 2011/12 season he is the PrincipalConductor of the Zurich Chamber Orchestra. In2012 he was awarded the Order of Merit of theFederal Republic of Germany, the only federaldecoration of Germany, for his collaboration with theRSO Stuttgart. He is also Emeritus Conductor of theOrchestra of the Age of Enlightenment.

photo: Manfred Esser


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BiographyLisa Beznosiukflute

Born in England of Ukrainian/Irish descent LisaBeznosiuk is one of the world’s leading performers onearly flutes. As solo flautist and orchestral principalshe has performed and recorded a wide range of 18thand 19th century repertoire on a variety of historicalflutes, both copies and originals, from her owncollection.

It was after hearing baroque flautist StephenPreston play a recital at the Guildhall School of Musicthat Lisa was inspired to take up the traverso. Shedeveloped a passion for wooden flutes and baroquemusic, also finding herself busy playing harpsichordcontinuo - a skill which has become useful in herteaching career.

Lisa has received many enthusiastic reviews for herlive and recorded performances. Her solo recordingsinclude the complete sonatas of Bach and Handel,concertos by Vivaldi, and quartets and concertos byMozart.

She also features on numerous recordings oforchestral music from Bach to Brahms and beyondwith many of Europe’s best-known period instrumentensembles. Lisa is a founder of the Orchestra of theAge of Enlightenment, and as a member of its PlayersArtistic Committee she is closely involved inprogramme planning and the artistic future of theorchestra.

Lisa is also a passionate and dedicated teacher andis Professor of Early Flutes at the Royal Academy ofMusic, Guildhall School and the Royal College ofMusic. She holds an international reputation as ateacher and coach; many of her former students arenow successful and well-known flautists.

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BiographyFrances Kellyharp

Frances Kelly has had a wide-ranging career reflectingher broad interest in music from the Middle Ages tothe present day. Trained on the modern harp, (herprofessors include the wonderful Dutch harpist andteacher, Phia Berghout), and with a music degree fromCambridge University, she was one of the first harpiststo commission the building of baroque harps in orderto explore their repertoire and role as a continuoinstrument. She is now a leading exponent of earlyharps, in great demand as a continuo player, and hasperformed, broadcast and recorded with manydistinguished early music ensembles, as well as most ofthe major UK opera companies. She has madenumerous chamber music and solo recordings and herwork has taken her throughout Europe and to theUSA, Mexico, China and Japan.

Frances enjoys teaching and holds posts at TrinityLaban Conservatoire of Music and Dance and at theRoyal Academy of Music.


A message from our Major Sponsor,Jupiter Asset Management

I am delighted to welcome you to tonight’s concert: Bach, Secular and Sacredby the Orchestra of the Age of Enlightenment, directed by John Butt.

Jupiter has been sponsoring the Orchestra since 1999 and over the pastsixteen years we have established a successful partnership based on our sharedstrengths of integrity and innovation. Founded just one year apart, in 1985and 1986 respectively, Jupiter and the OAE have much in common.

Like the Orchestra, over the past three decades Jupiter has also developed animpressive reputation for expertise and professionalism - albeit in the field offund management rather than music!

I hope that you will enjoy listening to another memorable performance fromthe OAE’s fine musicians.

Maarten Slendebroek

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Bach Sinfonia from Cantata No. 42

Bach Lutheran Mass No. 3

Interval

Bach Brandenburg Concerto No. 2

BachLutheran Mass No. 4

John Butt director

Mary Bevan soprano

Meg Bragle mezzo-soprano

Thomas Hobbs tenor

Edward Grint bass-baritone

David Blackadder trumpet

Pamela Thorby recorder

Daniel Lanthier oboe

Matthew Truscott violin

This concert will finish at approximately 9pm,including an interval of 20 minutes.

We are very grateful to our major sponsor, JupiterAsset Management, for their support of this concert.

OAE Extras at 5.45pm, free admissionEurope House, Smith Square (just across the street from St John’s Smith Square) An introduction to tonight’s performance

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Bach, Secular and SacredThursday 10 March 20167pmSt John’s Smith SquareSt John’s Smith Square, London SW1P 3HABox Office 0207 222 1061 sjss.org.uk

ViolinsMatthew TruscottHuw DanielRachel Isserlis

ViolaMax Mandel

CelloLuise Buchberger

BassChi-chi Nwanoku MBE

OboesDaniel LanthierLars Henrikkson

RecorderPamela Thorby

BassoonRebecca Hammond

TrumpetDavid Blackadder

OrganStephen Farr

Bach, Secular and Sacred Thursday 10 March 2016


Bach is music’s most universalcreative genius. Every note of hisplays a vital role in a complex webof melody, harmony, rhythm,counterpoint and symbolism thatbinds each work together.Uniquely amongst the greatcomposers, Bach saw everythinghe composed as havinginstructional value. He wasessentially a practical man whovalued his music more for itsunassailable logic and structuralimpregnability than its profoundspiritual and emotional content.Yet although his music is deeplyembedded in the Germantradition, he enthusiasticallyembraced influences from othercountries, including the concertofrom Italy and the dance suite fromFrance. ‘The miracle of Bach hasnot appeared in any other art,’asserted the pioneering Spanish

cellist Pablo Casals, who effectivelysealed Bach’s modern reputation.‘To make divine things human andhuman things divine – such isBach, the greatest and purestmoment in music of all time.’

Concert in context

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Bach never felt drawn to theoperatic stage, yet he composedover 300 dramatically compellingchurch cantatas, of which sadlyonly two thirds have survived. Thecantata was developed initially bythe Italian organist-composerGiacomo Carissimi (1605–74) as ascaled-down oratorio for the moreintimate surroundings of the parishchurch. The first major composerworking in Germany to adopt theburgeoning genre was Danish-born Dietrich Buxtehude(c.1637/39–1707), although it wasBach who realised its full potentialas a way of embracing the majorevents of the church year in music.As the distinguished historianCharles Sanford Terry aptly put it‘the cantatas reveal Bach as a mansingularly pondering, emotionaland above all controlled by areligious sense as profound as itwas simple.’

Am Abend aber desselbigenSabbats (‘On the evening, however,of the same Sabbath day’) is theonly one of Bach’s cantatas in hissecond yearly cycle to open with anextended sinfonia. First performedin Leipzig on 8 April 1725, itseems that he created this arrestingorchestral introduction as a meansof resting his over-worked choir,which the previous week hadperformed two other cantatas(BWV1 and BWV4) and theentire St. John Passion. Cast in dacapo (ABA) form, the Sinfonia’scentral cantabile section may havebeen intended to evoke the risenChrist’s evening walk to Emmaus.

Programme Notes

Johann SebastianBach (1685-1750)

Sinfonia from AmAbend aber desselbigenSabbats, BWV 42(1725)

SAT 5 MAR 7.30PM | IPHIGÉNIE EN TAURIDETHU 10 MAR 7.30PM | PIA DE’ TOLOMEIFRI 11 MAR 7.30PM | DON GIOVANNISAT 12 MAR 7.30PM | DON GIOVANNI

MOZART

DON GIOVANNIGluck

IPHIGÉNIE EN TAURIDE

Donizetti

PIA DE’ TOLOMEI

020 8985 2424 | HACKNEYEMPIRE.CO.UK

SPRING 2016

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It was during the summer of 1719that Christian Ludwig, Margrave ofBrandenburg, first commissionedBach to write some music for hiscourt orchestra. Two years later, Bachdispatched a set of six concertos,begging his patron in a self-effacingdedication not to judge the‘imperfections’ of the concertos tooharshly, but rather to find in them ‘theprofound respect and very humbleelegance which they seek to convey’.Each concerto is scored for a differentcombination of soloists and sustainsan exceptionally high level ofinspiration. Indeed, the distinguishedBach scholar Albert Schweitzerconsidered them ‘the purest productsof Bach’s polyphonic style.’

The latest scholarship wouldseem to indicate that Bach sent theconcertos to the Margrave in thehope that he might win some form ofpermanent employment. However,Christian Ludwig clearly did notappreciate the imagination, beauty

and wealth of originality that marksout these timeless scores, as in thecatalogue of his musical library Bach’sname is notable for its completeabsence. It defies belief that one ofthe summits of Western musicinitially went ignored, unheard andunacknowledged, and was probablysold on as part of a job lot.

The exact dating of theBrandenburg Concertos is still amatter for conjecture, although it isnow generally assumed that mostwere originally composed for andperformed by the skilled musicians ofCöthen (where Bach was basedbetween 1717 and 1723) prior totheir being bound together for theMargrave. In the Second Concerto,Bach strived for more soloisticbrilliance than usual, employing ahighly distinctive concertino line-upof trumpet, recorder, oboe and violin,the first of which falls silent in thewistful central Andante.

Johann SebastianBach

BrandenburgConcerto No. 2 in F major, BWV 1047(c.1720)I (Allegro)II AndanteIII Allegro assai

Such is the supreme quality of Bach’sepic Mass in B minor BWV 232 thatthe four shorter Lutheran masses hecompleted in the decade between1737 and 1747 have tended to beoverlooked. Another important factorin their relative neglect is the fact thatwhen collating his materials Bachborrowed heavily from (or ‘parodied’)ten existing cantatas dating from themid-1720s. In the case of BWV 235the opening movement was adaptedfrom Cantata No.102, the secondfrom No.72 and the remainder fromNo.187.

Practical as ever, bearing in mindthat his sacred cantatas were time-specific and could only be performedon one particuar day of the year, byadapting carefully selectedmovements in the form of a Mass,Bach was potentially able to givesome of his finest choral music a moreregular airing. The juxtaposition of

the varous movements and emotionalpacing was also carefully considered,so that far from being merely cobbledtogether to save time and effort, eachMass possesses its own uniquecreative flavour and sense of structuralnarrative.

As was common procedure at thetime, Bach reduced the five mainsections of the full Roman Ordinary –Kyrie, Gloria, Credo, Sanctus andAgnus Dei – to just the opening two.He further sub-divided the Gloriainto two pairs of contrapuntally-intricate choruses – Gloria in excelsisand Cum sancto Spiritu – and soloarias – Gratias agimus tibi for the bassand the tenor-led Qui tollis – placedsymmetrically around a central altoaria (Domine Fili unigenite). The latterprovides a sublime oasis of major-keycalm in the second half of a workotherwise most striking for its minor-key intensity.

Programme Notes


Mass in G minor,BWV 235 (LutheranMass No.3,c.1738/1739)I KyrieII Gloria in excelsisIII Gratias agimus tibiIV Domine Fili unigeniteV Qui tollisVI\ Cum sancto Spiritu

INTERVAL

Bach’s final and longest-lastingappointment in Leipzig between1723 and 1750 was sadly not hishappiest. His essential duties wereto direct and compose music forthe churches of St. Thomas and St.Nicholas, and to superintend themusical training of the St. ThomasSchool choristers. But withinadequate numbers of competentmusicians at his disposal he foundhimself constantly at loggerheadswith the authorities, whom heexasperatedly dismissed as ‘peculiarand not very devoted to music’,while describing the atmosphere inLeipzig as one of ‘almost constantvexation, envy and persecution.’

Bach did his best to raisemusical standards at the school,although his main concern was thequality of music performed in histwo churches on Sundays. For theirpart, the town fathers wereconcerned primarily in the smoothfunctioning of the system and hadneither the time nor inclination toindulge the whims of a creativegenius. Yet despite the lack ofinterest shown in his music, Bachproduced a series of works at anexalted level, including hismatchless series of cantatas, the St.John and St. Matthew Passions,Magnificat, Christmas Oratorio,Mass in B minor and the shorterMass in G major that concludestonight’s programme.

Dating from the same period asthe G minor Mass heard earlier,BWV 236 is similarly derived froma number of cantatas: Nos.179(Kyrie and Quoniam), 79 (Gloriaand Domine Deus), 138 (Gratias)and 17 (Cum sancto Spiritu). It alsoadopts a similar pattern by sub-dividing the Gloria into five mainsections (nos.2–5), in which thechoral Gloria in excelsis and Cumsancto Spiritu frame a sequence ofthree soloistic numbers – anotherinspired bass-led Gratias agimustibi and the Quoniam tu solussanctus for tenor, with the soprano-alto duet Domine Deus at its

epicentre. Interestingly, Bachreverses exactly the tonal procedureof BWV 235 by casting thehauntingly reflective Domine Deusand Quoniam in the minor mode,forming a profoud contrast withthe predominantly upbeat, major-key music that surrounds them.

Programme notes by Julian Haylock © 2016

Programme Notes


Mass in G major,BWV 236 (Lutheran Mass No. 4, c. 1738/1739)

I KyrieII Gloria in excelsisIII Gratias agimus tibiIV Domine Deus, agnus DeiV Quoniam tu solus sanctusVI Cum sancto Spiritu

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Boffin’s Corner J S Bach: Music’s Indestructible Genius

With the notable exception of opera, Bach composed towering masterpieces in every major Baroque genre– sonatas, concertos, suites and cantatas – as well as innumerable keyboard, organ and choral works. Yetduring his lifetime his creative genius went largely unappreciated, and by the time of his death he wasviewed as something of a musical dinosaur – someone who had stubbornly refused to move with the times. Difficult though it is to believe, in Bach’s day music was treated as a consumable commodity, in many waysreminiscent of contemporary pop culture. Here one day, gone the next, as the tide of taste and fashion rolledby inexorably, so new pieces were required on an almost daily basis for a wide variety of purposes. Yet Bach’sreputation was first and foremost as Germany’s leading organist – not as a composer. The notion of rows ofmusic-lovers gathering to listen in hallowed silence to music composed the previous year, let alone centuriesbefore, was practically unheard of at the time. The modern concert programme – what the late, great Frenchcomposer-conductor Pierre Boulez despairingly referred to as ‘museum culture’ – was an essentiallyRomantic concept that lay nearly a hundred years in the future.

Ironically, despite being derided as hopelessly old-fashioned during his own lifetime, Bach’s music hasproved amazingly adaptable to modern popular idioms. Not only has it been embraced convincingly by themasters of swing, blues, rock, Hawaiian, steel drums, brass band, barber shop and synthesiser, but theSwingle Singers can ‘doo-be-doo’ along to the Third Brandenburg Concerto as though it was the mostnatural thing in the world, while Jacques Loussier’s cool jazz treatment of Bach’s celebrated Air from hisorchestral Suite No.3 has (thanks to the power of modern advertising) become indelibly associated in manypeople’s minds with smoking cigars. Celebrated composer-pianists Rachmaninov, Grainger and Busonicreated indelible modern keyboard arrangements of Bach’s masterpieces, while Villa-Lobos rethoughtBach’s miraculous counterpoint in the popular Brazilian style via a series of pieces entitled BachianasBrasileiras. Indeed, so impregnable is Bach’s contrapuntal logic that his music has proved virtuallyindestructible.

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32

BiographyJohn Buttdirector

John Butt, two-times Gramophone Award winner, isGardiner Professor of Music at the University ofGlasgow and musical director of Edinburgh’sDunedin Consort. His career as both musician andscholar centres on music of the seventeenth andeighteenth centuries, but he is also concerned with theimplications of the past in our present culture. Authorof five monographs, Butt has written extensively onBach, the baroque, the historical performance revivaland issues of modernity. His discography includeseleven recordings on organ and harpsichord forHarmonia Mundi (France) and eleven recentrecordings for Linn Records. Highlights, as conductorof Dunedin, include the award-winning recordings ofHandel’s Messiah and Mozart’s Requiem (which wasalso nominated for a Grammy Award), together withsignificant recordings of Bach’s Passions, Mass andBrandenburg Concertos, and Handel’s Acis andEsther. His recording of Bach’s Magnificat, in thecontext of Bach’s Christmas Vespers service wasreleased in November 2015 and, early in 2016 Bach’sViolin Concertos (with Dunedin’s leader, CeciliaBernardini) will be released.

John Butt appears regularly as a guest conductorwith orchestras such as the SCO, OAE, AuroraOrchestra, English Consort, Stavanger Symphony,Portland Baroque and Irish Baroque. Forthcomingconcerts include debuts with Ars Lyrica, Orchestra ofthe Eighteenth Century and the BBC WelshOrchestra. He has recently been appointed as aPrincipal Artist with the Orchestra of the Age ofEnlightenment.

He has been appointed an FBA and a FRSE, andhas been awarded the Dent Medal of the RoyalMusical Society, and the RAM/Kohn Foundation’sBach Prize. In 2013 he was awarded the medal of theRoyal College of Organists, together with an OBE.

BiographyMary Bevansoprano

Hailed by the Telegraph as one of the first-rate youngBritish singers ‘delivering consistently excitingsinging’ for her stand out performances on opera andconcert platforms, Mary Bevan is a winner of theRoyal Philharmonic Society’s Young Artist award andUK Critics’ Circle Award for Exceptional YoungTalent in music.

In the 2015-2016 season Bevan sings the title rolein Orpheus (Luigi Rossi) for the Royal Opera House atthe Sam Wanamaker Theatre, returns to the EnglishNational Opera to sing Yum-Yum in The Mikado, andElvira in Rossini L’italiana in Algeri at GarsingtonOpera. On the concert platform, Bevan will singSilandra in Cesti Orontea with La Nuova Musica, Bachcantatas with the Dunedin Consort, Messiah with theBBC National Orchestra of Wales and RoyalNorthern Sinfonia, baroque programmes with theAcademy of Ancient Music, and Fauré Requiem withOrquestra Sinfonica de Sevilla. She will also giverecitals at Wigmore Hall, Leeds Lieder, The DanubeMusic Festival, and Solent Music Festival.

Recent opera highlights included Bevan’s criticallyacclaimed Susanna The Marriage of Figaro andDespina Così fan tutte at English National Opera andMusic / Euridice in Monteverdi L’Orfeo with theRoyal Opera House at the Roundhouse. She iscurrently a Harewood Artist at the ENO and wasformerly Associate Artist of Classical Opera, she mostrecently performed Servilla La clemenza di Tito andGerechtigkeit Die Schuldigkeit des ersten Gebots.

Much in demand on the concert platform, MaryBevan recently performed Bellezza in Il trionfo deltempo e del disinganno with Dunedin Consort, aHandel Residency week with Emmanuelle Haïm atthe Aix-en-Provence Festival, Bach’s St JohnPassion with the Choir of King’s College, and Fauré’sRequiem with the Philharmonia Orchestra. She hasalso appeared at the BBC Proms, EdinburghInternational Festival and Spitalfields Festival. Inrecital Bevan has sung at the Wigmore Hall, OxfordLieder Festival, St John’s Smith Square and RhinegoldLIVE.

Bevan can be heard in such recent recordingsas Handel in Italy with London Early Opera forSignum Records, Handel The Triumph of Time andTruth and Ode for St Cecilia’s Day with Ludus Baroquefor Delphian Records, Ludwig Thuille songs withJoseph Middleton, and Mendelssohn complete songs

with Malcolm Martineau for Champs Hill Records.She also appeared in David Starkey’s Music &Monarchy on BBC4.

Bevan trained at the Royal Academy Opera, andread Anglo-Saxon Norse and Celtic at TrinityCollege, Cambridge. She is an Associate of the RoyalAcademy of Music.

photo:Victoria Cadisch33


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BiographyMeg Braglemezzo-soprano

Widely praised for her musical intelligence and‘expressive virtuosity’ (San Francisco Chronicle),American mezzo-soprano Meg Bragle is quicklyearning an international reputation as one of today’smost gifted and versatile mezzo-sopranos.

Meg has sung in North America and Europe withthe Orpheus Chamber Orchestra, the Orchestra of St.Luke’s, Orchestre Révolutionnaire et Romantique,Tafelmusik Baroque Orchestra, Orchestra of the Ageof Enlightenment, Les Violons du Roy, Apollo’s Fireand the Dunedin Consort, as well as with thesymphony orchestras of Toronto, Colorado, Calgary,Memphis, San Antonio, Charlotte, Akron, NorthCarolina, and Nova Scotia. Frequently a featuredsoloist with Sir John Eliot Gardiner and the EnglishBaroque Soloists, she has performed with them at theLeipzig Bachfest and the Prague Spring, Luzerne,Aldeburgh and Brighton festivals.

Recent and upcoming highlights include her BBCProms debut singing Bach’s Easter and AscensionOratorios with Sir John Eliot Gardiner and theEnglish Baroque Soloists; Mendelssohn’s Elijah withthe Colorado Symphony and Matthew Halls; aprogram of Bach cantatas with Giovanni Antoniniand the Symphonieorchester des BayerischenRundfunks; the title role in Handel’s Susannah withArs Lyrica Houston; performances and recording ofBach’s Easter Oratorio with the English BaroqueSoloists; Bach’s Magnificat and cantatas with Music ofthe Baroque and Nicholas Kraemer;Handel’s Messiah at the National Arts Centre withMatthew Halls; and Bach cantatas with Early MusicVancouver.

Her opera roles include Dido and the Sorceress inPurcell’s Dido and Aeneas, Dardano inHandel’s Amadigi, Amastre in Handel’s Serse,Speranza in Monteverdi’s L’Orfeo, Ippolita inCavalli’s Elena, and Elpina in Vivaldi’s La Fida Ninfa.

Meg has made several recordings with Apollo’sFire: Mozart’s Requiem (Koch), Handel’s DixitDominus and Ode for the Birthday of Queen Anne andMonteverdi’s Vespro della Beata Vergine and L’Orfeo.Other recordings include JS Bach’s AscensionCantatas with John Eliot Gardiner and the EnglishBaroque Soloists (SDG), JS Bach’s St. JohnPassion with Arion Baroque and Les Voix Baroques(ATMA Classique), Cozzolani’s Vespro della BeataVergine and Messa Paschale with Magnificat (Musica

Omnia). A recording of JS Bach’s EasterOratorio and BWV 106 “Actus Tragicus” is forthcoming.

Meg Bragle studied both violin and voice at theUniversity of Michigan before earning a Bachelor ofMusical Arts degree in Voice Performance andEnglish. She also completed a Master’s degree inChoral Conducting from Michigan StateUniversity. She is the recipient of several awards andrecognition from Symphony Magazine, the AmericanBach Society, the Carmel Bach Festival and theBethlehem Bach Festival.

photo:Fernanda Monteiro

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BiographyThomas Hobbstenor

Thomas Hobbs is in demand with many leadingbaroque and early music ensembles, appearingthroughout Europe and the US as a soloist in key worksfrom the 16th, 17th and 18th centuries. Hobbs worksfrequently with, among others, Philippe Herrewegheand his acclaimed ensemble Collegium Vocale Gentand Raphaël Pichon and his Ensemble Pygmalion.

Recent concert performances include Evangelist inthe Bach St Matthew Passion and St John Passion withthe Choir of King’s College, Cambridge, Le ConcertLorrain and Ensemble Pygmalion, arias in the Passionswith the Academy of Ancient Music, CVG and ExCathedra, Bach B minor Mass with CVG, Le ConcertLorrain, Akademie für Alte Musik Berlin, BachAkademie Stuttgart and the Freiburg Bachchor, BachMagnificant with De Nederlandse Bachverenigning,Bach Ascension Oratorio with CVG, Bach ChristmasOratorio with the Australian Chamber Orchestra, titlerole in Handel Joshua with the Akademie für AlteMusik and RIAS Kammerchor, Handel Israel in Egyptwith the Choir of King’s College, Cambridge, HandelMessiah Le Concert Lorrain, Mozart Requiem withDunedin Consort and Beethoven Mass in C withStuttgart Kammerchor. Hobbs has also made debutswith the Northern Sinfonia, City of BirminghamSymphony, Royal Scottish National and BournemouthSymphony orchestras and with renowned periodensemble Accademia Bizantina under OttavioDantone.

Hobbs’s operatic roles include a critically acclaimedTelemachus The Return of Ulysses in a new productionfor English National Opera conducted by Jonathan,Apollo and Shepherd in Monteverdi’s Orfeo in semi-staged performances with Richard Egarr and theAAM, the title role in Albert Herring and FerrandoCosì fan tutte. A keen recitalist, highlights include BrettDean Winter Songs at the Cheltenham Festival,Vaughan Williams On Wenlock Edge with theEdinburgh Quartet, Schubert Die Schöne Müllerin andSchumann Liederkreis Op.39, a recital of Mozart songsat London’s Kings Place, a recital of English song andGerman lieder for the Festival Accademia delle CreteSenesi in Tuscany, and, most recently, Wolf songs at theOxford Lieder Festival and a recital at the RyedaleFestival with Christopher Glynn.

Hobbs’ ever-expanding discography includes BachB minor Mass with CVG and Dunedin Consort, BachMotets, Leipzig cantatas and Christmas Oratorio with

CVG, Handel Acis et Galatea and Esther with DunedinConsort and Beethoven Mass in C with StuttgartKammerchor. His most recent recordings of HandelChandos Anthems with Stephen Layton and theOrchestra of the Age of Enlightenment and MozartRequiem with John Butt and the Dunedin Consorthave been universally praised, with the latter receivingthe 2014 Gramophone Award for best Choralrecording.

Current and future engagements include furthertours with Collegium Vocale; Damon Acis and Galateawith Dunedin Consort, Bach cantatas with DeNederlandse Bachverenigning and EnsemblePygmalion, Bach Christmas Oratorio with theTonkünstler-Orchester Niederösterreich, TonhalleOrchester Zürich and Le Concert Lorrain.

Born in Exeter, Thomas Hobbs studied at the RoyalCollege of Music under the tutelage of Neil Mackie,where he was awarded the RCM Peter Pears andMason scholarships, and at the Royal Academy ofMusic under Ryland Davies, where he held a KohnBach Scholarship in addition to a full entrancescholarship. He was also awarded a Susan ChilcottScholarship, has been made a Royal PhilharmonicSociety Young Artist and was an Associate Artist of theClassical Opera Company. He was also a member of theprestigous Académie at the Aix-en-Provence Festival,where he performed in concert with Louis Langrée andthe Camerata Salzburg.

photo: Benjamin Eolovega


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BiographyEdward Grintbass-baritone

British bass-baritone Edward Grint studied at King’sCollege, Cambridge as a choral scholar, and at theInternational Benjamin Britten Opera School at TheRoyal College of Music.

Edward was awarded 2nd prize at the 3rdInternational Singing Competition for BaroqueOpera Pietro Antonio Cesti in Innsbruck, was afinalist in the 2014 London Handel Competition, andwon the Clermont Ferrand competition in France. Recent roles include Marchese in La Traviata, Arcasin Iphigenie en Aulide and Adonis in Venus and Adonis.At the Royal College of Music, Edward performedCount Almaviva in Le nozze di Figaro, Isacio inRiccardo Primo and Splendiano in Djamileh. Otherroles performed include Colonel in Patience at MuséeD’Orsay, Hobson in Peter Grimes and Mother in DieSieben Tödsunden.

Edward’s interest for contemporary music has ledhim to perform Brother in The House Taken Over byVasco Mendonca, the world premiere of The Cool Web– A Robert Graves Oratorio by Jools Scott in BathAbbey, and Eddy in Mark Anthony Turnage’s Greek inthe UK and Korea with Music Theatre Wales.

Also in demand on the concert platform, Edwardworks with leading ensembles. Highlights includeperforming some Bach and Kuhnau Cantatas withThe King’s Consort, Bach’s St. John Passion at St.Paul’s Cathedral with the London Mozart Players,and Bach’s Magnificat with the OAE.

Passionate recitalist, Edward has performedBrahms’ Vier Ernste Gesänge, Dvorak’s Biblical Songs,and Vaughan Williams’ Songs of Travel. Edward hasalso recorded the baritone solo in Faure’s Requiem for aBBC Radio 2 broadcast, and High Priest, Judas andPilate in St Mark’s Passion by Charles Wood.

Recent and future highlights include MissaSolemnis at the Three Choirs festival, Polyphemus inAcis and Galatea under Damien Guillon, GeloneOrontea with David Bates and a new compositions byVasco Mendonca in Mexico City and Handel’sChandos Te Deum for the London Handel Festival.

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BiographyDavid Blackaddertrumpet

David took up the trumpet aged nine, following in thefootsteps of his grandfather who was a bandmaster inthe North East. He joined the Leicestershire SchoolsSymphony Orchestra and went on to study at theRoyal College of Music with Michael Laird.After a season as guest principal trumpet with ScottishOpera he joined the English Baroque Soloists andOrchestre Revolutionaire et Romantique as principaltrumpet under Sir John Eliot Gardiner. He alsobecame principal trumpet of the AAM withChristopher Hogwood.

In 1993 David formed the groundbreaking groupBlackadder Brass, which became the residenteducational ensemble at Symphony Hall inBirmingham and played to over 40,000 children in itsfirst three years. He is also a professor at theBirmingham Conservatoire.

He is renowned as a soloist, having performed andrecorded with conductors including Sir Simon Rattle,Sir Roger Norrington and Vladimir Jurowski. Hisrecordings of Handel arias with singers includingRenee Fleming and Kiri Te Kanawa have receivedparticular critical acclaim; and he has recorded theBrandenburg Concertos with Trevor Pinnock andwith the AAM.

photo:Boyd Gilmour


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BiographyPamela Thorbyrecorder

Pamela Thorby is unique among recorder players inthe breadth and variety of her work and is widelyregarded as the UK’s most stylish and creative recordervirtuoso. Through her playing and teaching, she hasbeen at the forefront of raising standards andexpectations for the instrument in the UK over the last25 years. Her ability to assimilate many styles of musicand her love of improvisation has led to work withleading jazz, folk and pop artists, and her stylishvirtuosity can be heard on many film soundtracks andnumerous recordings of music ranging from themedieval period to the present day. She has touredinternationally as concerto soloist, chamber musicianand orchestral principal and appears on over 100recordings in those roles.

Thorby was the driving force behind the much-admired Palladian Ensemble. They toured worldwide,performing more than 1000 concerts over 16 years andmaking for Linn ten acclaimed albums that garneredseven prestigious Diapason d’Or Awards. Thorby hasalso made numerous solo recordings on Linn: Baroquerecorder concertos with Sonnerie, led by MonicaHuggett (Gramophone Critic’s Choice), Handelrecorder sonatas with Richard Egarr (BBC MusicMagazine Chamber Music Disc of the Month andGramophone Critic’s Choice), Garden of Early Delightswith the harpist Andrew Lawrence-King (‘This isParadise indeed’: Gramophone) and French Baroqueworks, The Nightingale and the Butterfly, with thelutenist Elizabeth Kenny. Her most recent release onLinn Records is Telemann Recorder Sonatas andFantasias.

As a student, Thorby was awarded the Dove Prizefor the highest mark on graduation from the GuildhallSchool of Music and Drama in London. Afterpostgraduate studies she was awarded a DutchGovernment Scholarship to spend a further yearstudying with Walter van Hauwe at the SweelinckConservatorium in Amsterdam. Shortly after this, shebecame principal teacher of recorder at the GSMD.Thorby is now Professor of Recorder at the RoyalAcademy of Music in London, where she leads therecorder teaching and was recently made an HonoraryAssociate. She also teaches recorder at the Universityof York.

photo:Jim Poyner

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BiographyDaniel Lanthieroboe

Originally from Montreal, Canada, Daniel Lanthier iscurrently based in the Netherlands, enjoying the busylife of international soloist, recitalist and orchestramusician.

He regularly plays with the Orchestra of the Age ofEnlightenment, Il Giardino Armonico, ArionBaroque Orchestra, Barokkanerne and in recitals withharpsichordist Geneviève Soly. He also frequentlygives masterclasses at Montreal Conservatory andPrince Claus Conservatory.

Daniel Lanthier completed his Master studies inhistorical oboes at the Conservatorium vanAmsterdam in the class of Alfredo Bernardini in 2015.

He previously studied modern oboe with LiseBeauchamp at the Montreal Conservatory, withMelanie Ragge at the Royal Academy of Music andwith Guy Porat at Tel Aviv University.

These extensive studies were made possible bymeans of many scholarships from differentorganizations, including the Canada Council for theArts, the Countess of Munster Musical Trust, theFonds Québécois de Recherches sur la Société et laCulture, the Buchmann-Mehta Foundation and theAmsterdamse Hogeschool voor de Kunsten.

photo: Jostijn Ligtvoet


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BiographyMatthew Truscottviolin

Matthew Truscott is a versatile violinist who shares histime between period instrument and ‘modern’performance, appearing with some of the finestmusicians in both fields. One of the leaders of theOrchestra of the Age of Enlightenment since 2007, he has recently been appointed concertmaster of theMahler Chamber Orchestra, dual roles which herelishes equally.

In demand as a guest leader, engagements in thiscapacity have included projects with The EnglishConcert, Le Concert d’Astrée, The King’s Consort,Arcangelo, Budapest Festival Orchestra, EnglishNational Opera, Dutch National Opera and theNetherlands Chamber Orchestra. He is also leader ofSt James’ Baroque, Classical Opera and theMagdalena Consort.

A keen chamber musician, recent recordings haveincluded a set of Purcell Trio Sonatas with RetrospectTrio, a disc of Bach chamber music with TrevorPinnock, Emmanuel Pahud and Jonathan Manson,and one of Haydn Piano Trios with Richard Lesterand Simon Crawford-Phillips.

Matthew teaches baroque violin at the RoyalAcademy of Music in London.

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Three decades ago, a group of inquisitive London musicians took a long hard look at thatcurious institution we call the Orchestra, and decided to start again from scratch. Theybegan by throwing out the rulebook. Put a single conductor in charge? No way. Specialisein repertoire of a particular era? Too restricting. Perfect a work and then move on? Toolazy. The Orchestra of the Age of Enlightenment was born.

And as this distinctive ensemble playing on period-specific instruments began to geta foothold, it made a promise to itself. It vowed to keep questioning, adapting andinventing as long as it lived. Those original instruments became just one element of itsquest for authenticity. Baroque and Classical music became just one strand of itsrepertoire. Every time the musical establishment thought it had a handle on what theOAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastiquehere, some conductor-less Bach there. All the while, the Orchestra’s players called theshots.

At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t.Somehow, the OAE survived to a year. Then to two. Then to five. It began to makebenchmark recordings and attract the finest conductors. It became the toast of theEuropean touring circuit. It bagged distinguished residencies at the Southbank Centreand Glyndebourne Festival Opera. It began, before long, to thrive.

And then came the real challenge. Eccentric idealists the ensemble’s musicians werebranded. And that they were determined to remain. In the face of the music industry’sbig guns, the OAE kept its head. It got organised but remained experimentalist. Itsustained its founding drive but welcomed new talent. It kept on exploring performanceformats, rehearsal approaches and musical techniques. It searched for the right repertoire,instruments and approaches with even greater resolve. It kept true to its founding vow.

In some small way, the OAE changed the classical music world too. It challengedthose distinguished partner organisations and brought the very best from them, too.Symphony and opera orchestras began to ask it for advice. Existing period instrumentgroups started to vary their conductors and repertoire. New ones popped up all overEurope and America.

And so the story continues, with ever more momentum and vision. The OAE’s seriesof nocturnal Night Shift performances have redefined concert parameters. Its home atLondon’s Kings Place has fostered further diversity of planning and music-making.Great performances now become recordings on the Orchestra’s in-house CD label, OAEReleased. The ensemble has formed the bedrock for some of Glyndebourne’s mostgroundbreaking recent productions. It travels as much abroad as to the UK regions: NewYork and Amsterdam court it, Birmingham and Bristol cherish it.

Remarkable people are behind it. Simon Rattle, the young conductor in whom theOAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, thevisionary who punted some of his most individual musical ideas on the young orchestra,continues to challenge it. Mark Elder still mines for luminosity, shade and line. VladimirJurowski, the podium technician with an insatiable appetite for creative renewal, hasdrawn from it some of the most revelatory noises of recent years. John Butt, theintellectual powerhouse, pushes for well-researched period performance excellence.

All five share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come

since. All seem as eager and hungry as ever. They’re offered ever greater respect, butcontinue only to question themselves. Because still, they pride themselves on sitting everso slightly outside the box. They wouldn’t want it any other way.

© Andrew Mellor, 2014

‘For thisremarkableensemble, it’s all about the music’Independent on Sunday

Orchestra of the Age of Enlightenment

Principal ArtistsJohn ButtSir Mark ElderIván FischerVladimir JurowskiSir Simon Rattle

Emeritus ConductorsSir Roger NorringtonWilliam Christie

Chief ExecutiveCrispin Woodhead

Projects ManagerLaura Sheldon

Projects OfficerSarah Irving

Orchestra ManagerPhilippa Brownsword

LibrarianColin Kitching

Director of Financeand OperationsIvan Rockey

Finance OfficerDaniel da Silva

Education DirectorCherry Forbes

Education OfficerLouise Malijenovsky

Director of PressKaty Bell

Director of Marketingand AudienceDevelopmentJohn Holmes

Digital ContentOfficerZen Grisdale

Marketing andPress OfficerCharles Lewis

Development DirectorEmily Stubbs

Head of IndividualGivingLiz Scase

Development OfficerJo Harvey

Corporate RelationsOfficerCatherine Kinsler

OAE TraineeAlex Crick

Board of DirectorsSir Martin Smith(Chairman)Cecelia Bruggemeyer(Vice-Chair)Lisa BeznosiukLuise BuchbergerRobert CoryNigel JonesRoger MontgomeryOlivia Roberts Susannah SimonsMatthew TruscottMark WilliamsCrispin Woodhead

OAE TrustSir Martin Smith(Chair)Edward Bonham CarterRobert CoryDavid MarksJulian MashImogen OverliRupert Sebag-

MontefioreDiane Segalen

LeadersKati DebretzeniMargaret FaultlessMatthew Truscott

Players’ ArtisticCommitteeCecelia BruggemeyerLisa BeznosiukLuise BuchbergerRoger MontgomeryMatthew Truscott

The OAE teamOrchestra of the Age of Enlightenment

Kings Place, 90 York Way, London, N1 9AGTel: 020 7239 9370Email: [email protected]: oae.co.uk

orchestraoftheageofenlightenment

theoae

Registered Charity No. 295329Registered Company No. 2040312

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Programme EditorCharles LewisDesign HarrisonArtwork Heather Kenmure Season Photography Eric RichmondPrinted by Cantate

Glossary

AndanteSlower than allegro, andante tempo is oftendescribed as ‘at a walking pace,’ between 76 - 108 beats per minute.

BaroqueA period of musical style used fromapproximately 1600 to 1750 that usedexaggerated motion and clear, easilyinterpreted detail to produce drama,tension, exuberance, and grandeur. Thebaroque period saw the creation of tonality,elaborate use of ornamentation, and theestablishment of opera, cantata, oratorio,concerto and sonata as musical genres.

CantataA work for one or more voices withinstrumental accompaniment.

Counterpoint Derived from the Latin Punctus contraPunctum (‘note against note’) the termapplies to a texture in which each line isgranted a degree of distinctiveness andaudibility because of its ‘being playedagainst’, its ‘difference’ from each other line.As a result, in a contrapuntal passage, thesense of melodic direction emerges from theintertwining of different lines rather thanfrom a treble-bass contrast.

da capo (ABA) structureA da capo aria is in ternary form, meaning itis in three sections. The first section is acomplete musical entity, ending in the tonickey, and could in principle be sung alone.The second section contrasts with the firstin its musical texture, mood, and sometimesalso tempo. The third section was usuallynot written out by the composer, who rathersimply specified the direction “da capo“(Italian for “from the head”) - meaningfrom the beginning, which meant that thefirst section should be repeated in full. Itwas sung by a soloist with theaccompaniment of instruments, often asmall orchestra. The da capo aria wascommon in the musical genres of opera andoratorio.

IntermezzoA composition which fits between othermusical or dramatic entities, such as acts ofa play or movements of a larger musicalwork. In music history the term has hadseveral different usages, which fit into twogeneral categories: the opera intermezzoand the instrumental intermezzo.

KeyA common use is to speak of music as beingin a specific key, such as in the key of C or inthe key of F-sharp. Sometimes the terms‘major’ or ‘minor’ are appended, as in the keyof A minor or in the key of B-flat major.Although the concept of musical key can bea complicated subject when examinedclosely, broadly speaking the phrase’ in keyof C’ means that C is the music’s harmoniccentre or tonic.

MassA form of sacred musical choralcomposition that sets the invariableportions of the Eucharistic liturgy(principally that of the Roman CatholicChurch, the Anglican Communion, and theLutheran Church) to music. Most Massesare settings of the liturgy in Latin, thetraditional language of the Roman CatholicChurch, but there are a significant numberwritten in the languages of non-Catholiccountries where vernacular worship haslong been the norm.

OvertureAn instrumental composition plannedespecially as an introduction to an extendedwork, such as an opera or oratorio. Theearliest Italian opera overtures were simplypieces of orchestral music and were called‘sinfonie’, later the overture begun toforeshadow the themes and melodic strandsof the subsequent larger work and in the19th and 20th Centuries the overturebecame a potpourri of the work’sproceeding tunes, played as a teaser.

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Glossary

PolyphonyIn music, polyphony is a texture consistingof two or more independent melodic voices,as opposed to music with just one voice(monophony) or music with one dominantmelodic voice accompanied by chords(homophony). Within the context ofWestern music tradition the term is usuallyused in reference to music of the lateMiddle Ages and Renaissance. Baroqueforms such as the fugue which might becalled polyphonic are usually describedinstead as contrapuntal.

Sonata formSonata form refers to the standard layout ofan entire work, or more specifically to thestandardised form of the first movement ofa work. The basic model consists of anexposition, where the main thematicmaterial is introduced; this then goes on tobe explored harmonically and texturally inthe development. Following on from this isthe recapitulation, in which the thematicmaterial returns in the tonic, or home, keybefore the piece or movement ends with acoda.

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EducationAs we herald in the New Year, here is the latest crop ofOAE Education projects that reflect new beginningsand new ventures.

Something SpecialAt the beginning of term we took part in CamdenMusic’s Music is Special celebration. Two special andone mainstream primary schools took part in whatwas one of the last special needs projects on ourWatercycle marathon. Working with composer JamesRedwood and a team from the Orchestra, pupilscreated a band and performed together at the CamdenCentre. On these projects everyone can reach theirown potential, whatever that might be.

Something HealthyOur collaboration with scientists from the Sleep &Circadian Neuroscience Institute (SCNI) at OxfordUniversity and animateur Mark Withers on ourSleeping Sense project has begun. The project mixestogether the science behind sleep and music inspiredby sleep, and involves work with primary andsecondary schools in Oxford. The whole project willculminate in a day of public performances at theSheldonian Theatre on 9 June 2016.

Something that worksAs part of our 30th birthday season we have chosenone project from the past to revisit – Opposites. Highand low, fast and slow, smooth and spikey, loud andquiet – the fundamental building blocks of music willbe explored by more than 1000 5–7 year olds.

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Something RoyalCecelia Bruggemeyer (double bass) has designed aproject for nurseries and children’s centres in Camdenand Brent called Kings and Queens. Exploring familiesof instruments, dynamics, movement, pitch andrhythm youngsters will sing, play and listen to musicfrom the Tudor era.

Something at SeaWe’re off to Southampton for our final Watercycleresidency. It seems a long time since we started thewater-themed tour in April 2014 and, thousands ofparticipants later, we are on the last leg before our finalperformance at the Royal Albert Hall on 21 March2016. In Southampton we’re working with the TurnerSims Concert Hall and the Southampton Music Huband activity will include OAE TOTS, school andcommunity concerts and a first for the OAE, playingon the Isle of Wight ferry.

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Asia here we come

You might have caught our Baroque programme at StJohn’s Smith Square last year with Steven Devine andIan Bostridge. Well we’re taking that sameprogramme on tour in February and March toVienna, Daejeon, Shanghai, Beijing and errr… Bath.Follow us on Facebook, Twitter (@theoae) andInstagram (@oae_photos) for updates.

Co-Principal Oboe

After an extensive trial process, we’ve appointed twonew Co-Principal Oboes, Daniel Bates and KatharinaSpreckelsen. Both have played with the Orchestra asguest principals in the past, and it give us hugepleasure to welcome them both to the OAE teamproperly. Katharina will take up her position onBaroque projects, while Daniel will play in Classicaland Romantic programmes. Look out for them onstage.

OAE on camera

Photographer Eric Richmond has been shooting theOAE for 21 years. This summer (4–8 June 2016) he isholding a retrospective of his work in the RoyalFestival Hall to coincide with the our performance ofDer Freischütz with Sir Mark Elder. Find out more atericrichmond.net.

OAE News

William Christie

We’ve just appointed William Christie to the positionof Emeritus Conductor. He’ll join Sir RogerNorrington as the only other holder of the title.William has conducted the OAE many times over theyears and we’ve always loved working with him. Hisappointment means two things – it’s a recognition ofhis contribution to the Orchestra as well as acommitment to work with him on a regular basis inthe future. He’ll be working with us next season, sokeep an eye out.

2016–2017 season

We’ve just released details of our 2016–2017 season.Highlights include the complete BrandenburgConcertos, Bach’s Christmas Oratorio across twoconsecutive evenings, and exciting collaborations withartists including Sarah Connolly and Isabelle Faust.You can buy tickets from 23 February, but OAEFriends get priority booking from 2 February 2016.

Saturday 20 February 2016Level 5 Function Room,Royal Festival HallOAE TOTS: Storytelling10.15am, 11.15am and 12.15pm£1 TOTS, £7 adults

Saturday 27 February 2016Royal Festival Hall stageand choir stallsBaroque TOTS10.30am and 12 noon £1 TOTS, £9 adults

Tuesday 1 April 2016Royal Festival HallResurrection

Mahler Symphony No. 2,Resurrection

Vladimir Jurowski conductorAdriana Kučerová sopranoSarah Connolly mezzo-sopranoPhilharmonia Chorus

Friday 22 April 2016Royal Festival HallRattle's Bruckner

Brahms Tragic Overture Rott Scherzo from Symphony No. 1 in E Bruckner Symphony No. 6

Sir Simon Rattle conductor

Sunday 1 May 2016Royal Festival Hall stageand choir stallsClassical TOTS10.30am and 12 noon

Saturday 7 May 2016St John’s Smith Square Winds of Change

Mozart Symphony No. 33 in B flat Michael Gordon New Work forBassoon and Orchestra (world premiere)Mozart Symphony No. 1 in E flat Mozart Clarinet Concerto in A

Matthew Truscott director/violinPeter Whelan bassoonAntony Pay clarinet

Tuesday 7 June 2016Royal Festival Hall30th Birthday Gala Concert

Weber Der Freischütz (semi-dramatised performance)

Sir Mark Elder conductorDavid Pountney text andtranslationWyn Pencarreg CunoRachel Willis-Sorenson AgatheSarah Tynan AnnchenSimon Bailey CasparChristopher Ventris MaxBrindley Sherratt HermitMarcus Farnsworth KilianLondon Philharmonic Choir

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2015-16Southbank CentreConcerts

Booking Information

Southbank CentreTicket Office 0844 847 9922southbankcentre.co.uk/oae

Tickets: £10–£60 unless otherwise indicated.

Premium seats available for selected concerts.

All concerts start at 7pm unlessotherwise indicated and arepreceded by a free pre-concert OAE Extras event at 5.45pm.

Free programmes are available atevery concert.

You can find more informationabout the OAE at:

Email: [email protected]

Website: oae.co.uk

orchestraoftheageofenlightenment

theoae

EARLY OPERA COMPANY

Christian Curnyn directorSophie Bevan soprano

Friday 18 March 7.30pm

Handel Concerto Grosso in D minor Op. 6 No. 10Handel Motet ‘Silete Venti’ HWV242Wassenaer Concerto in F minor from Concerti ArmoniciBiber Battalia a 10Muffat Concerto No. 5 in G from Armonico Tributo

Early Opera Company and Christian Curnyn explore rich and varied orchestral music from the seventeeth and eighteenth centuries.

They will be joined by soprano Sophie Bevan for Handel’s ravishing motet Silete Venti, a fine example of Handel’s skillful text setting and his remarkbale ability to create rich orchestral timbres through economical forces. The motet culminates in a thriling and virtuosic ‘Alleluia’.

Tickets £35, £28, £21, £15

Box Office 020 7222 1061 sjss.org.ukPatron HRH The Duchess of Cornwall

QUOTE “OAE10

” FOR 10

% OFF

STANDARD TIC

KETS

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OAE Thirty CircleThe OAE is particularly grateful to the following membersof the Thirty Circle who have so generously contributed tothe re-financing of the Orchestra through the OAE Trust

THIRTY CIRCLE PATRONSBob & Laura CorySir Martin Smith & Lady Smith OBE

THIRTY CIRCLE MEMBERSVictoria & Edward Bonham CarterNigel Jones & Françoise Valat JonesSelina & David MarksJulian & Camilla MashMark & Rosamund Williams

Our SupportersANN & PETER LAW OAE EXPERIENCE SCHEMEAnn & Peter Law

MAJOR SPONSOR

CORPORATE PARTNERSApax PartnersE.S.J.G. LimitedLindtLubbock Fine Chartered AccountantsMacfarlanesParabola LandSwan TurtonThe Lant Street Wine Company

SEASON PATRONSBob & Laura CoryAdrian FrostBruce HarrisSir Thomas Hughes-Hallett KBE Nigel Jones & Françoise Valat JonesSelina & David MarksSir Martin Smith & Lady Smith OBEMark & Rosamund Williams

Support UsThe OAE continues to grow and thrive through the generosity of our supporters. We are very gratefulto our sponsors and patrons and hope you will consider joining them. We offer a close involvement inthe life of the Orchestra with many opportunities to meet players, attend rehearsals and evenaccompany us on tour.

PROJECT PATRONSJulian & Annette ArmstrongJulian & Camilla MashPhilip & Rosalyn Wilkinson

ARIA PATRONSDenys & Victoria FirthJohn & Martha GrahamJMS Advisory LimitedGary & Nina Moss Andrew NurnbergRupert Sebag-MontefioreEric Tomsett

CHAIR PATRONSMrs Nicola Armitage Education DirectorVictoria & Edward Bonham Carter Principal TrumpetAnthony & Celia Edwards Principal OboeSir Vernon & Lady Ellis Co-Principal ViolaFranz & Regina Etz Principal Double BassJames Flynn QC Co-Principal Lute/TheorboPaul Forman Co-Principal CelloSir Timothy & Lady Lloyd Co-Principal KeyboardThe Mark Williams Foundation Co-Principal BassoonHaakon & Imogen Overli Co-Principal CelloProfessor Richard Portes CBE FBA Co-Principal BassoonOlivia Roberts Violin John & Rosemary Shannon Principal HornRoger & Pam Stubbs Sub-Principal ClarinetCrispin Woodhead & Christine Rice Principal Timpani

EDUCATION PATRONSJohn & Sue Edwards (Principal Education Patrons)Mrs Nicola ArmitagePatricia & Stephen CrewVenetia HoareRory and Louise LandmanProfessor Richard Portes CBE FBA

The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses

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ASSOCIATE PATRONSMichael AllenFelix Appelbe & Lisa Bolgar

SmithHugh & Michelle ArthurJosh Bell & Adam PileMrs A BoettcherMarius & Anna CarboniJohn & Jennifer CromptonDavid EmmersonStanley LowyMichael & Harriet MaunsellDavid Mildon in memory of

Lesley MildonTim & Jenny MorrisonNorth Street TrustAndrew & Cindy PeckMichael & Giustina RyanIvor Samuels & Gerry WakelinEmily Stubbs & Stephen

McCrumShelley von StrunckelRev.d John Wates, OBE &

Carol Wates

THE AMERICANFRIENDS OF THE OAE Jane AttiasWendy Brooks & Tim MedlandSteve and Joyce DavisJerome and Joan KarterAndrew Wilson

Our Supporters

GOLD FRIENDSNoël & Caroline AnnesleyMarius & Anna CarboniMr & Mrs C Cochin de BillyGeoffrey CollensSimon Edelsten Kitty SageMr J Westwood

SILVER FRIENDSHaylee & Michael BowsherMichael BrecknellChristopher CampbellMichael A. ConlonChristopher & Lesley CookeMr & Mrs Michael CooperMichael & Barbara GwinnellRay & Liz HarsantPatricia HerrmannPeter & Sally HilliarRupert & Alice KingMarsh Christian TrustRoger Mears & Joanie SpeersStephen & Roberta RosefieldAnna Rowe and Jonathan WhiteSusannah SimonsHer Honour Suzanne StewartDavid Swanson

BRONZE FRIENDSKeith BartonDennis BaldryThe Revd Brian BlackshawDan BurtTony Burt Cynthia ButterworthAnthony & Jo Diamond Mrs S M EdgeMarianne EdwardsMrs Mary FyshAuriel HillProfessor John IrvingJohn & Shirley LloydProfessor Ingrid LuntNigel MackintoshHugh & Eleanor PagetAlan SainerRuth & David SamuelsDerek SugdenGillian ThrelfallMr & Mrs Tony Timms Dr Trilby JohnsonMrs Joy WhitbyMr Paul WillansDr & Mrs Christopher WilliamsDavid & Vivienne WoolfTony & Jackie Yates-Watson

We are also very grateful to our anonymoussupporters and OAE Friends for their ongoinggenerosity and enthusiasm.

For more information on supporting the OAEplease contact Emily Stubbs, DevelopmentDirector [email protected] 020 7239 9381.

TRUSTS AND FOUNDATIONSAngus Allnatt Charitable FoundationApax FoundationArts Council England Catalyst FundArts Council England Small Capital GrantsArts Council England Strategic Touring FundAustin and Hope Pilkington TrustBrian Mitchell Charitable Settlement The Charles Peel Charitable TrustComninos Charitable TrustThe D’Oyly Carte Charitable TrustDunard FundEsmée Fairbairn Foundation Fenton Arts TrustFoyle Foundation The Golden Bottle Trust Goldsmiths’ Company CharityThe Helen Hamlyn TrustThe Hinrichsen FoundationIdlewild TrustJack Lane Charitable TrustJohn Lyon’s CharityLing TrustThe Liz and Terry Bramall FoundationLord and Lady Lurgan TrustThe Mark Williams FoundationMarsh Christian Trust National Foundation for Youth MusicThe Nugee Foundation Orchestras LiveRadcliffe TrustThe Rayne Foundation The RK Charitable TrustThe Thistle TrustValentine Charitable Trust

Handel Acis & Galatea7 May 2016, Kings PlaceA tale of tragedy, eternal love and

The Choral Pilgrimage 201619 May 2016, Old Royal Naval College, Greenwich

Lubbock Fine is proud of its ongoing association with the Orchestra of the Age of Enlightenment and wishes it every success in its 30th birthday season.

We have a dedicated creative and music team which provides specialist accounting and tax advice.

Member of Russell Bedford International

Paternoster House, 65 St Paul’s Churchyard,London EC4M 8AB

T. 020 7490 7766

www.lubbockfine.co.uk

Practice-a-thon is a national dance, music

and singing event that gets the best out of young performers and supports children with cancer. Last year, schools and groups from across the UK had a great time and raised over £800,000!

Have fun and develop your pupils’ or group’s skills

Register now atwww.clicsargent.org.uk/practiceathon

08451 20 63 40

For all ages and abilities, any instrument and any singing or dancing style

Your school or club can choose to keep 25% of the money you raise (75% goes to children with cancer)

Registered charity number 1107328 and registered in Scotland (SC039857)

10RP

378H

AVAILABLE FROM AAM RECORDS JS BACH ST MATTHEW PASSION 1727 JS BACH ORCHESTRAL SUITES JS BACH ST JOHN PASSION 1724 BIRTH OF THE SYMPHONY HANDEL TO HAYDNFor more information visit aam.co.uk/recordings

*Plus booking fee: £3 online, £4 by telephone, no fee when tickets are booked in person

LENTEN AND PASSIONTIDE CANTATAS 24 March 2016 Milton Court, London

VIVALDI IN DRESDEN 13 April 2016 Milton Court, London

HANDEL’S ACIS AND GALATEA 21 May 2016 Milton Court, London

THE BACH FAMILY 18 June 2016 Barbican Hall, London

London season Spring/Summer 2016

Tickets £10-£35* (£3 for AAMplify members)Book at barbican.org.uk or call 020 7638 8891

For more information visit aam.co.uk/concerts

Los Angeles PhilharmonicGustavo DudamelAmerican Soundscapes

22–24 MarA residency redefining the new-world orchestra, with music from John Williams, Copland, Messiaen and Mahler’s Third Symphony‘The LA Phil is a class act, bringing something new to town’ Telegraph

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independent day school for · pdf filesome of our concerts this year will be held at st...

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