musical revolutions: awakening of the romantic hero · awakening of the romantic hero shunské sato...

How to be a hero? This question occupied the minds of scores of composers, artists and writers throughout the early nineteenth century. Their revolutionary ideas about the individual and its place in the world had a transformative impact on art and society, and tonight we’re very excited to be presenting three great works from this extraordinary period — all very different, but all bustling with new ideas and thrilling music.

I’m also delighted to be welcoming Shunské Sato to make both his AAM and his UK debuts. I first heard him when I was judging the 2010 Leipzig Bach Competition, and was immediately struck by the warmth of his playing and his ability to communicate with his audience. Read more about him on page 11.

We are grateful for the essential support of all our donors and funders, and tonight we extend particular thanks to Sheila Mitchell, who has supported Shunské’s appearance and my own involvement in this project; to Bill and Sue Blyth, who have sponsored the pre-concert discussions; and to Ann Grieves, who has sponsored discounted AAMplify tickets, enabling over 100 students and under-26s to join us in London.

Richard Egarr AAM Music Director

A C A d E M y o f A n C I E n T M U S I C , 2 0 1 1 - 2 01 2 S E A S o n 1

AAM performs Mozart with Sumi Jo in London

Korean soprano Sumi Jo was always destined for great things. She was catapulted to worldwide fame after enthralling Herbert van Karajan at her European debut, and performances at all the world’s great opera houses soon followed: new york’s Met, the

Royal opera House, La Scala, deutsche oper Berlin... now, on the back of a tour of the far East with the AAM, she returns to London for one night only in an all-Mozart programme at Cadogan Hall on 25 november. don’t miss it — turn to page 23 for more details.

Musical Revolutions:Awakening of the Romantic hero Shunské Sato violinRichard Egarr conductor

10 october West Road Concert Hall, Cambridge12 october Cadogan Hall, London

2 A C A d E M y o f A n C I E n T M U S I C , 2 0 1 1 - 2 01 2 S E A S o n

CARL MARIA von WEBER (1786–1826)overture to Der Freischütz (1821) nICoLò PAGAnInI (1782–1840)violin Concerto no.2 in B minor ‘La Campanella’ (1826) Allegro maestoso Adagio Rondo — Andantino allegretto moderato

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

LUdWIG vAn BEETHovEn (1770–1827)Symphony no.3 in E flat major ‘Eroica’ (1804) Allegro con brio Adagio assai Allegro vivace Allegro molto

Programme

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

AAM pre-concert discussions

find out more about our performances from the musicians themselves with our free pre-concert discussions. Tonight, BBC Radio 3’s Sara Mohr-Pietsch is joined by Richard Egarr

and Shunské Sato at 6.30pm. If you missed it, you can download the talk for free as a podcast; just search ‘AAM pre-concert talk’ in iTunes.

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Melancholy yet defiant; suspicious of society yet with a lingering potential to transfigure humanity — these were the characteristics of the Romantic hero, a figure which took hold in the European imagination at the end of the eighteenth century. The archetype was first popularised by Goethe’s Die Leiden des jungen Werthers (‘The Sorrows of young Werther’, 1774), in which the lovesick protagonist, sickened by both the world and himself, eventually commits suicide. A more robust version of the Romantic hero is found in Schiller’s play Die Räuber (‘The Robbers’, 1781); here the aristocratic protagonist Karl Moor is initially a Robin Hood-like figure, a rebellious bandit who fights the inequities of the feudal system, but later his heroism is tainted when he sinks to evil acts such as murderous arson.

In England, the figure of the Romantic hero was given a distinctive twist in Byron’s epic poem Childe Harold’s Pilgrimage (1811–18). The eponymous pilgrim seeks solitude in order to escape the sins of his youth and the society which he regards with such contempt:

He who, grown aged in this world of woe,In deeds, not years, piercing the depths of life,So that no wonder waits him; nor belowCan love or sorrow, fame, ambition, strife,Cut to his heart again with the keen knifeof silent, sharp endurance: he can tellWhy thought seeks refuge in lone caves, yet rifeWith airy images, and shapes which dwellStill unimpaired, though old, in the soul’s haunted cell.”But even as a pilgrim, Harold cannot evade his own inner conflicts:

yet must I think less wildly: I have thoughtToo long and darkly, till my brain became,In its own eddy boiling and o’erwrought,A whirling gulf of phantasy and flame...”In music, the fashion for the Romantic hero

manifested itself in several contrasting ways. operas and song-cycles increasingly favoured protagonists who were rural wanderers or darkly mysterious hunters, as in Carl Maria von Weber’s opera Der Freischütz. The archetype of the Romantic hero also extended to showy instrumentalists such as nicolò Paganini, whose performances demonstrated levels of virtuosity previously considered impossible. Above all, the hero myth seemed to be lived out by Ludwig van Beethoven, both in his volatile temperament (described by Goethe as “an utterly untamed personality”) and his constant struggles against adversities such as his increasing deafness.

Carl Maria von Weber, Overture to Der FreischützWhen Der Freischütz was premiered in Berlin on 18 June 1821, it was immediately recognised as a turning-point in the history of German opera. Unlike so many previous operas, the piece was not set in Italy or in Classical Antiquity. nor was it peopled by mythological or noble characters. Rather, Der Freischütz was set at the end of the Thirty years’ War — one of the darkest episodes in Germany’s history — and in a forest in Bohemia. And its dramatis personae consisted of peasants and hunters — characters who had formerly appeared in opera as mere comic side-kicks, if at all. not only was the opera’s setting of the forest characteristically German; it also appealed to the Romantic idealisation of the forester and hunter as heroic figures on journeys of masculine self- discovery. The plot tells of a shooting-match that Max, a forester, must win if he is to ensure his marriage to Agathe. Another forester, Caspar, however, has made a faustian pact with the diabolic Black Huntsman, Samiel, who grants him magic bullets that always hit their target, in return for the eventual surrender of Caspar’s or another victim’s life. Max becomes embroiled in Caspar’s schemes, accepting use of a magic bullet to ensure victory in the shooting-match. yet


Stephen Rose charts the rise of the Romantic hero


The wanderer above the sea of fog (c.1818) by Caspar david friedrich (1774–1840). The sense of self-reflection in friedrich’s painting was central to much of the art, music and literature of the period — as was his enquiry into the relationship between the human individual and the natural world.

© K

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halle

, Ham

burg


Caspar plans to offer Max as a sacrifice to the Black Huntsman, and then instead agrees that Agathe should be the victim hit by the magic bullet. Thus the shooting-match and impending wedding are not innocent rural festivities, but filled with an impending sense of horror that is nothing short of Gothic. The overture to the opera evokes both the sylvan and darker sides of the forest. After the wispy string lines of the first few bars, four natural horns play a folk-like melody, evoking a Romantic vision of hunter-heroes seeking their destiny in sylvan settings. yet this C major opening is rapidly followed by minor-key passages with prominent timpani and diminished chords; here the darker, Gothic elements of the story are anticipated.

Nicolò Paganini, Violin Concerto No.2 in B minorIn the career of the Italian violinist nicolò Paganini, the archetype of the Romantic hero fused with that of the virtuoso instrumentalist. Until the eighteenth century instrumental virtuosos had often been regarded with suspicion and even accused of gaining their technique via supernatural means. By contrast, Paganini’s phenomenal virtuosity was increasingly interpreted as an expression of individual heroism, as he struggled with and overcame the limitations of his instrument.

Many of these virtuoso struggles were staged: he would weaken the strings of his violin so they would break, and he could miraculously finish the performance playing on just one string. Such outlandish displays of virtuosity set him apart from other musicians, like the quintessentially Romantic outsider: “no living violinist dares to attempt as much as he does,” wrote Carl Guhr in 1830. “With him everything is new, never heard before; he knows how to bring effects out of the instrument of which no-one had any notion until now, and for which words fail to give any idea of what one has

heard.” And the emotional content of Paganini’s performances was also appreciated, not least by the young franz Liszt writing in 1831: “What a man, what a violin, what an artist! Heavens, what sufferings, what misery, what tortures in those four strings!... As to his expression, his manner of phrasing, his very soul in fact!”

Paganini premiered his violin Concerto no.2 in B minor in 1827, but like virtuosos of previous centuries, he guarded his compositional secrets closely. The piece was not published until 1851, eleven years after the composer’s death; and it is a moot question how much the published score captures of the theatricality of Paganini’s own performances. Certainly the opening Allegro maestoso gives a greater emphasis to thematic content than many of Paganini’s other compositions. After the sinister throbbing unison strings at the start, a sequence of themes is heard: first a stately motto in dotted rhythms, then later a dolce theme in the relative major key. After the soloist’s entry, the level of virtuosity slowly increases, with much solo violin writing in the high register that was Paganini’s trademark. The Adagio aspires to grandeur in its opening horn-calls and portentous cadences for full orchestra. The soloist spins out a long cantilena line that only occasionally is interrupted by fortissimo orchestral chords; eventually it dies away in an echo that disappears into the upper register of the instrument. The final Rondo uses an old Italian melody La Campanella as its recurrent theme, interspersed with violin episodes of increasing showmanship; a bell-like effect is maintained by the constant repeated notes high on the violin. So popular was this Rondo with audiences that Liszt used it as the basis for two of his own virtuosic piano works.

Ludwig van Beethoven, Symphony No.3 in E flat major ‘Eroica’In the case of Beethoven’s Symphony no.3 ‘Eroica’, composed between 1802 and 1804,

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the Romantic hero of the title was originally napoleon Bonaparte. napoleon and his revolutionary spirit were widely admired by young German intellectuals; Hegel waxed ecstatic over the “wonderful feeling” of having glimpsed “this world-soul” riding through Jena in 1806. Beethoven initially shared similar feelings about napoleon. As Beethoven’s pupil ferdinand Ries explained in 1838:

Beethoven had thought about Bonaparte during the period when he was still first Consul. At that time Beethoven held him in the highest regard and compared him to the greatest Roman consuls. I myself, as well as many of his close friends, had seen this symphony, already copied in full score, lying on his table. At the very top of the title page stood the word Buonaparte and at the very bottom Luigi van Beethoven, but not a word more. Whether and with what the intervening space was to be filled I do not know. I was the first to tell him the news that Bonaparte had declared himself emperor, whereupon he flew into a rage and shouted: ‘So he too is nothing more than an ordinary man. now he also will trample all human rights underfoot, and only pander to his own ambition, he will place himself above everyone else and become a tyrant!’ Beethoven went to the table, took hold of the title page at the top, ripped it all the way through, and flung it on the floor.”The first page was written anew and only then did the symphony receive the title Sinfonia eroica.

With the dedication to napoleon effaced, the heroic qualities of Beethoven’s symphony can instead be detected in its musical ambitions. Its first movement is longer than that of any previous symphony, taking the listener on a tonal journey of unprecedented scope. Even the opening theme is tonally wayward: it initially sounds as if will contain just the notes of the E flat major triad (rather like a martial fanfare)

but there is a sting in its tail, in the form of the foreign note of C sharp. At this stage the C sharp deflects the orchestra only momentarily; but much later, in the recapitulation of the opening, it will lead the music gloriously into f major.

Beethoven’s ambitions in the first movement are particularly evident in the development section (heard after the exposition of the main themes): here Beethoven embarks on such lengthy modulations that he even reaches the daringly remote key of E minor, for a theme that is paradoxically the most lyrical one of the movement. After such tonal wanderings it is only natural that the first movement requires a coda of immense length to settle firmly in the home key.

The second movement is again innovative: rather than a slow cantabile melody, this is a funeral march, increasing the emotional range of the symphony through almost programmatic content. Its opening gains a grim effect from the C minor key and use of the lowest register of the strings; but later there is an episode in the sunlit regions of C major, and a fugue using two sombre themes in f minor. Beethoven again avoided convention in the third movement, eschewing the customary minuet with its connotations of polite courtly dance. Instead he wrote a scherzo (as in his Symphony no.2), a movement characterised by its onward driving energy and quicksilver textures. never tonally straightforward, the scherzo starts with repeated staccato notes that prefer to centre on B flat rather than E flat; only in the trio, with its exposed horn-calls, does Beethoven unambiguously outline E flat major.

The finale is a set of variations on a theme from Beethoven’s earlier ballet The Creatures of Prometheus. The symphony is thus linking to another of the composer’s works with a heroic programme. Whereas Mozart or Haydn began their variation-sets by stating the theme clearly,

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Beethoven initially uses only fragments from the bass of his theme; often these fragments are related thematically to the first movement. only much later is the Prometheus melody heard, and Beethoven cannot resist interrupting it for a fugal episode.

The ‘Eroica’ was premiered in 1805, and its first audience was nonplussed by Beethoven’s innovations, complaining that the piece was too difficult and too long. The critic writing for the Allgemeine Musikalische Zeitung advised that “the symphony would improve immeasurably (it lasts an entire hour) if Beethoven could bring himself to shorten it, and to bring more light, clarity, and unity into the whole”. Within a few decades, however, the symphony was becoming one of the most influential pieces of the century, inspiring a new level of symphonic

attainments and redefining the notion of the Romantic hero. As Wagner commented on the ‘Eroica’ Symphony:

If we understand by ‘hero’ the whole complete man who is in possession of all purely human feelings — love, pain and vigour — at their richest and most intense, we shall comprehend the right object the artist is communicating to us in the movingly eloquent tones of this work. The artistic area of this work is occupied by all the manifold feelings of a strong, fully rounded individuality to which nothing human is alien, and containing within itself everything that is truly human.”Thus Beethoven’s compositional heroism far transcended the symphony’s initial association with napoleon.

Stephen Rose © 2011dr Stephen Rose is Lecturer in Music at Royal

Holloway, University of London. His book The Musician in Literature in the Age of Bach

has recently been published by Cambridge University Press.

This evening’s instruments

The instruments on which we are performing tonight are closely matched to those which would have been used in the first performances of these works. The violinists are using three plain gut strings with no chin or shoulder rests; the violas and cellos are using at least two gut strings; and the cellists are playing without spikes. All bows are late classical or early modern, without ferrules (the metal attachment between the bow-hairs and the frog, at the foot of the bow).

Shunské is performing the Paganini concerto on a violin very similar to the composer’s own instrument. When Paganini needed extensive repairs to his violin, he sent it to the french maker vuillaume. vuillaume, with or without Paganini’s permission, took the measurements of the instrument so that copies could be made. one such copy was produced in Paris in 1846 by Auguste Bernadel, and it is this instrument — restored to its original state — which Shunské is playing tonight.


Tumultuous times

1800 1810 1820

1804 napoleon declares himself Emperor of france

1810 napoleonic empire reaches its greatest extent and power

1811 Luddite movement, which leads to the foundation of trade unions

1812 USA declares war on the British Empire (ends in 1814 with the Treaty of Ghent)

1812 french attack on Russia leaves over half a million dead; the napoleonic Empire begins to crumble

1798 Wordsworth and Coleridge set out a new vision for English poetry in the Lyrical Ballads (which includes The Rime of the Ancient Mariner)

1817 John Keats writes “I

am certain of nothing but the holiness of the

Heart’s affections and the truth of Imagination – What the imagination

seizes as Beauty must be truth”

1804William Blake begins the composition of ‘Milton a Poem’, which includes ‘And did those feet in ancient time’ — later used in the hymn ‘Jerusalem’

1804The world’s first steam train journey takes place in South Wales

1804 BeethovenSymphony no.3 in E flat major ‘Eroica’

1809 Joseph Haydn, Beethoven’s teacher, dies

1812The first instalment of ‘Childe Harold’s Pilgrimage’ is published

1805An outnumbered British force under Admiral Lord nelson defeats the french and Spanish fleet at the Battle of Trafalgar

1815 napoleon is defeated at the Battle of Waterloo, ending his rule as Emperor of france

1800Beethoven’s Symphony no.1 is premiered in vienna

1801The Kingdom of Great Britain and Kingdom of Ireland merge into the United Kingdom of Great Britain and Ireland


1820 1830

1821 napoleon dies in exile on St Helena

1821 venezuela liberated from Spanish rule by Simon Bolivar; Colombia, Argentina and Chile would also fall.

1830Belgian Revolution

1833Slavery abolished throughout the British Empire

1819 William Blake writes ‘ode to Melancholy’

1822 Liszt, age 11, meets and is congratulated by Beethoven and Schubert at his first public concert in vienna

1830 delacroix paints ‘Liberty Leading the People’

1831 first attempt to build Brunel’s design for the Clifton suspension bridge is halted by Bristol Riots

1831HMS Beagle sets off for South America, with Charles darwin on board

1832franz Liszt hears Paganini for the first time; he determines to become as great a virtuoso on the piano as Paganini was on the violin

1826Paganini violin Concerto no.2 in B minor

1821WeberDer Freischütz

1825The decembrist Uprising, when the Russian army revolted over the accession of nicholas I, is comprehensively defeated in Saint Petersburg

1830King Charles X of france is overthrown

1839The first opium

War, between the UK and China’s Qing dynasty,

begins


Richard Egarr conductor

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

Richard trained as a choirboy at york Minster, at Chetham’s School of Music in Manchester and as organ scholar at Clare College, Cambridge. His studies with early music pioneers Gustav and Marie Leonhardt further inspired his work in the field of historical performance.

Richard was appointed Music director of the AAM in 2006, since when he has led the orchestra on tours to four continents and in a number of acclaimed recordings. Richard is also involved with a number of other period ensembles: he appears in America with the Handel and Haydn Society and Portland Baroque, and this season makes his debut with Philharmonia Baroque in San francisco. He has performed as a soloist with The English Concert, the orchestra of the Age of Enlightenment and the orchestra of the 18th Century.

In 2007 Richard established the Choir of the AAM, and operas and oratorios lie at the heart of his repertoire. He regularly appears at the Concertgebouw in Amsterdam with, among others, the netherlands opera Company; and in 2007 he made his Glyndebourne debut in a staged performance of JS Bach’s St Matthew Passion. Richard is also renowned as an inspiration for young musicians: alongside his teaching position at the Amsterdam Conservatoire, he has regular relationships with the Britten–Pears foundation in Aldeburgh and with the netherlands opera Academy.

Richard is increasingly sought after by non–period orchestras. This season he returns to conduct the Rotterdam Philharmonic orchestra and the Scottish Chamber orchestra, and makes his debut with the Berlin Konzerthausorchester and Helsingborg Symphony.

Richard has performed as a soloist throughout Europe, Japan and the USA, and his solo recording output comprises works by frescobaldi, orlando Gibbons, Couperin, Purcell, froberger, Mozart and JS Bach. for many years he formed an “unequalled duo for violin and keyboard” (Gramophone) with violinist Andrew Manze, which resulted in acclaimed concerts and award-winning recordings of music from Stylus Phantasticus to Mozart and Schubert.

Richard has directed the AAM in recordings by JS Bach, including the Brandenburg Concertos; and in a complete cycle of Handel’s opp.1-7 instrumental music which has won MIdEM, Edison and Gramophone Awards.

Richard lives in Amsterdam with his wife and daughter.

“This was a performance of extreme contrasts, dramatically charged and highly characterised from start to finish”

T H E A U S T R A L I A n , f E B R U A R y 2011


Shunské Sato violin

Born in Tokyo in 1984, Shunské performs regularly on both modern and baroque violins, and is regarded as one of the most promising and versatile musicians of his generation. These performances of Paganini’s Second violin Concerto in London and Cambridge mark his UK debut. Shunské began the violin at the age of two. Immigrating to America with his parents two years later, he studied with Chin Kim before coming under the tutelage of dorothy deLay and Masao Kawasaki at the Juilliard School of new york. In 2003, Shunské moved to Paris to pursue his studies with Gérard Poulet, and at this point his interest was captured by the world of period instruments. Since 2009 he has been living in Munich and studying the baroque violin at the Hochschule für Musik und Theater München.

In addition to solo appearances with all the major orchestras in Japan, he has worked with leading European orchestras including the deutsche oper Berlin, Bavarian Radio Philharmonic, orchestre Philharmonique de Radio france and the State Symphony orchestra of Russia. Since his American debut with the Philadelphia orchestra at the age of 10, he has performed with renowned US orchestras such as the Baltimore Symphony orchestra, national Symphony orchestra and Seattle Symphony orchestra. These UK debut performances with the AAM come on the back of considerable recognition at the 17th International Johann Sebastian Bach Competition Leipzig in 2010, where accolades included the audience prize. Richard Egarr, the AAM’s Music director, was judging the competition.

Shunské made his debut recording in 2005 with Eugène ysaÿe’s Six Sonatas for solo violin. further recordings from the same label include Edvard Grieg’s complete sonatas for violin and piano, which was awarded the Grand Prize by the Agency for Cultural Affairs of Japan. In 2009, Shunské became the first violinist to record nicolò Paganini’s Twenty-four Caprices for solo violin on a period violin. Shunské plays on violins — modern and baroque — made by Stephan von Baehr.

“His concert was a knockout... Technical challenges seemed not to faze him, but it was the fluidity of his playing that impressed, rather than its muscularity”

T H E n E W y o R K T I M E S o n S H U n S K É ’ S n E W y o R K d E B U T


Academy of Ancient Music: our ethos

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

So what’s different about the AAM? Partly it’s the instruments, which are originals (or faithful copies of them). The stringed instruments have strings made of animal gut, not steel; the trumpets have no valves; the violins and violas don’t have chin-rests, and the cellists grip their instruments between their legs rather than resting them on the floor. The result is a sound which is immediate and striking; every

instrument shines through, and the original balance of sound is restored.

There’s also a difference in the way we approach our music making. Composers prized the creativity of musicians, expecting them to make the music come alive and to communicate its thrill to the audience — an ethos we place at the heart of all that we do. Moreover, our performances thrive on the close interaction within the orchestra and between the musicians, which allows our music making to be spontaneous, sparky and engaged. It’s not just about researching the past; it’s about being creative in the present.

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


Academy of Ancient Music: our past, present and future

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

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

In 2006 Richard Egarr succeeded Hogwood as Music director, and the orchestra continues

its tradition of enthralling audiences old and new. Already Egarr has directed the first-ever performances in China of Purcell’s Dido and Aeneas and JS Bach’s complete Brandenburg Concertos, and has led tours throughout Europe and to Australia, America and the far East. Recent recordings, including a complete cycle of Handel’s instrumental music opp.1-7, have won MIdEM, Edison and Gramophone Awards. In 2007 Egarr founded the Choir of the AAM, which a year later was awarded the title of ‘Choir of the year’ at the Beijing Classical Elites.

The future is just as bright. Performances in 2011–12 feature music from Monteverdi to Beethoven, with outstanding artists including Alina Ibragimova and Anna Prohaska making their AAM debuts. In early 2012 the world- première recording of music by the English composer Christopher Gibbons, featuring the Choir of the AAM, will be released.

Meanwhile the AAMplify new generation scheme continues to flourish: hundreds of young music lovers will be welcomed to AAM concerts this season, and the musicians of the future will rehearse and perform side-by-side with the orchestra in Cambridge and, for the first time, in London.

visit www.aam.co.uk to find out more, or pick up a season brochure tonight.


Beethoven in 1801

Paganini in 1831 Weber in around 1825

Tonight’s composers


Academy of Ancient Music

Board of DirectorsAdam BroadbentKay Brock Lvo dLJohn EverettMatthew ferreyJames GolobJohn GrievesHeather JarmanChristopher Purvis CBE (Chairman)dr Christopher Tadgell

Development BoardAdam BroadbentKay Brock Lvo dLdelia BrokeElizabeth de friendKate donaghyJohn EverettMatthew ferreyJames GolobJohn GrievesMadelaine GundersAnnie nortonChristopher Purvis CBEChris Rocker Terence Sinclairdr Christopher TadgellMadeleine TattersallSarah Miles WilliamsAlison Wisbeach

Music Director Richard Egarr

Emeritus DirectorChristopher Hogwood CBE

Chief ExecutiveMichael Garvey

Orchestra ManagerAndrew Moore

Head of External RelationsSimon fairclough

External Relations Manager: CommunicationsToby Chadd

External Relations Manager: Developmentoriel Williams

Administration ManagerSamantha fryer

Finance ManagerElaine Hendrie

Arts Management TraineeAnna Goldbeck- Wood

Violin IPavlo Beznosiuk*Iwona MuszynskaIona daviesSimon KodurandPersephone GibbsJane GordonHilary MichaelShunské Sato

Violin IIRebecca LivermorePierre JoubertWilliam ThorpSarah MoffattLiz MacCarthyJoanna LawrenceMarianna Szücs

ViolaJane RogersMarina Ascherson*Clare BarwickEmma Alter

CelloCatherine Jones*Imogen Seth-Smith*Gabriel AmherstPoppy Walshaw

Double bassJudith EvansTimothy Amherst

FluteRachel Brown*Guy Williams

OboeAntoine TorunczykLeo duarte

ClarinetAntony PayBarnaby Robson

BassoonUrsula LeveauxZoe Shevlin

HornGavin Edwardsdavid BentleyRichard BaylissHelen Shillito

Trumpetdavid BlackadderPhillip Bainbridge

TrombonePhilip daleSimon WillsAdrian france

Timpani & Bell in F#Benedict Hoffnung

orchestra list correct at time of going to print

In profiledavid Blackadder trumpet

“ I first played Beethoven on the natural trumpet with AAM and Christopher Hogwood on tour in Japan back in 1989. It was a thrilling experience and a real test of stamina. Years later it’s equally exciting to look forward to tonight’s concert and be part of a thriving environment, playing great music on period instruments with such an inspiring group of musicians. I remember meeting my great friend and colleague Ben Hoffnung for the first time back then in Japan, and here we are still making up two thirds of the ‘trumpani’ section!”

*Sponsored chairs

Leader Lord and Lady Magan

Principal cello dr Christopher and Lady Juliet Tadgell

Principal fluteChristopher and Phillida Purvis

Sub- principal violaSir nicholas and Lady Goodison

Sub- principal cellonewby Trust Ltd


Supporting the Academy of Ancient Music

Having fun, getting closer to the music and securing the future of a great tradition. That’s what supporting the Academy of Ancient Music is all about.

The music we are enjoying tonight only ever came into being through a tradition of patronage. JS Bach composed his instrumental masterpieces at the courts of Weimar and Köthen; Haydn enjoyed the backing of the Esterházy family; Mozart’s patrons included the Archbishop of Salzburg and Emperor Joseph II.

The AAM exists to keep this music alive — but income from ticket sales covers only a third of the cost of staging concerts like tonight’s. Just like the composers of old, the orchestra relies on generous support from those who value its work and care about its future.

over the next few years the AAM will be doing more than ever to develop the audiences, musicians and arts managers of the future through its AAMplify new generation programme, to bring baroque and classical music to a global audience through recordings and online work, and to enrich people’s lives through its concerts. In order to do so it must raise a total of £2.8 million by 2015. Through the generosity of individual philanthropists, Arts Council England and other funders and supporters £1.3 million has already been secured. £1.5 million remains to be raised.

The future of ancient music is in our hands. Read on to find out how you can help.

Join the AAM Society

The AAM Society is the AAM’s core group of regular supporters. Members’ annual gifts provide the vital ongoing support without which the orchestra would be unable to continue to perform.

Members enjoy a close and ongoing involvement with the life of the orchestra: they dine with the musicians after performances in London; they receive regular invitations to open rehearsals, private recitals and other special events; and at least once each year they are invited to travel with the orchestra on tour internationally.

Membership starts from £250 per annum (£100 for young supporters aged up to 40) and goes up to £20,000+. Gifts can be made annually or by regular standing order. Those giving over £1,000 receive invitations to regular recitals and other special events held in the homes of fellow members. Those giving over £5,000 have

the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of Benefactors which meets annually to receive an update on the orchestra’s performance from the Chief Executive and Chairman.

To join the AAM Society, please either contact the AAM or complete and return the membership form on page 17.

“The AAM’s Porto-Lisbon trip was memorable. We socialised with the players, heard wonderful music twice over with soprano Carolyn Sampson, had an exclusive tour and tasting of Graham’s Port, and were introduced to Porto’s extraordinary churches by an expert — with an optional trip to the Gulbenkian thrown in. All smoothly organised, relaxed and with the bonus of excellent company, meals and wine”. E L I Z A B E T H d E f R I E n d A A M S O C I E T Y M E M B E R


“We love the AAM’s excellent performances, academic depth and innovative programming, and as AAM Society members we share the musical life of this superb ensemble project by project. The AAM is as welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage!” R I C H A R d A n d E L E n A B R I d G E S A A M S O C I E T Y M E M B E R S

from time to time, syndicates are formed to support special artistic projects. Members enjoy a particularly close involvement with the work they are supporting. It’s not too late to get involved with Musical Revolutions, the concert

series at the heart of the AAM’s 2011–12 London and Cambridge season. Please contact the AAM to find out more.

Support a special project

The AAM Tomorrow fund has been established for those who want to invest at a substantial level in the long-term future of the orchestra. Support from the fund is making major strategic initiatives possible, including the development of the AAMplify new generation

programme and the revitalisation of the AAM’s recording programme. The fund was established by a generous leading gift from Lady Sainsbury of Turville, and major gifts have subsequently been received from other individual and institutional supporters.

Invest in the AAM Tomorrow fund

over the last four decades the AAM has brought joy and inspiration to millions of people. our aim over the next is to begin to build an endowment which will ultimately enable it to do so in perpetuity.

Leaving a legacy is one of the most enduring

ways in which you can support our work: gifts of any size have a real impact in enabling the AAM to keep baroque and classical music alive for generations to come. By supporting our work in this way you may also be able to reduce the overall tax liability due on your estate.

Leave a legacy

Generous tax incentives exist for UK taxpayers supporting charities like the AAM. Under the Gift Aid scheme the eventual cost of making a gift to the AAM could be as little as half of its

value to the AAM — and for donors who make gifts of shares the cost could be lower still. further information is available from the AAM.

Tax-efficient giving

• Contact Simon Fairclough, Head of External Relations, on 01223 341096 or [email protected];

• Visit www.aam.co.uk and click “Support the AAM”.

To find out more


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

AAM funders & Supporters

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

The Chairman’s Circle(Donations £20,000–£49,999 per annum)Matthew ferreyCHK Charities Ltddunard fund

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

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

Patrons (Donations £2,500 – £4,999 per annum)Adam and Sara BroadbentRichard and Elizabeth de friendMr and Mrs JE EverettMr and Mrs James GolobSir nicholas and Lady Goodison *John and Ann GrievesGraham and Amanda HuttonMark and Liza LovedayJohn and Joyce ReeveMark Westand other anonymous Patrons

Principal Benefactors (Donations £1,000 – £2,499 per annum)Lady Alexander of WeedonGeorge and Kay BrockMrs d BrokeMr and Mrs Graham BrownClive and Helena ButlerJo and Keren ButlerSir Charles Chadwyck- Healey BtKate donaghyThe Hon Simon Eccles

Elma Hawkins and Charles RichterProfessor Sean HiltonLord HindlipJohn Mcfadden and Lisa Kabnick *david and Linda LakhdhirMr and Mrs C nortonLionel and Lynn Perseynigel and Hilary Pye *Mr and Mrs Charles RawlinsonSir Konrad and Lady Schiemann *JG StanfordJohn and Madeleine TattersallMarcellus and Katharine Taylor- JonesStephen ThomasSarah and Andrew WilliamsMrs R Wilson StephensCharles Woodwardand other anonymous Principal Benefactors

Benefactors (Donations £500 – £999)dr Aileen Adams CBEBill and Sue BlythClaire Brisby and John Brisby QC *Jo and Keren ButlerMr and Mrs Edward davies- GilbertCharles dumasMr and Mrs Jean- Marie EveillardSimon faircloughMarshall fieldMichael and Michele footAndrew and Wendy GairdnerHon William GibsonThe Hon Mr and Mrs Philip Haversdr and Mrs G and W HoffmanHeather Jarman *Susan LathamTessa MayhewMr and Mrs Hideto nakaharaRodney and Kusum nelson- Jonesnick and Margaret ParkerBruno Schroder and familyPeter ThomsonRobin vousdenPippa WicksPeter and Margaret WynnJulia yorkeand other anonymous Benefactors

Donors (Donations £250 – £499)Angela and Roderick Ashby- JohnsonElisabeth and Bob Boas *Mrs nicky BrownMr Jeremy J Bunting

dr and Mrs S Challahdavid and Elizabeth ChallenStephen and debbie dance derek and Mary draperBeatrice and Charles GoldieSteven and Madelaine GundersGemma and Lewis Morris HallMrs Helen HiggsLord and Lady Jenkin of RodingAlison KnockerRichard Lockwoodyvonne de la PraudièreRobin and Jane RawAnnabel and Martin RandallArthur L Rebell and Susan B Cohendenys RobinsonMr and Mrs Timothy RobinsonMichael and Giustina RyanMiss E M SchlossmannMichael SmithRt Hon Sir Murray Stuart- Smith *Janet UnwinPaul f. Wilkinson and Associates Inc.and other anonymous donors* denotes founder member

Musical RevolutionariesHilary BartonCottisford TrustHon William GibsonMark and Lisa LovedayMrs Sheila MitchellMr and Mrs Charles RawlinsonMichael and Giustina RyanRobin vousdenMr Charles Woodwardand other anonymous Musical Revolutionaries

The AAM Society

AAM Business ClubCambridge University PressKleinwort BensonRoyal Bank of Canada

Public fundersArts Council Englandorchestras LiveCambridge City Council

Trusts and foundationsCHK Charities Ltddunard fundJohn Ellerman foundationEsmée fairbairn foundationfidelity UK foundationnewby Trust LtdSir Siegmund Warburg’s voluntary SettlementConstance Travis Charitable TrustGarfield Weston foundationJ Paul Getty Jnr Charitable Trustand other anonymous trusts and foundations


Join the AAM Society

I would like to join the AAM Society

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

Your details

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

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Membership level The Chairman’s Circle £20,000+

The Hogwood Circle £10,000–£19,999

Principal Patron £5,000–£9,999

Patron £2,500–£4,999

Principal Benefactor £1,000–£2,499

Benefactor £500–£999

donor £250–£499

young Supporter (under 40 only) £100–£249

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Acknowledgement Please acknowledge my gift using the following form of wording

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Payment detailsI would like to make my donation by

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I would like to pay by standing order (please complete the standing order section below)

I would like to make a gift of shares (please contact the AAM)

Three-year pledgeBy pledging to support the AAM over a three-year period, you can help the orchestra to plan for the future with confidence.

Please tick here if you are able to pledge to support the orchestra at this level for three years.

Leaving a legacy Please tick here if you would be willing to receive information about remembering the AAM in your will.

Matched giving My firm operates a matched giving policy. Please contact me to discuss this further.

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

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

Signed: .....................................................................................................................................

date: ...........................................................................................................................................

Donations made by standing orderPlease complete this section if you would like to make your donation to the AAM by standing order.

name of bank: .....................................................................................................................

Bank address: ........................................................................................................................

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

£......................................................................................................................................................

per month

quarter

year

starting on: .............................................................................................................................

Signed: ......................................................................................................................................

date: ...........................................................................................................................................

full name: ...............................................................................................................................

Please return your completed form to:Simon FaircloughHead of External RelationsAcademy of Ancient Music32 Newnham RoadCambridge CB3 9EY

AAM London and Cambridge 2011–2012 season


Musical RevolutionsMusical Revolutions is the concert series at the heart of the AAM’s work in 2011–12, showcasing five moments from the early baroque to the Romantic era when music changed forever. We’ll be exploring the earliest days — and some of the greatest achievements — of the concerto and the symphony; the unique periods of musical history which produced the early Italian cantata and the french baroque; and the birth of the phenomenon of the Romantic hero. Musical Revolutions celebrates cutting edge music and game-changing composers: be sure to join us for a very special journey.

Birth of the symphonyA 50-year period of extraordinary musical change, from Handel and JS Bach’s sinfonias to the classical symphonies of Haydn and Mozart

Awakening of the Romantic heroShunské Sato stars in Paganini’s violin Concerto no.2, complemented by the most revolutionary work of its time: Beethoven’s ‘Eroica’

Witches and devilsMusic inspired by the occult and extraordinary, conjured up by Rebecca Bottone’s bewitching voice and AAM leader Pavlo Beznosiuk

LONDONMonday 19 September 20117.30pm Wigmore Hall

CAMBRiDGETuesday 20 September 20117.30pm West Road Concert Hall

HANDEL Sinfoonia from Saul (1738)FX RiCHTER Symphony No.4 in C major (1744)MOZART Symphony No.1 in E flat major (1764)JS BACH Sinfonia from Cantata No.42 (1718)J STAMiTZ Sinfonia à 4 in D major (c.1750)J HAYDN Symphony No.49 in F minor ‘La passione’ (1768)

CAMBRiDGEMonday 10 October 20117.30pm West Road Concert Hall

LONDONWednesday 12 October 20117.30pm Cadogan Hall

WEBER Overture to Der Freischutz (1821)PAGANiNi Violin concerto No.2 in B minor (1826) BEETHOVEN Symphony No.3 in E flat major ‘Eroica’ (1804)

CAMBRiDGEMonday 31 October 20117.30pm West Road Concert Hall

LONDONWednesday 2 November 20117.30pm Wigmore Hall

TELEMANN Concerto in A major ‘The frogs’ (c.1720)HANDEL Vocal and instrumental excerpts from Alcina (1735)TARTiNi Sonata in G minor for violin ‘Devil’s trill’ (1713)CHARPENTiER Scenes from Act 3 of Médée (1693)

Richard Egarr director & harpsichord

Richard Egarr conductor

Shunské Sato violinAAM DEBuT

Pavlo Beznosiuk director & violin

Rebecca Bottone sopranoAAM DEBuT

Sumi Jo sings MozartStar Korean soprano Sumi Jo explores a world of viennese Masonic ritual, Greek myths and Turkish palaces

LONDONFriday 25 November 20117.30pm Cadogan Hall

Overture to Le nozze di Figaro (1786) ‘Martern aller Arten’ from Die Entführung aus dem Serail (1782) Entr’actes from Thamos, König in Ägypten (1773) ‘Vorrei spiegarvi, oh Dio’ (1783) Maurerische Trauermusik (1785) ‘Se il padre perdei’ from Idomeneo (1781) Symphony No.31 in D major ‘Paris’ (1778)‘No, che non sei capace’ (1783)

Sumi Josoprano AAM uK Debut


Handel’s MessiahHandel’s timeless masterpiece in an unmissable festive performance


Alina ibragimova director & violin AAM DEBuT

BiBER Passacaglia in G minor for violin from The Rosary Sonatas (c.1674)JS BACH Sonata in E major for violin and harpsichord BWV1016 (c.1725)JS BACH Concerto in A minor for violin BWV1041 (c.1730)ViVALDi Concerto in D major for violin ‘L’inquietudine’ RV234 (c.1727)ViVALDi Concerto in D minor for two violins and cello RV565 (1711)BiBER Battalia (1673)JS BACH Concerto in E major for violin BWV1042 (c.1730)

Rise of the concertoAlina Ibragimova makes her AAM debut in a programme ranging from the first work for solo violin to the summit of the baroque concerto

JS Bach’s St Matthew Passionour acclaimed collaboration with the Choir of King’s College, Cambridge continues with a performance of JS Bach’s magisterial St Matthew Passion.

LONDONWednesday 14 December 20117.00pm Barbican Centre

CAMBRiDGETuesday 3 April 20125.30pm King’s College Chapel

CAMBRiDGEMonday 27 February 20127.30pm West Road Concert Hall

LONDONWednesday 29 February 20127.30pm Wigmore Hall

Sarah Fox soprano

Anna Stephany mezzo- soprano

Ben Johnson tenor

Stephan Loges baritone

Choir of the AAM

James Gilchrist Evangelist

Stephen Cleobury conductor

Choir of King’s College, Cambridge

dawn of the cantataJonathan Cohen showcases the human emotion and musical invention of the early Italian cantata

Age of the french baroqueThe Choir of the AAM explores the revolutionary church music of Lully, alongside ingenious instrumental works by two of his contemporaries


Anna Prohaska soprano

James Gilchrist tenor

Jonathan Cohen director & keyboards AAM DEBuT

FALCONiERi Ciaccona in G major (c.1616)MONTEVERDi ‘Zefiro Torna’ (1614)MONTEVERDi ‘Se vittore si belle’ (1638)STROZZi ‘Udite, amanti’ (1651)MONTEVERDi ‘Ardo e scoprir’ (1638)B MARiNi Passacaglio in G minor (1655)CASTELLO Sonata No.15 à 4 (1621)MONTEVERDi Excerpts from Il ritorno di Ulisse in patria (1640)ZANETTi Saltarello della Battaglia (1645)MONTEVERDi Il combattimento di Tancredi e Clorinda (1624)

J-B LuLLY De profundis (1683)M-A CHARPENTiER Sonate à huit J-B LuLLY Regina coeli laetare (1684)J-B LuLLY Salve Regina (1684)M MARAiS Sonatas pour le Coucher du Roy (1692)LuLLY Dies Irae (1683)

CAMBRiDGETuesday 26 June 20127.30pm West Road Concert Hall

LONDONWednesday 27 June 20127.30pm Wigmore Hall

LONDON Thursday 26 April 20127.30pm Wigmore Hall

CAMBRiDGESaturday 28 April 20127.30pm West Road Concert Hall

WEST ROAD CONCERT HALLCambridge Arts Theatre box office01223 503333www.aam.co.uk

WiGMORE HALLWigmore Hall box office020 7935 2141www.wigmore-hall.org.uk

CADOGAN HALLCadogan Hall box office020 7730 4500www.cadoganhall.com

BARBiCAN CENTREAdvance box office, Silk Street020 7638 8891www.barbican.org.uk

Booking information

Booking for the concert in King’s College Chapel in April 2012 opens on 16 January 2012 via The Shop at King’s on 01223 769342.


Handel’s Messiah

LONDONWednesday 14 December 20117.00pm Barbican Concert Hall

Tickets £10, £15, £25, £35, £45020 7638 8891www.barbican.org.uk


Handel’s masterpiece has been the ultimate festive soundtrack for generations of families. Join the AAM and a fantastic line-up of soloists for London’s unmissable seasonal experience, and celebrate Christmas with music of stunning power and warmth.

Sarah Fox soprano

Clare Wilkinson mezzo-soprano

Ben Johnson tenor

Stephan Loges baritone

“ The sublime, the grand, and the tender conspired to transport and charm the ravished heart and ear” THE DUBLIN JOURNAL ON MESSIAH , APRIL 1742


Handel's Messiah A4 ad.indd 1 9/26/2011 1:25:32 PM


Sumi Jo sings Mozart

LONDONFriday 25 November 20117.30pm Cadogan Hall

Hot on the heels of a seven-concert tour of the Far East with the AAM, stunning South Korean soprano Sumi Jo makes a rare UK appearance to sing some of Mozart’s most glittering music.

Programme to include excerpts from The Marriage of Figaro, Idomeneo and The Abduction from the Seraglio, as well as the complete ‘Paris’ symphony and Masonic funeral music.

Tickets £10, £15, £25, £35, £45020 7730 4500www.cadoganhall.com

Sumi Jo soprano


“ the Korean “Queen of Coloratura” was nothing short of spectacular... the bright and luminous glow was immediately apparent” SINGAPORE TIMES, 2011


Sumi Jo sings Mozart A4.indd 1 9/28/2011 12:23:20 PM


www.brittensinfonia.com

LondonSouthbank Centre’s Queen Elizabeth Hall Thursday 8 December 2011 7.30pmBox Office: 0844 847 9910

CambridgeWest Road Concert Hall Friday 9 December 2011 7.30pmBox Office: 01223 357851

Sir Mark Elder conducts a stellar cast of soloists in Berlioz’s magical oratorio

L’enfance du Christ

on sale tonight: JS Bach’s Brandenburg Concertos

Mozart

Il re pastore11 & 12 November 2011, 7.30pmKings Place

Tickets: £9.50 - £34.50 : 020 7520 1490 /

www.kingsplace.co.uk

www.classicalopera.co.uk

aam ad 77 x 111.indd 1 03/10/2011 10:37:33

Available for £20 from the Cd sales desk in the foyer

“ I ’m here to tell you that the Egarr-AAM Brandenburgs really blow. In a good way. They blow centuries of library dust off these pieces, and they blow fantastic horn and trumpet lines. Egarr & co. are in it to win it. Whew! Wild, outdoorsy, jazzy, almost bepop...” S T E R E O P H I L E


musical revolutions: awakening of the romantic hero · awakening of the romantic hero shunské sato...

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