EvErything in Bach's music is closE to us, is part of our own lifE of misEry, dEspair or Bliss ... thErE is somEthing EtErnal in Bach's music, somEthing that makEs us wish to hEar again what has just BEEn playEd. this rEnEwal givEs us a glimpsE of EtErnity.' wanda landowska

BACH UNWRAPPED 3

WELCOMEThe phenomenon that was Johann Sebastian Bach never ceases to be a source of wonder: this modest cantor spent his life in one part of East Germany, producing extraordinary music at a superhuman rate with little recognition, constantly adapting to limited resources and talents, creating a body of work for specific occasions that was not only ahead of its time but timeless, an apotheosis of spiritual expression and technical skill.

It gives me the greatest pleasure to introduce Bach Unwrapped at Kings Place, our largest annual series to date. We are joined by a glittering array of performers, including the Academy of Ancient Music, Orchestra of the Age of Enlightenment, Aurora, Academy of St Martin in the Fields and the Wallfisch Band. Celebrated instrumentalists such as Rachel Podger, Pekka Kuusisto, Christoph Richter and Richard Egarr will perform solo, while a host of brilliant singers from Carolyn Sampson, Rosemary Joshua and Sanford Sylvan to Robin Blaze and John Mark Ainsley feature in cantatas and Passions. We can boast every aspect of Bach performance from The Swingle Singers to Kings College Choir, from La Nuova Musica to Onyx Brass, from Gwilym Simcock to The Sixteen. Our Study programme also includes fascinating days focusing on major works such as the St John Passion and the Orchestral Suites, chances to come and sing, and childrens concerts.

As John Butt remarks in his introductory essay, Bachs music was in some ways a gift to the future: as our programme shows, his work has inspired successive generations of musicians, from Romantic pianists and Minimalist composers to jazz improvisers. We welcome them all to this grand unwrapping which begins just after Christmas with Florilegium, and ends with the magnificent B minor Mass on 21 December 2013.

Do join us,

Peter Millican, CEO Kings Place

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CONTENTSA Dialogue with the Music of TimeAlone with BachBach and the KeyboardChamber MusicCantatas and MotetsPassions, Mass and OratorioBach and the OrchestraBach Reinvented Bach, Jazz and BeyondEmbrace Bach Study DaysCalendarTicket and Booking InformationTravel Information

Scholar and conductor John Butt reflects on our present-day encounters with Bachs music, and the variety of ways in which we can unwrap his eternal gift.

This series is called Bach Unwrapped: so what does unwrapped actually mean? And, most importantly, what does it mean when applied to Bach? An online thesaurus provided me with a good range of synonyms, based around the verb to open to free or shuck, to uncover or undo (as if something were held captive), to unpack or unroll (as if something

were waiting to be revealed). It struck me that all of these are uncannily appropriate, particularly given the range of performance styles and approaches that Bach Unwrapped embraces.

The Oxford English Dictionary has a particularly enticing formulation: to remove the wrapping from (a package): I began to unwrap my presents. The notion of Bachs music as a gift, as if from the past to the present and future, is especially apt given Bachs desire to leave specific models of particular genres; he clearly feared that whatever values his music embodied might soon be lost. As his supporter FW Marpurg wrote in his preface to the posthumous edition of The Art of Fugue, that work was meant to restore to some degree, in the face

of the hoppity melodification of so many present-day composers, the dignity of Harmony. This was at the start of the gradual rediscovery of Bach, itself a process of continual unwrapping. But it is clear that different generations, different cultures, have each discovered different gifts.

Does this mean that Bach means all things to all people? Yes and no: if Bachs music were a form of currency, convertible into any goods and services, for good or evil, it could not really be art. But Im also suspicious of the view that Bach points to some universal truth that holds for all times a view particularly prominent during the Romantic rediscovery of the composer. This suggests that those of us who find Bach irritating or too involving are somehow

inadequate. What I think Bachs music seems to do is to encourage us to develop and extend ideas, feelings or movements that we bring to it, that it encourages a sort of conversation, intellectually, emotionally, but also particularly in the process of performance. Im always struck by the way the music inspires in me a dialogue in real time whenever I perform it. Something of this quality might come from Bachs religious purpose of making his church music respond to the texts involved. My view is that this music doesnt intrinsically mean anything which would have made it inseparable from its original text but that it is very much geared to amplifying and indeed transforming any meanings or sense that we bring to it. We hear

What I think Bachs music seems to do is to encourage a conversation, intellectually, emotionally, particularly in the process of performance John Butt

A DiAlogue with the Music of tiMe

4 BAch uNwRAPPeD

Bach transcribing a chorus out of Cantata 171 as the Patrem of the Mass in B minor, for example, and the Lutheran Mass in A major is effortlessly constructed from four cantata sources. Examples like this mean that we need to discard any customary disapproval of musical borrowings, but also understand music as a sort of voice in its own right, ready to speak in whatever circumstances.

So Bachs music appeals to those who seek meaning, sense or emotion perhaps it only really works if you are of a mind to do your part of the conversation. Not only is it contrapuntal in the musical sense of combining various lines of music simultaneously, it is also contrapuntal in a larger sense of combining ideas and feelings. A typical example might be Cantata 82, Ich habe genug, where the text expresses the faithful souls willing acceptance of death, while the music tells us of the inevitable sorrow. By serving specific purposes and attempting to grasp an audience in particular ways, Bach devised music that continues to operate in this manner, even when the context and purpose have changed.

If Im right to suggest that Bachs music is inherently flexible in interacting with a broad range of listeners, this renders more complex the issue of historically informed performance. It would suggest that a rigid adherence to what the historical record alone suggests is mistaken: after all, Bachs music seems to transcend its own origins better than most very few of us become orthodox Lutherans

or enthusiasts for absolute monarchy through encountering his music. To my mind, historically informed performance is most valuable when it imaginatively reconstructs some of the conditions that lay behind Bachs composition; its a tool towards rediscovery, offering us some of the same creative possibilities and limitations that Bach himself might have experienced. This emphasis on the genesis of the musical ideas, gestures and sensations does not exclude an interest in where his music can lead and it is here that many other forms of performance also have their place. In this series we hear the very common affinity felt between Bach and jazz, but also the way his music permeates so much of musical Romanticism and modernism. Indeed, given that Bach has inspired countless performers, instrument makers, composers and listeners, his music influences many musical experiences that do not necessarily bear his name. To banish the broader history of Bach performance in the name of history is fundamentally to misunderstand the value of history and the way it can inform our present and future. At last, perhaps, the culture of historically informed performance and thinking have actually given us the means to embrace a broader sense of history, one that expands rather than restricts the ways in which we can make Bachs music speak with us and not necessarily just to us.

John Butt is Gardiner Professor of Music at Glasgow University and Musical Director of the Dunedin Ensemble

BACH UNWRAPPED 5

6 BACH UNWRAPPED

ALONE WITH BACH

Life as a musician doesnt get any better than when youre performing Bach, says celebrated Baroque violinist Rachel Podger, who will be performing all the solo Partitas and Sonatas during Bach Unwrapped. He has the knack of inducing a clarifying, calming yet invigorating effect on body, soul and mind. His connection with the divine is apparent in everything he writes. I think he enables us to relate to that spark of divinity we all carry within us. All we need to do is

to recognise his language and let it speak through us... Shes under no illusions, however, as to the challenge this represents, especially in the intricate solo works with their multiplicity of voices. The violinist provides bass, tenor, alto and soprano at times in the four-note chords, or two or three parts in a passage with a theme and its counterpoint. Its exhilarating when you get to a point when you can produce and hear all the various voices at the same time but Im nowhere near perfecting the art of multi-tasking in Bach!

Distinguished cellist Christoph Richter is closely identified with and will be

performing here the Six Solo Cello Suites, still considered, in Robert Schumanns words, the most beautiful and important compositions ever written for the cello. Like the Violin Partitas, they are collections of dances, each prefaced by a searching prelude which gains in magnitude as the cycle progresses until we reach the Sixth, known as a symphony for solo cello. We move from the open serenity of G major, through the dark intensity of D minor to the wave of joy inspired by C major. The final three suites are distinctively coloured, from the piquant E flat major and the tragic C minor to the powerfully radiant D major.

I think he enables us to relate to that spark of divinity we all carry within us. All we need to do is to recognise his language and let it speak through us... Rachel Podger, violinist

Chaconne Originally a slow dance-form in triple time over a repeating ground-bass, which provides the vehicle for variation and decoration. From the Basque word chocuna, meaning beautiful. One of Bachs most famous is the Chaconne that closes the Partita in D minor for solo violin, BMV 1002.

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AloNE WitH BACH

30 December 2012Ashley Solomon flutePartita in A minor for solo flute 4 JAnuAry 2013christoph richter celloCello Suites Nos 1 & 6 30 JAnuAry 2013rachel Podger violinViolin Sonata No. 1 Violin Partita No. 1 17 APril 2013christoph Denoth guitarLute Suites in G minor & E minor Partita No. 2 (originally for violin) 18 APril 2013christoph richter celloCello Suites Nos 3 & 4

25 SePtember 2013rachel Podger violinViolin Sonata No. 2 Violin Partita No. 2 20 november 2013maxim rysanov violaCello Suites Nos. 3 & 6 (transc. for viola) 7 December 2013christoph richter celloCello Suites Nos 2 & 5

18 December 2013rachel Podger violinViolin Sonata No. 3 Violin Partita No. 3

1685 Johann Sebastian is born in Eisenach, Thuringia, the eighth child of town

musician Ambrosius Bach, and his wife Elisabeth. The Bach family have been successful musicians in the region for nearly two centuries, and in

Eisenach, long after the last family memeber has held such a post, the town musicians continue to be known as die Baache. Later in his life Bach will use the notes of his own name [as in the

German notation b (B flat), A, c, H (B natural)] in his music, as well the numbers 14 and 41, which represent Bach and JS Bach in the

number system a=1 b=2, etc.

Bach and the KeyBoard

31 January 2013Miki Skuta pianoGoldberg Variations

2 February 2013richard egarr harpsichordEnglish Suites Nos 3, 4 & 6

13 February 2013Jeffrey Siegel pianoTwo Preludes from The Well-Tempered Clavier, Toccata in D, Italian Concerto

21 February 2013Katya apekisheva piano15 Two-part Inventions, Italian Concerto

21 March & 2 May 2013charles Owen pianoThe Six Partitas for keyboard Nos 1, 2 & 4 (21 Mar); Nos 3, 5 & 6 (2 May)

13 June 2013Kenneth hamilton pianoBach arranged and varied by Busoni, Rachmaninov and Liszt

16 June 2013Jeffrey Siegel pianoChromatic Fantasy & Fugue Selected works by the Romantics

26 SepteMber 2013charles Owen pianoThe Six French Suites

17 OctOber 2013Miki Skuta pianoToccatas; Selections from The Art of Fugue

17 nOveMber 2013bine bryndorf organChorale Prelude Nun danket alle Gott, Prelude & Fugue in D, Trio Sonata No. 1, etc.

21 nOveMber 2013robert Levin pianoEnglish Suites Nos 2, 3 & 6

5 & 6 DeceMber 2013Daniel-ben pienaar pianoThe Well-Tempered Clavier, Books I & II

8 DeceMber 2013Wolfgang Zerer organPrelude and Fugues in G & C major, Trio Sonata No. 6, etc.

8 Bach UnWraPPed

This survey of Bachs keyboard music will take audiences from the exuberant early inventions and dance suites, though the Well-Tempered Clavier and on to the complex Partitas and extraordinarily abstract late works, such as The Art of Fugue and the Goldberg Variations.

Says harpsichordist and conductor Richard Egarr, who performs the English Suites, You get a sense in the early works of the sheer physical pleasure Bach took in performing, the joy of fast scales, the freedom in virtuosity.

In the Well-Tempered Clavier you are taken on this unique journey through the keys, each with its own landscape and character to enjoy. The late works are more complex and more investigative. Perhaps the ultimate in this regard are the Goldberg Variations: here Bach gives you no help, you have all these variations in G major, each focused more and more deeply into the harmony. Now he turns the mirror back on the performer: if you are not absolutely convinced of your approach, they will eat you for breakfast!

Yet, Egarr adds, this music is indestructible, really better than it can ever be performed, a definition of a true masterwork.

While being a convinced harpsichordist for Bach he acknowledges that the keyboard works can survive almost any approach because the music is so strong. Play it on a piano (as will artists including Charles Owen, Katya Apekisheva, Miki Skuta, Daniel Ben-Pienaar), on a harpsichord (Richard Egarr, Robert Levin), or on an organ (Bine Bryndorf and Wolfgang Zerer at the Royal Academy of Music) and each time it will be transformed. As long as the performer approaches it in a fully committed, expressive way: for all the secret ciphers, for all its intellectual complexity, it remains music full of passion and character.

In the Goldberg Variations, he turns the mirror back on the performer: you are on your own, if you are not absolutely convinced of your approach, they will eat you for breakfast! Richard Egarr

Partita Originally this term meant a variation, but was applied in Baroque times to a suite of pieces, in Bachs case, dances. Bach wrote three partitas for solo violin, and six for keyboard in the Clavier-bung (1731). These differ from the English and French Suites by being more complex and free-ranging, not only opening with preludes but with toccatas and overtures too. The Italian Concerto began as a partita before expanding beyond the form.

BACH UNWRAPPED 9

BACH AND tHE KEyBoARD

1702 Bach, now at the Mettenchor at St Michaels School in Lneburg, travels to Hamburg to see the great organist-composer Johann

Reincken. On his way home, so legend has it, he has no money for food or

shelter, and rests outside an inn, until a pair of herring heads are thrown out of the window at him. In each he finds a Danish ducat, and is able not only to have lunch but to return to Hamburg

and visit Reincken again.

10 BACH UNWRAPPED

The chamber music programme takes in Bachs lively and intricate sonatas for violin, flute, viola da gamba, cello, keyboard and continuo, and the elaborate collection known as the Musical Offering, along with some fascinating arrangements of keyboard works for chamber forces, from the Keller Quartets Art of Fugue to Dmitry Sitkovetskys Sinfonias for string trio and Fretworks extraordinary transcriptions of the Goldberg

Variations for viol consort. Richard Boothby of Fretwork ponders on a Bachian conundrum: Whats so fascinating is that Bach wrote incredibly idiomatically for specific instruments any string player, flautist, harpsichordist will attest to that and yet when you step back from instrumental colour the music itself has an underlying blueprint and purpose which goes deeper: theres a fundamental harmonic design which comes alive via a huge range of timbres and sonorities. Bach wrote for bass viols as continuo instruments, but would probably never have heard the then outdated viol consort. Nevertheless, as Boothby argues,

its large range of pitches and homogeneity of timbre make it ideal for the four-part Art of Fugue, which needs no re-arranging: As a viol consort we bring the great tradition of 16th- and 17th-century English music to this final flourishing, this apotheosis of contrapuntal ingenuity. Fretwork were inspired by Sitkovetskys sensitive arrangements of Bachs three-part keyboard Sinfonias to arrange the Goldberg Variations. This required a good deal of experimentation, and the variations push us to our limits; theres such speed and virtuosity, its very exciting and I hope captures the brilliance of the harpsichord work.

Fugue A form of composition whereby successive voices (in Bach up to 6) enter the music imitating the initial musical subject, sometimes transposed in pitch or amplified in time. The entry of the subject is followed by episodes of related material and further imitative counterpoint. Bach was the master of fugal writing, as is shown in The Art of Fugue, The Well-Tempered Clavier and the Canonic Variations for organ.

CHAmBER mUsiC

1705 Having been appointed organist at Arnstadt in 1703, Bach has

gained a reputation for not getting along with the local students. Hes involved in a brawl with a bassoonist, Johann

Heinrich Geyersbach, calling him a Zippel Fagottist or nanny goat bassoonist.

Geyersbach strikes him with a stick and Bach draws his sword.

BACH UNWRAPPED 11

Bach wrote so idiomatically for specific instruments, and yet the

fundamental harmonic design comes alive via a huge range of timbres.

Richard Boothby, Fretwork

20 February 2013Fretwork viol consortThe Art of Fugue

20 March 2013Dmitry Sitkovetsky violin, yuri Zhislin viola, Luigi Piovano cello15 Three-part Sinfonias Goldberg Variations (arr. for string trio)

24 March 2013Penelope Spencer violin, Lynda Sayce lute & David roblou harpsichordViolin Sonatas, BWV 1021, 1023 & 1024 Suite in A, BWV 1025 Fugue in G minor, BWV 1026

18 aPrIL 2013 see 4 Januarychristoph richter & alasdair beatson

1 May 2013Keller QuartetThe Art of Fugue (transc. for string quartet)

12 June 2013FlorilegiumMusical Offering Organ Trio Sonatas, BWV 525527

25 SePteMber 2013 see 30 Januaryrachel Podger & Marcin Swiatkiewicz

16 OctOber 2013FretworkGoldberg Variations (transc. for viol consort)

20 OctOber 2013ashley Solomon fluteterence charlston harpsichordFlute Sonatas, BWV 1020 & 10301035

20 nOveMber 2013alexander Sitkovetsky violin, Maxim rysanov viola, Kristine blaumane celloViola da gamba Sonatas Nos 1 & 3

24 nOveMber 2013Penelope Spencer violinwith claire Guimond flute, Jorge Jimnez violin, Jonathan byers cello & Joseph Mchardy harpsichordTrios in D minor, C and G, BWV 10361038 Trio Sonata, BWV 1079

7 DeceMber 2013 see 4 Januarychristoph richter & alasdair beatson

18 DeceMber 2013 see 30 Januaryrachel Podger & Marcin Swiatkiewicz

CHAmBER mUsiC

4 January 2013christoph richter celloalasdair beatson pianoCello Sonata in G minorlater in the series: Cello Sonata in D (18 April) Cello Sonata in G (7 Dec)

30 January 2013rachel Podger violinMarcin Swiatkiewicz harpsichordSonatas for violin and harpsichord, BWV 1014 & 1017 later in the series: BWV 1018 & 1019 (25 Sep); BWV 1015 & 1016 (18 Dec)

12 BACH UNWRAPPED

Bach wrote more than 200 cantatas or concertos in his working life, an astonishing body of work perhaps without equal in the history of music. In each he married craft and imagination to expound key doctrinal and spiritual truths. From what we know, he responded to the forces available, giving fine wind soloists obbligato parts, showcasing a particularly fine tenor or creating a simple line for his inexperienced boy trebles. The result is one of extraordinary diversity and richness. Bach Unwrapped includes nearly thirty

cantatas, along with Masses, psalm settings and motets. Singing Bach requires technical assurance, a relish of the rhetoric and, most importantly, a personal engagement with colourful and often dramatic texts from the Lutheran tradition, says David Bates, director of La Nuova Musica, wholl be performing with Robin Blaze. Bachs genius was to create the right affect for each text perfectly, which, to me, makes him a very human composer. Its our job to disguise the technical, and bring the emotional truth to the fore.

Elizabeth Wallfisch, wholl be directing solo cantatas with her young Wallfisch Band and singers including Michael Chance and Sanford Sylvan,

has spent the last 30 years performing many of cantatas, each one an enlightenment, a joy of discovery. Her choice for these concerts was informed by Beauty, love, music, text and context. Bachs special way with text simply takes your breath away: listen to Schlummert ein (82), or the incredible oboe solo in Vergngte Ruh (170). The key to performance, I tell my young players, is: text, text, text! We instrumentalists have to learn to speak the text in our playing; we must be aware of the way Bach uses words, enhancing their spiritual meaning, the way he brings emotion to the fore with word painting. And we must understand how the cantata fits into the Liturgical Calendar.

Cantata In the early 17th-century this could mean a dramatic madrigal sung by solo voice with lute, but in Bachs time it grew into a more theatrical form, called a concerto, meaning pieces for voices and instruments together, setting sacred texts, which could feature just one vocalist, or combine solo arias with choruses and chorales sung by a choir, and instrumental accompaniment throughout with a continuo bass part. Bach wrote more than 200 of these works. The largest-scale cantatas became oratorios, such as the six-part Christmas Oratorio.

CANtAtAs AND MotEts

1705-6 Bach leaves his post in Arnstadt November for a trip to Lbeck, on Germanys north coast, to hear the composer Dietrich Buxtehude play the organ, and to attend his Abendmusik series of concerts. He is rebuked back home for

being absent for four times as long as he had requested to comprehend one thing and another about his art. It is said he walked the 260 miles in each direction.

BACH UNWRAPPED 13

CANtAtAs AND MotEts

30 December 2012Florilegium | Ashley SolomonChristmas & New Year Cantatas 151 & 171 later in the series: Sinfonia (Cantata 196); Cantatas 82 & 199 Katharine Fuge soprano

31 December 2012 & 1 JANUArY 2013Wallfisch band Cantatas 12 & 170 (31 Dec) Cantatas 22 & 131 (1 Jan)

3 JANUArY 2013La Nuova musica | David bates with robin blaze countertenorHelen-Jane Howells sopranoCantata 169 & Psalm 51

FriDAY 15 FebrUArY 2013royal Academy of music baroque Orch.Motet Der Gerechte kommt Lutheran Mass No. 2 from Mass in A

22 FebrUArY, 15 JUNe & 27 September 2013Academy of St martin in the Fields with carolyn Sampson sopranoCantatas 82 & 209 later in the series: Canatas 202 & 210 (15 June) Cantatas 84, 199 & 204 (27 Sep)

22 mArcH, 19 ApriL & 17 mAY 2013Orchestra of the Age of enlightenment | John buttCantatas 9 & 161 (22 Mar) Cantatas 40 & 51 (19 Apr) Cantatas 106 & 153 (17 May)

4 mAY 2013 see 30 December 2012Florilegium with Katharine Fuge

15 mAY, 16 mAY & 18 mAY 2013the Sixteen | Harry christophersMotets, BWV 228 & 229 (15 May); 226 & 230 (16 May); 225 & 227 (18 May) Masses, BWV 234 & 236 (15 May), 233 & 235 (16 May); Cantatas 79 & 102 (18 May)

15 September 2013Wallfisch bandExcerpts from Cantatas 82 & 156 & St Matthew Passion

18 OctOber 2013choir of New college, Oxford Oxford philomusica | e HigginbottomCantata 150, Magnificat in D

Bachs genius was to create the right affect for each text perfectly, which, to me, makes him a very human composer.

David Bates, La Nuova Musica

The B minor Mass is a miracle of coherence considering its genesis. The pattern of solos and choruses works in an almost operatic way. Nicholas Collon, Aurora Orchestra

Passions, Mass and oratorio

29 January 2013Kings College Choir, Cambridge & academy of ancient Music | Stephen CleoburySt Matthew Passion

16 MarCh 2013Clare College Choir, Cambridge & aurora Orchestra | nicholas CollonSt John Passion

19 DeCeMber 2013Platinum Consort & Orchestra of the age of enlightenment Scott Inglis-KidgerChristmas Oratorio

21 DeCeMber 2013 Clare College Choir, Cambridge & aurora Orchestra | nicholas CollonMass in B minor

14 BaCH UnWraPPEd

BACH UNWRAPPED 15

Bachs two great Passions are pillars of the repertory. The great St Matthew, to be performed in our series by Kings College Choir and the Academy of Ancient Music with James Gilchrist as the Evangelist, is Bachs most monumental work: it speaks to all humanity and seems to stand outside time. The more condensed but searingly dramatic St John will be performed by Clare College Choir, Aurora Orchestra and John Mark Ainsley as the Evangelist. Nick Collon, who conducts, relishes

the prospect of performing it in Hall One: Its such a dramatic work, with such an urgent pace: the audience will experience it with great immediacy. Indeed, the St John is highly original, from its complex opening chorus where piercing oboe suspensions draw out the cross in sound over turbulent violins to the use of viole damore to voice Christs suffering and the moving high soprano solo Melt my heart in floods of tears.

Bach Unwrapped ends with the life-affirming Christmas Oratorio and the grand, mysterious B minor Mass whose disparate parts the composer spent so long compiling in the final decade of his life. From its

solemn, soaring five-part opening Kyrie to the visionary emptiness of the Credos Et exspecto, this is a work that looks towards the 19th-century. Ive obsessed over the B minor Mass for years, says Collon. Its a miracle of coherence considering its genesis. It may have an unusual construction, but the pattern of solos and choruses works in an almost operatic way: just when you crave the blaze of trumpets and drums, here they come, and when you need the intimacy of a duet, its there. Well be using Baroque trumpets, horns and timpani to achieve the right balance. I know Clare College Choir will bring the perfect blend of spirituality and joy to this.

Passion The tradition of musically dramatising the Passion of Christ goes back to the 4th century. Originally a priest would read one of the Gospels in Latin with the voice of Christ sung in plainsong. By Bachs day the Passion Oratorio had been developed using a metrical paraphrase of biblical text. Bach combined both types of text-setting, using biblical text, German paraphrase, chorales to be sung by the whole congregation, arias and Italianate recitative.

PAssioNs, MAss AND oRAtoRio

1708 A year after his marriage to Maria Barbara, Bach is appointed court

organist and chamber musician at the court of the Duke of Saxony in Weimar. He will

receive an annual salary of 150 florins (more than his predecessor), 18 bushels of grain, 12 bushels of barley, 4 cords of wood and

30 pails of beer, tax free.

16 BACH UNWRAPPED

ORCHEstRAl AND CONCERtOs

30 December 2012Florilegium | Ashley SolomonConcerto in A for oboe damore & strings

31 December 2012 & 1 JANUArY 2013Wallfisch bandOverture in G minor; Concerto in C for three violins, strings & continuo (31 Dec); Overture in A minor (arr. for strings) (1 Jan)

3 JANUArY 2013La Nuova musica | David batesOverture from Orchestral Suite No. 1, Concerto in C minor for violin and oboe

2 FebrUArY 2013Academy of Ancient music | r. egarrOrchestral Suites Nos 14

15 FebrUArY 2013royal Academy of music baroque Orch.Concerto in E for harpsichord, Concerto in C for two harpsichords

22 FebrUArY, 15 JUNe & 27 SePTember 2013Academy of St martin in the Fields Concerto in D minor for two violins Concerto in A minor for flute, violin & harpsichord later in the series:Concerto in C minor for oboe and violin & Violin Concerto in A minor (15 Jun) Violin Concerto in E (27 Sep)

22 mArch, 19 APrIL & 17 mAY 2013Orchestra of the Age of enlightenment | John buttThe 6 Brandenburg Concertos Nos 4 & 5 (22 Mar); Nos 1 & 2 (19 Apr) Nos 3 & 6 (17 May)

15 SePTember 2013Wallfisch band: AhA! bachExcerpts from: Brandenburg Concertos Nos 3, 4 & 6, Keyboard Concerto in D, Orchestral Suite No. 4, and Concerto in C minor for oboe, violin & strings

18 OcTOber 2013Oxford Philomusica | e. higginbottomHarpsichord Concerto No. 4 in A

22 NOvember 2013David Greilsammer conductorAvi Avital mandolinOrchestral works by JS Bach and his sons

1717 After nine years at Weimar, Bach is appointed Kapellmeister at the court of the music-loving Prince Leopold in Cthen. He later goes to Berlin to buy a Michael Mietke harpsichord for the court: the Fifth Brandenburg Concerto may have been written to inagurate this instrument. The complete set is dedicated to the Margrave of Brandenburg, whom Bach

met in Berlin in 1719.

BACH UNWRAPPED 17

The first thing I think of at the mention of the Brandenburgs is the magnificent sound of No.1, with its whooping horn calls and outdoor jollity, says Lisa Beznosiuk, principal flautist of the Orchestra of the Age of Enlightenment, who perform all six concertos under John Butt. I also find myself picturing Bachs own beautiful pen-strokes in the manuscripts; it gives an extra thrill and inspiration. I love No.6 for its rich, deep textures and the lighthearted, almost cheeky way in which Bach works the two

solo viola parts. Brandenburg No. 5 is really a chamber concerto. Of course, the harpsichordist is the virtuoso star of the show, but the violinist starts all three movements, and as in all Baroque music, the bass line leads much of the time.

Completed in 1921, the Brandenburgs mark Bachs first major foray into orchestral writing, though he wouldnt have termed it as such. His classic concertos and the Orchestral Suites date from 1729 onwards, when he was working at Leipzigs Collegium Musicum, and repertoire was needed for a weekly concert. Although the Orchestral Suites were scored in such a way that they transfer easily to modern orchestral forces, were they

actually titled Overtures and were played by a very small ensemble. Says Beznosiuk, Its actually easier to achieve a good balance in the Brandenburgs because of the alternating ripieno and concertino sections. In the Second Orchestral Suite, for example, the writing is often in four or five parts, a dense, polyphonic texture, which can be challenging. Bach Unwrapped will include numerous concertos, too, featuring violinist(s), oboists, recorder players, pianists and harpsichordists. On performing such pieces Beznosiuk comments: I really enjoy the slow movements where the soloist can draw everyone into a more intimate world, away from the dazzle and virtuosity of the outer movements.

When I think of the Brandenburgs I find myself picturing Bachs own beautiful pen-strokes in the manuscripts; it gives an extra thrill and inspiration. Lisa Beznosiuk, Orchestra of the Age of Enlightenment

Concerto Bach wrote concertos for solo instruments (eg keyboard, violin) and also utilised the concerto grosso form, as in the Brandenburg Concertos, in which music for the main body of the orchestra (the ripieno) is contrasted with passages for a small group of soloists (the concertino). These works are often written in ritornello form, in which a recurring passage for the ripieno is repeated in different keys in between episodes from the soloists.

BACH AND THE ORCHEsTRA

18 BACH UNWRAPPED

Finnish violinist Pekka Kuusisto puts it bluntly: Bach himself was a great improviser. His music has such a strong inner logic you need to put a lot of effort into screwing it up! Composers from Mozart onwards have found Bachs music an irresistible inspiration and challenge, and it has triggered, among others, the elaborate pianistic fantasies and homages of Mendelssohn, Liszt, Reizenstein, Rachmaninov and Busoni (played by Kenneth Hamilton and Jeffrey Siegel), the tributes of Kodly,

Mozart and Schnittke (Aurora Orchestra), the Counterpoints of Steve Reich, and Stravinskys Brandenburg-inspired Dumbarton Oaks, and his take on four preludes and fugues from The Well-Tempered Clavier, significantly, his final work (London Sinfonietta).

Bach himself not only transcribed music by other composers, but re-used his own music in different contexts. A fascinating example of this is the way funeral chorales appear to form a harmonic foundation for the Partita in D minor for solo violin, as identified by German musicologist Helga Thoene. Kuusisto will explore these in a unique performance of the Partita, interleaving its dance

movements with improvisations on the chorales on electric violin: I see the solo violinist as a lone person speaking, consuming your ears, while the electric violin improvisation will provide you with a broader landscape in which to rest your ears between movements. I dont feel Im imposing on the music, rather revealing what is there.

Proving the vitality of Bachs power to inspire present-day musicians, Onyx Brass will dazzle with arresting new arrangements, while composer Anna Meredith writes a new recorder concerto for virtuoso Erik Bosgraaf, wholl pair it with Bachs own (Aurora Orchestra).

Bach himself was a great improviser. His music has such a strong inner logic you need to put a lot of effort into screwing it up! Pekka Kuusisto

Chorale Prelude A liturgical composition for organ. The starting point is a chorale, a simple hymn or chant, often derived from Gregorian chant, which is stated and then woven into an increasingly elaborate counterpoint. In other cases the chorale is merely suggested by a few notes (which would be familiar to the congregation) and built into a many-voiced edifice. Bach, who was inspired by the chorale preludes of Pachelbel, Buxtehude and Reincken, wrote 46 examples in his Orgel-Bchlein.

BACH REINvENtED

BACH UNWRAPPED 19

BACH REINVENTED

1 February 2013London Sinfonietta Tim Gill celloMichael Cox fluteJS bach Sonata in G minor for viola da gamba and harpsichord, BWV 1029 Flute Sonata in E minor, BWV 1034Four Preludes & Fugues from The Well- Tempered Clavier (arr. Stravinsky)Steve reich The Vermont and Cello Counterpoints Stravinsky Concerto in E flat Dumbarton Oaks

18 February 2013Pekka Kuusisto violin, electric violinPartita in D minor, BWV 1004with electronic improvisations based on chorales and Finnish funeral tunes

20 MarCh 2013Dmitry Sitkovetsky violin, yuri Zhislin viola, Luigi Piovano celloGoldberg Variations (arr. for string trio)

20 aPrIL 2013Principal Players of aurora Orchestrabach arr. by Mozart, Busoni and Kodlybusoni Violin Sonata No. 2 (Mvt IV)Schnittke Piano Quintet (1976)

3 May 2013Onyx brassWorks by Bach, Handel, Shostakovich, Jaques Cohen, Antony Holborne, Joe Duddell and Timothy Jackson

13 JuNe 2013bachs Influence: 250 years of bach Kenneth hamilton pianoArrangements of Bachs work by Rachmaninov and Busoni; Bach-inspired works by Liszt

16 JuNe 2013Keyboard Conversations Jeffrey Siegel pianoBach-inspired works by Mozart, Chopin, Mendelssohn, Reizenstein, Shostakovich and Rachmaninov

19 OCTOber 2013aurora Orchestra | Nicholas Collonerik bosgraaf recorderOboe Concerto in D, BWV 1053 (played with recorder solo) Bach arrangements by Bosgraaf New work by Anna Meredith

1723 Bach moves to Leipzig to take up the appointment of city music director and the cantorate of St Thomass. Hes only second choice after Telemann and Graupner. This proves to be his last and most significant post for which

he writes the largest body of masterpieces, despite constant dissatisfaction with the quality

and number of musicians available to him. He moves there with his second wife Anna

Magdalena and his many children. He married the musician Anna in 1721, and she works closely with him on the copying of manuscripts from that

time onwards.

1723 Bach moves to Leipzig to take up the appointment of city music director and the cantorate of St Thomass. Hes only second choice after Telemann and Graupner. This proves to be his last and most significant post for which

he writes the largest body of masterpieces, despite constant dissatisfaction with the quality

and number of musicians available to him. He moves there with his second wife Anna

Magdalena and his many children. He married the musician Anna in 1721, and she works

closely with him on the copying of manuscripts from that time onwards.

Its like cooking, says Kevin Fox, baritone of The Swingle Singers: As most good chefs would say, start with quality ingredients.Bachs instrumental lines and harmonic progressions are, some would say, foundational in the development of jazz. Listen to Bach and you can hear where jazz came from: it just sounds jazzy! And, thats what Ward Swingle concluded when he started experimenting with The Well-Tempered Clavier back in the 60s.The Swingles could just hear a rhythm section laying down a swing groove underneath the vocal parts, which themselves also sounded great with a jazz vocalise or scat approach. They took Bachs instrumental lines, which

werent intended to be sung and, frankly, shouldnt sometimes have been possible with the voice at all and it worked. And so were born the classic Swingle versions of Air on a G String, Little Organ Fugue and Badinerie. Round about the same time, Jacques Loussier unleashed his pianistic talent on Bach, inspiring a host of sophisticated responses from artists as diverse as Bud Powell, Nina Simone, Alec Templeton and PDQ Bach. The Chris Garrick Quartets lively set Barking! will include numbers by George Shearing and Chucho Valds. Jazz pianist Gwilym Simcock will bring his unique improvising gifts to the Harpsichord Concerto in D minor in his event with the OSJ. Respectable Groove neatly bridge the centuries with their exuberant jazz fantasies on Baroque instruments, a unique blend that revels in the richness of Bachs preludes.

20 BACH UNWRAPPED

BACH, JAZZ AND BEYOND

Basso continuo The continuo part is the bass line which provides the harmonic underpinning in Baroque music. The continuo group could consist of any instrument capable of playing chords (harpsichord, organ, theorbo, lute) plus bass instruments such as cello and bass viol. A continuo player can realise the bass part by filling in harmonies and introducing ornamentation, using his or her musical judgement. In Bachs large-scale choral works, the continuo parts of solo arias are often elaborately figured and virtuosic.

BACH UNWRAPPED 21

Listen to Bach and you can hear where

jazz came from: it just sounds jazzy!

Kevin Fox, The Swingle Singers

1729 Bach takes over the direction of the Leipzig Collegium Musicum, which gives regular

concerts in Zimmermanns coffee house in Katharinenstrasse. This stimulates the composition

of his secular instrumental works, including perhaps the Violin Concerto in A minor and the Double Violin Concerto. In 1736 he visits Dresden to play for many persons of rank and is given the honorary appointment of Court Composer to the

Elector of Saxony, Friedrich August II.

BACH, JAZZ AND BEYOND

2 JANUARY 2013Jazz Bach!Orchestra of St Johns with the Gwilym Simcock QuartetTim Garland saxophonesAsaf Sirkis drumsYuri Goloubev bassGwilym Simcock pianoOSJ VoicesOrchestra of St JohnsJohn Lubbock conductor

18 MAY 2013Respectable GrooveDavid Gordon harpsichordEvelyn Nallen recorderOli Hayhurst double bassTom Hooper drumsProgramme to include a selection of preludes paraphrased with improvised fugues and radical re-workings of pieces by the Bach family.

23 MAY 2013The Swingle SingersProgramme to include:Three-Part Invention in G minor, BWV 797 Badinerie from Orchestral Suite No. 2 in B minor, BWV 1067Fugue in D minor from The Art of FugueAir on a G string from Orchestral Suite No. 3 in D, BWV 1068Chorale Prelude: Liebster Jesu, wir sind hier, BWV 731with other works by Corelli, Vivaldi, Debussy, Falla and Piazzola

28 SEPTEMBER 2013Chris Garrick Quartet: Barking!Chris Garrick violinDave Gordon pianoOle Rasmussen double bassTom Hooper drumsProgramme to include original jazz compositions based on Bachs keyboard preludes + arrangements of some of his compositions.

22 BACH UNWRAPPED

Bach Unwrapped boasts one of the liveliest and largest interactive programmes ever staged at Kings Place, from insight days hosted by leading period orchestras and world experts (Christoph Wolff and Richard Egarr with the Academy of Ancient Music, and John Butt with the OAE) to academic study days (Dr Stephen Roe, Dr Simon Heighes, Royal College of Music), childrens concerts and opportunities to sing (OAE Scratch Choir & Ivor Setterfield). As David Bates of La

Nuova Musica comments, There is wonderful strength to be found in congregational singing, even if you dont believe in the texts. I still want to hope that we are putting our trust in something bigger than humankind. The music of Bach is a great advocate for hope!

Essential will be the OAEs Study Day introducing the 18th-century instruments for which Bach wrote, with demonstrations on performance practice. Two events likely to appeal to the whole family will be the Wallfisch Bands AHA! Bach sessions, which interleave extracts from Bachs own writing with relevant music. Says director Elizabeth Wallfisch, Its fascinating to put

Bach into his own context, to realise how human he was, his private griefs, his temper, his immense patience with his family, students and friends, how he loved wine, and was ambitious, competitive but rebellious, too. I love to explore his compositional virtuosity how brilliantly worked his music is, how on earth he could conceive of those magnificent fugues. This is one way to get under his skin, to make friends with the man, the teacher, the player, the composer. He is our contemporary: we need him, for our own enlightenment, as inspiration and comforter, to support us in our journey through life.

He is our contemporary: we need him, for our own enlightenment, as inspiration and comforter, to support us in our journey through life. Elizabeth Wallfisch

Ricercare A term, meaning to search out, mainly used in late Renaissance and early Baroque music before the use of the fugue form became more prevalent. Sometimes a ricercare would act as a prelude, exploring the key or motifs of a subsequent piece.Bachs most famous ricercare is the six-part example that forms part of the Musical Offering.

EmBRACE BACH INTERACTIVE EVENTS AND STUDY DAYS

BACH UNWRAPPED 23

20 April & 19 OCTOBEr 2013 Aurora Orch. Storytelling with BachWith Kate Wakeling (storywriter), Jessie Maryon Davies (animateur) & principal players of Aurora Orchestra

18 MAy 2013Orchestra of the Age of Enlightenment Family Concert

13 JunE 2013Kenneth Hamilton pianoBachs Influence: 250 Years of Bach transcriptions

16 JunE 2013 see 13 FebruaryKeyboard Conversations

15 SEpTEMBEr 2013Wallfisch Band: AHA! BachTwo programmes with short readings from writings on Bach

29 SEpTEMBEr 2013Come and Sing Bach! With ivor SetterfieldMass in B minor, BWV 232

EmBRACE BACH/INtERACtIvE EvENts

13 FEBruAry 2013Jeffrey Siegel pianoKeyboard ConversationsBach the Spellbinder later in the series: Bach and the romantics (16 Jun)

23 MArCH 2013OAE Tots!Orchestra of the Age of Enlightenment

OAE Sing the passions!Join Rob Howarth for a closer look at the Passion choruses

1747 Bach visits Frederick the Great in his palace in Potsdam, outside Berlin. Frederick famously plays a theme on his fortepiano,

which Bach immediately turns into a three-part ricercare. This becomes the starting point for his extraordinary Musical Offering, published two

months later.By 1749, encroaching blindness has prevented Bach from writing: he is operated on

unsuccessfully by the English surgeon John Taylor, who will later also treat Handel. Bach dies in 1750.

24 BACH UNWRAPPED

STUD

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Saturday 2 February 2013

academy of ancient Music the bach Suites in FocusPart I: the english Suitesrichard egarr harpsichord

Hall One 1pm | Lasts 60 mins

12.50 14.50 19.50 | Online Savers 9.50

Part II: discovering bachProf. Christoph Wolff, one of the worlds most eminent Bach scholars and researchers, offers a fascinating insight into the composers life and work. He will also invite discussion from the audience.

St Pancras Room 2.30pm

9.50 (or 4.50 to ticket holders of 1pm concert)

Part III: Playing bachBBC Radio 3s Sara Mohr-Pietsch hosts the AAM players in a discussion about performing the Orchestral Suites.

St Pancras Room 6pm | Lasts 45mins

Free to ticket holders to 7.30pm concert

Part IV: the Complete Orchestral Suites academy of ancient Music richard egarr director and harpsichord

Hall One 7.30pm

19.50 29.50 39.50 49.50 Online Savers 9.50

Saturday 16 MarCh 2013

Study day: St John Passiondr timothy Jones (Royal Academy of Music)

In this two-part study day, staff and students from the Royal Academy of Music will explore the 18th-century context, musical style and performance traditions of Bachs St John Passion.

I: the St John Passion: Context and Style A presentation by 18th century specialist Timothy Jones, illustrated by students from the Royal Academy of Music, on the context and musical style of the St John Passion. It will discuss how Bach drew on Leipzig Passion traditions and his experience as a composer of church cantatas when he composed and revised the Passion.

II: St John Passion: Performance traditionsIn this session Timothy Jones will be joined by colleagues from the Royal Academy of Music to discuss what we know of Bachs performances

explores the riches of the chorale tradition. Many of these melodies originated as protest songs in the religious upheavals of the 16th century. Two centuries later, they provided Bach with inspiration for his church cantatas and organ works, as well as stimulating his harmonic ingenuity.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | does not include lunch

Saturday 28 SePteMber 2013

Study day: bachs sound world and instrumentsLinked to the OAEs series of Brandenburg concertos and cantata performances at Kings Place is this study day dedicated to JS Bachs sound world and instruments. With players from the OAE we take a look at some of the specific instruments that Bach would been writing for, including live demonstrations of the instruments as well as musical examples. We will focus on his wind instruments, particularly recorders and oboes, as well as the lower strings cello and viola da gamba. A unique chance to get up close to these instruments and learn about them first-hand from the musicians of the Orchestra.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

Saturday 23 NOVeMber 2013

Study day: Father, Sons and holy Ghostdr Simon heighes writer and broadcasterdr Warwick Cole harpsichordist and cellist

Bach experts Simon Heighes and Warwick Cole will unwrap Bach from both ends: contrasting 18th-century and modern-day perspectives to bring us closer to the composer and his music. The day starts with a presentation which would have shocked our grandparents a sequence of rare archival recordings which reveal just how much the performance of Bachs music has changed over the last 100 years. Then its back to the 18th century as Warwick Cole takes a closer look at how Bachs keyboard music was performed during the composers lifetime with live illustrations and plenty of tips for todays performers.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

how new traditions of performing the Passion developed in the mid-19th century, and how they have changed during the era of sound recording.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

Saturday 20 aPrIL 2013

Study day: the brandenburgshannah French & John butt

The Orchestra of the Age of Enlightenment present a study day dedicated to the collection of six Brandenburg Concertos. In the morning well be taken on a journey from Bachs workshop to Kings Place, with Hannah French taking a look at some key performances of the Brandenburg Concertos since their publication in 1721. Scores, recordings, films and concert programmes created by some of the greatest artists and ensembles from the 18th to the 21st-century will bring to life the cultural context of this colourful collection of concertos. In the afternoon we will take a more detailed analytical look at some of the music. We will be joined by John Butt, who will conduct all of the OAEs performances at Kings Place, as well as by some of the OAE players.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

Saturday 18 May 2013

Study day: Sacred Worksdr Stephen rose (Royal Holloway, UoL)dr bettina Varwig (Kings College, London)

I: the Church Cantata in baroque Leipzig Two illustrated presentations by Bach specialists Stephen Rose and Bettina Varwig, exploring the 18th-century contexts of Bachs sacred music. The first presentation traces how Bach and his contemporaries modelled their church cantatas on Baroque operas. The second presentation reconstructs the experiences of the churchgoers who listened to Bachs cantatas in Leipzig. Far from being accepted in his lifetime as masterworks, Bachs sacred compositions often aroused criticism from their early audiences.

II: bach and the ChoraleThe hymn-tunes known as chorales, including Bachs sacred cantatas, are the cornerstone of Lutheran music. With sung demonstrations by students from Royal Holloway, Stephen Rose

BACH UNWRAPPED 25

BACH UNWRAPPED WEEk 1Sunday 30 december 2012

Florilegium: christmas & new year cantatasCantata Ssser Trost, mein Jesus kmmt, BWV 151 (for the 3rd day of Christmas) Concerto in A for oboe damore and strings, BWV 1055 Partita in A minor for solo flute, BWV 1013 Cantata Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (for New Years Day)

Florilegium ashley Solomon flute (director)alexandra bellamy oboe damoreelin manahan Thomas sopranoSally bruce-Payne mezzo-sopranoJames Oxley tenorJimmy Holliday bass

Hall One 3pm

19.50 24.50 29.50 39.50 Online Savers 9.50

mOnday 31 december 2012

Wallfisch band: cantatas 170 & 12Overture in G minor, BWV 1070 Cantata Vergngte Ruh, beliebte Seelenlust, BWV 170 Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 Concerto in C for three violins, strings and continuo, BWV 1064

anna Fraser sopranomichael chance altoStuart Jackson tenorSanford Sylvan baritoneWallfisch band

Hall One 6pm

19.50 24.50 29.50 39.50 Online Savers 9.50

TueSday 1 January 2013

Wallfisch band: cantatas 22 & 131Cantata Jesus nahm zu sich die Zwlfe, BWV 22 Overture in A minor, BWV 1067a (arr. for str.) Cantata Aus der Tiefen rufe ich, Herr, zu dir, BWV 131

anna Fraser sopranomichael chance altoStuart Jackson tenorSanford Sylvan baritoneWallfisch band

Hall One 1pm

19.50 24.50 29.50 39.50 Online Savers 9.50

WedneSday 2 January 2013

Jazz bach! Orchestra of St Johns with the Gwilym Simcock QuartetTim Garland saxophonesasaf Sirkis drumsyuri Goloubev bassGwilym Simcock piano

OSJ Voices Orchestra of St Johns John Lubbock conductor

The OSJ and jazz stars from the Gwilym Simcock Quartet bring a whole new approach to Bach in this lively event combining straight movements from famous concerti with jazz improvisations. Gwilym will be playing the Harpsichord Concerto in D minor, BWV 1052, followed by improvisations, while the OSJ Voices will sing some chorales with saxophone obbligati.

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

CALE

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THurSday 3 January 2013

La nuova musica and robin blaze: cantata 169 & Psalm 51Cantata Gott soll allein mein Herze haben, BWV 169 Overture from Orchestral Suite No. 1 in C, BWV 1066 Concerto for violin and oboe in C minor, BWV 1060 Tilge, Hchster, meine Snden, BWV 1083

robin blaze countertenorHelen-Jane Howells sopranoLa nuova musica david bates director

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

Friday 4 January 2013

christoph richter: The cello Suites & Sonatas 1 Suite No. 1 in G for solo cello, BWV 1007 Sonata in G minor for cello and piano (originally for viola da gamba and harpsichord, BWV 1029) Suite No. 6 in D for solo cello, BWV 1012

christoph richter celloalasdair beatson piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

Florilegium

Wallfisch Band

Robin Blaze

La Nuova Musica

26 BACH UNWRAPPED

Saturday 2 February 2013

academy of ancient Music the bach Suites in FocusPart I: the english SuitesSuite No. 3 in G minor, BWV 808 Suite No. 4 in F, BWV 809 Suite No. 6 in D minor, BWV 811

richard egarr harpsichord

Hall One 1pm | Lasts 60 mins

12.50 14.50 19.50 Online Savers 9.50

Part II: discovering bachProf. Christoph Wolff, one of the worlds most eminent Bach scholars and researchers, offers a fascinating insight into the composers life and work. He will also invite discussion from the audience.

St Pancras Room 2.30pm

9.50 (or 4.50 to ticket holders of 1pm concert)

Part III: Playing bachBBC Radio 3s Sara Mohr-Pietsch hosts the Academy of Ancient Music players in a discussion about performing the Orchestral Suites.

St Pancras Room 6pm | Lasts 45mins

Free to ticket holders to 7.30pm concert

Part IV: the Complete Orchestral Suites Orchestral Suite No. 1 in C, BWV 1066 Orchestral Suite No. 2 in B minor, BWV 1067 Orchestral Suite No. 3 in D, BWV 1068 Orchestral Suite No. 4 in D, BWV 1069

academy of ancient Music richard egarr director and harpsichord

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online Savers 9.50

thurSday 31 January 2013

Miki Skuta: Goldberg VariationsGoldberg Variations, BWV 988

Miki Skuta piano

Hall One 7.30pm

16.50 21.50 27.50 34.50 Online Savers 9.50

FrIday 1 February 2013

London SinfoniettaJS bach Sonata in G for viola da gamba and harpsichord, BWV 1027 Steve reich Cello CounterpointJS bach Flute Sonata in E minor, BWV 1034 Steve reich Vermont CounterpointJS bach (arr. Stravinsky) Four Preludes and Fugues from The Well-Tempered ClavierStravinsky Concerto in E flat Dumbarton Oaks

tim Gill cello Michael Cox fluteLondon Sinfonietta

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

BACH UNWRAPPED WEEk 2tueSday 29 January 2013

St Matthew Passionthe Choir of Kings College, Cambridge academy of ancient Music

St Matthew Passion, BWV 244

James Gilchrist Evangelist david Wilson-Johnson Christus Joanne Lunn sopranoJames Laing countertenorthomas Walker tenorStephan Loges bass, Pilatethe Choir of Kings College, Cambridge academy of ancient Music Stephen Cleobury conductor

Hall One 6.30pm

29.50 39.50 49.50 59.50 Online Savers 9.50

WedneSday 30 January 2013

rachel Podger & Marcin Swiatkiewicz: the Violin Sonatas and Partitas 1Sonata No. 1 in G minor for solo violin, BWV 1001 Sonata No. 4 in C minor for violin and harpsichord, BWV 1017 Sonata No. 1 in B minor for violin and harpsichord, BWV 1014 Partita No. 1 in B minor for solo violin, BWV 1002

rachel Podger violinMarcin Swiatkiewicz harpsichord

Hall One 7.30pm

16.50 21.50 27.50 34.50 Online Savers 9.50

BACH UNWRAPPED WEEk 3WedneSday 13 February 2013

Keyboard Conversations:bach the Spellbindera Concert with Commentary

bach (arr. busoni) Chorale Prelude: Rejoice, Beloved Christians, BWV 734bach Toccata in D, BWV 912bach (arr. busoni) Chaconne in D minor from Partita No. 2 for violin, BWV 1004bach Two Preludes from The Well-Tempered Clavier, Book I: No. 21 in B flat major, BWV 866 No. 22 in B flat minor, BWV 867bach Italian Concerto, BWV 971Questions & answers

Jeffrey Siegel piano

Hall One 7.30pm

14.50 17.50 21.50 26.50 Online Savers 9.50

FrIday 15 February 2013

royal academy of Music baroque OrchestraConcerto No. 2 in E for harpsichord and orchestra, BWV 1053 Concerto No. 2 in C for two harpsichords and orchestra, BWV 1061 Der Gerechte kommt from Motet: Frchte dich nicht BWV 228 Lutheran Mass No. 2 in A, BWV 234 (arr. Kuhnau)

royal academy of Music baroque Orchestra Laurence Cummings director

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

The Choir of Kings College, Cambridge

Michael Cox

Tim Gill

Laurence Cummings

Academy of Ancient Music

BACH UNWRAPPED 27

BACH UNWRAPPED WEEk 4Monday 18 February 2013

Pekka Kuusisto: bach and electronic improvisationsPartita in D minor, BWV 1004 with electronic improvisations based on chorales and Finnish funeral tunes

Pekka Kuusisto violin and electric violin

Hall Two 8pm

14.50 | online Savers 9.50

WedneSday 20 February 2013

Fretwork: The art of FugueThe Art of Fugue, BWV 1080

Fretwork viol consortLiam byrne, asako Morikawa, reiko Ichise, richard Tunnicliffe & richard boothby

Hall One 7.30pm

16.50 21.50 27.50 34.50 online Savers 9.50

ThurSday 21 February 2013

Katya apekisheva: Two-Part Inventions & Italian ConcertoTwo-part Inventions Nos. 115, BWV 772786 Italian Concerto, BWV 971

Katya apekisheva piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 online Savers 9.50

FrIday 22 February 2013

academy of St Martin in the Fields with Carolyn Sampson: Concertos and Cantatas 1Cantata Non sa che sia dolore, BWV 209 Concerto in A minor for flute, violin & harpsichord, BWV 1044 Concerto in D minor for two violins, BWV 1043 Cantata Ich habe genug, BWV 82

Carolyn Sampson sopranoSoloists from the academy of St Martin in the Fields

Pre-concert Talk St Pancras Room 6.30pm Performance Hall One 7.30pm

19.50 24.50 29.50 39.50 online Savers 9.50

BACH UNWRAPPED WEEk 5SaTurday 16 MarCh 2013

Study day: St John Passiondr Timothy Jones (Royal Academy of Music)

In this two-part study day, staff and students from the Royal Academy of Music will explore the 18th-century context, musical style and performance traditions of Bachs St John Passion.

I: The St John Passion: Context and Style A presentation by 18th-century specialist Timothy Jones, illustrated by students from the Royal Academy of Music, on the context and musical style of the St John Passion. It will discuss how Bach drew on Leipzig Passion traditions and his experience as a composer of church cantatas when he composed and revised the Passion.

II: St John Passion: Performance TraditionsIn this session Timothy Jones will be joined by colleagues at the Royal Academy of Music to discuss what we know of Bachs performances of the Passion, how new traditions of performing the Passion developed in the mid Nineteenth Century, and how they have changed during the era of sound recording.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

St John PassionThe Choir of Clare College, Cambridge aurora orchestra St John Passion, BWV 245

John Mark ainsley EvangelistTbC ChristusMalin Christensson sopranoIestyn davies altoandrew Tortise tenorTbC bassThe Choir of Clare College, Cambridge aurora orchestra nicholas Collon conductor

Hall One 7.30pm

29.50 39.50 49.50 59.50 online Savers 9.50

WedneSday 20 MarCh 2013

dmitry Sitkovetsky: The art of TranscriptionGoldberg arrangements for string trio

Three-part Sinfonias, Nos. 115, BWV 787801 Goldberg Variations, BWV 988 (arr. Sitkovetsky)

dmitry Sitkovetsky violinyuri Zhislin viola Luigi Piovano cello

Hall One 7.30pm

16.50 21.50 27.50 34.50 online Savers 9.50

ThurSday 21 MarCh 2013

Charles owen: Partitas 1Partita No. 1 in B flat, BWV 825 Partita No. 2 in C minor, BWV 826 Partita No. 4 in D, BWV 828

Charles owen piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 online Savers 9.50

FrIday 22 MarCh 2013

orchestra of the age of enlightenment: Cantatas & brandenburg Concertos 1 Brandenburg Concerto No. 4 in G, BWV 1049Cantata Komm, du se Todesstunde, BWV 161 Brandenburg Concerto No. 5 in D, BWV 1050Cantata Es ist das Heil uns kommen her, BWV 9

Soloists of the orchestra of the age of enlightenment and Choir of the enlightenment John butt director

Hall One 7.30pm

19.50 29.50 39.50 49.50 online Savers 9.50

SaTurday 23 MarCh 2013

oae Tots!The OAEs ever-popular series of events for the very youngest of music lovers returns to Kings Place. These 45-minute sessions for those aged 26 and their friends and families are fun, friendly and lively sessions where participation is actively encouraged!

Hall Two 11am; 12.15pm | Lasts 45 mins

4.50 Child; 6.50 adult; 16.50 Family of 4 (at least 1 adult) 19.50 Family of 5 (at least 1 adult)

Pekka Kuusisto

Carolyn Sampson

Dmitry SitkovetskyKatya Apekisheva

28 BACH UNWRAPPED

Saturday 20 aPrIL 2013

Study day: the BrandenburgsHannah French & John Butt

The Orchestra of the Age of Enlightenment present a study day dedicated to the collection of six Brandenburg Concertos. In the morning well be taken on a journey from Bachs workshop to Kings Place, with Hannah French taking a look at some key performances of the Brandenburg Concertos since their publication in 1721. Scores, recordings, films and concert programmes created by some of the greatest artists and ensembles from the 18th to the 21st-century will bring to life the cultural context of this colourful collection of concertos. In the afternoon we will take a more detailed analytical look at some of the music. We will be joined by John Butt, who will conduct all of the OAEs performances at Kings Place, as well as by some of the OAE players.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

aurora Orchestra: Storytelling with Bach 1Programme to include: The Well-Tempered Clavier and other works

Kate Wakeling storywriterJessie Maryon davies animateurPrincipal Players of aurora Orchestra

Join Jessie Maryon Davies and principal players of Aurora Orchestra as we explore Bachs The Well-Tempered Clavier. The concert will bring this masterpiece to

tHurSday 18 aPrIL 2013

Christoph richter: the Cello Suites & Sonatas 2Suite No. 3 in C for solo cello, BWV 1009 Sonata in D for cello and piano (originally for viola da gamba and harpsichord, BWV 1028) Suite No. 4 in E flat for solo cello, BWV 1010

Christoph richter celloalasdair Beatson piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

FrIday 19 aPrIL 2013

Orchestra of the age of Enlightenment: Cantatas & Brandenburg Concertos 2Brandenburg Concerto No. 1 in F, BWV 1046Cantata Jauchzet Gott in allen Landen!, BWV 51 Brandenburg Concerto No. 2 in F, BWV 1047 Cantata Darzu ist erschienen der Sohn Gottes, BWV 40

Soloists of the Orchestra of the age of Enlightenment and Choir of the Enlightenment John Butt director

Hall One 7.30pm

19.50 29.50 39.50 49.50 Online Savers 9.50

Saturday 23 MarCH 2013

Sing the Passions! robert Howarth keyboard/director/speaker

Every Easter, Bachs Passions are performed up and down the country as much a part of the musical calendar as Handels Messiah. This is a unique opportunity to get to know some of the choruses better to enrich your listening experience, in the company of OAE principal keyboardist, Robert Howarth. Well be taking a closer look at some of the more dramatic choruses, both in terms of their music and context, and also singing them, with a professional soloist taking the role of the Evangelist. Suitable for all singers. Familiarity with the Passions beneficial, but not essential.

Hall Two 2pm 5pm (incl. short break)

19.50

Sunday 24 MarCH 2013

Penelope Spencer: Missing MasterpiecesSuite in A for violin & harpsichord, BWV 1025 Sonata in E minor for violin & continuo, BWV 1023 Sonata in G for violin & continuo, BWV 1021 Fugue in G minor for violin & continuo, BWV 1026 Sonata in C minor for violin & continuo, BWV 1024

Penelope Spencer violinLynda Sayce lutedavid roblou harpsichord

Hall One 11.30am | Lasts 60 mins

14.50 17.50 21.50 26.50 Online Savers 9.50

BACH UNWRAPPED WEEk 6WEdnESday 17 aPrIL 2013

Christoph denoth: Bachs Lute Music on GuitarLute Suite in G minor, BWV 995 Lute Suite in E minor, BWV 996 Partita No. 2 in D minor, BWV 1004 (originally for solo violin)

Christoph denoth guitar

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

life through specially commissioned stories from writer Kate Wakeling, interwoven with lively performances from Auroras principal players. Children will be able to interact with the musicians and get close to the wonderful characters, sounds and feelings in this music. With opportunities to become part of the music and stories, this concert will be a sparkling introduction to Bachs music for young people.

Hall Two 11.30am, 12.15pm Each performance lasts 45mins

4.50 Child; 6.50 adult 16.50 Family of 4 (at least 1 adult) 19.50 Family of 5 (at least 1 adult)

aurora Orchestra: Echoes of BachBach (arr. Mozart) Selection of fugues from The Well-Tempered Clavier, BWV 846893Bach (arr. Kodly) Chromatic Fantasy and Fugue in D minor, BWV 903 Bach (arr. Busoni) Chorale Preludes for Organ (transcr. for piano) Busoni Movement IV from the Violin Sonata No. 2 in E minor, Op. 36a Schnittke Piano Quintet (1976)

Principal Players of aurora Orchestra thomas Gould violinJamie Campbell violinMax Baillie violaOliver Coates celloJohn reid piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

Orchestra of the Age of Enlightenment

Christoph Denoth

BACH UNWRAPPED 29

BACH UNWRAPPED WEEk 7Wednesday 1 May 2013

Keller Quartet: The art of FugueThe Art of Fugue, BWV 1080 (transc. for string qt)

The Keller Quartet andrs Keller violinZsfia Krnyei violinZoltn Gl violaJudit szab cello

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online savers 9.50

Thursday 2 May 2013

Charles Owen: Partitas 2Partita No. 3 in A minor, BWV 827 Partita No. 5 in G, BWV 829 Partita No. 6 in E minor, BWV 830

Charles Owen piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online savers 9.50

Friday 3 May 2013

Onyx Brass: Bach through Brassshostakovich (arr. sutton) Fugue in G, Op. 87 No. 3 Bach (arr. Maynard) Fugue in G, BWV 541 The Greatholborne Elizabethan Dance Suite Bach (arr. shute) Fugue in C, BWV 846shostakovich (arr. Miller) Fugue in C, Op. 87 No. 1 Jacques Cohen Concertino (world premiere)shostakovich (arr. Thomson) Fugue in A flat, Op. 87 No. 17 Bach (arr. shute) Fugue in A flat, BWV 862handel (arr. shute) Eternal Source of Light DivineBach (arr. Keatley) Fugue in D, BWV 850shostakovich (arr. Miller) Fugue in D, Op. 87 No. 5 Joe duddell Still Life (based on Bach)Timothy Jackson Anything ButBach (arr. Mills) Toccata and Fugue in D minor, BWV 565 Bach (arr. Miller) Chromatic Fugue in D minor, BWV 903 Bach (arr. Powell) Chorale Prelude Nun komm, der Heiden Heiland, BWV 659

Onyx Brassniall Keatley trumpetBrian Thomson trumpetandrew sutton hornamos Miller trombonedavid Gordon-shute tuba

Hall One 7.30pm

14.50 17.50 21.50 26.50 Online savers 9.50

saTurday 4 May 2013

Florilegium with Katharine Fuge: Cantatas 199 & 82Sinfonia from Cantata Der Herr denket an uns, BWV 196 Trio Sonata in G for two flutes and continuo, BWV 1039 Cantata Mein Herze schwimmt in Blut, BWV 199 Concerto in F for two recorders and harpsichord, BWV 1057 Cantata Ich habe genug, BWV 82

Katharine Fuge soprano Florilegium ashley solomon flute, recorder (director)

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online savers 9.50

BACH UNWRAPPED WEEk 8Wednesday 15 May 2013

The sixteen: Motets and Masses 1Motet Komm, Jesu, komm!, BWV 229 Mass in G, BWV 236 Motet Frchte dich nicht, BWV 228 Mass in A, BWV 234

The sixteen harry Christophers conductor

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online savers 9.50

Thursday 16 May 2013

The sixteen: Motets and Masses 2Motet Lobet den Herrn alle Heiden, BWV 230 Mass in G minor, BWV 235 Motet Der Geist hilft unser Schwachheit auf, BWV 226 Mass in F, BWV 233

The sixteen harry Christophers conductor

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online savers 9.50

Friday 17 May 2013

Orchestra of the age of enlightenment: Cantatas & Brandenburg Concertos 3Brandenburg Concerto No. 3 in G, BWV 1048Cantata Schau, lieber Gott, wie meine Feind, BWV 153 Brandenburg Concerto No. 6 in B flat, BWV 1051Cantata Gottes Zeit ist die allerbeste Zeit, BWV 106

soloists of the Orchestra of the age of enlightenment and Choir of the enlightenment John Butt director

Hall One 7.30pm

19.50 29.50 39.50 49.50 Online savers 9.50

saTurday 18 May 2013

Orchestra of the age of enlightenment: Family ConcertA lively and fun family concert as part of Bach Unwrapped. Perfect for those aged 711, and their friends and families, this will be an entertaining and energetic musical start to your weekend!

Orchestra of the age of enlightenment

Hall Two 11.30am

4.50 Child; 6.50 adult 16.50 Family of 4 (at least 1 adult) 19.50 Family of 5 (at least 1 adult)

Onyx Brass

Keller Quartet

The Sixteen

30 BACH UNWRAPPED

and his family, including a piece based on CPE Bachs variations on La Folia.

Hall Two 8pm

14.50 | Online Savers 9.50

ThurSday 23 May 2013

The Swingle SingersBach Three-Part Invention in G minor, BWV 797Bach Badinerie from Orchestral Suite No. 2 in B minor, BWV 1067Bach Fugue in D minor from The Art of Fugue, BWV 1080Bach Air on a G String from Orchestral Suite No. 3 in D, BWV 1068Vivaldi Fugue from Lestro armonico, Op. 3 No. 11 (RV 565)Bach Chorale Prelude: Liebster Jesu, wir sind hier, BWV 731 Piazzolla Libertango (1974)debussy Clair de lune from Suite bergamasque, L75Corelli Concerto grosso, Op. 6 No. 8 Christmas ConcertoFalla Nana from Siete canciones populares espaolas (1914)

The Swingle Singers

Hall One 7.30pm; 9pm Each performance lasts 60 mins

19.50 24.50 29.50 39.50 Online Savers 9.50

BACH UNWRAPPED WEEk 9WedneSday 12 June 2013

Florilegium: a Musical OfferingOrgan Trio Sonata in E minor, BWV 526 (originally in C minor)Organ Trio Sonata in D minor, BWV 527 (originally in D minor)

The Sixteen: Motets and CantatasMotet Singet dem Herrn ein neues Lied, BWV 225 Cantata Herr, deine Augen sehen nach dem Glauben, BWV 102 Motet Jesu, meine Freude, BWV 227 Cantata Gott der Herr ist Sonn und Schild, BWV 79

The Sixteen harry Christophers conductor

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online Savers 9.50

respectable Groove: Prelude and Grooverespectable Groove david Gordon harpsichordevelyn nallen recorderOli hayhurst double bassTom hooper drums

Respectable Grooves unique blend of Baroque and jazz music has won over critics from both the jazz and early music press, notably for their acclaimed version of Purcells Dido and Aeneas. The group have made paraphrases of some of Bachs preludes where all structural features are retained, and all other aspects are changed to create new pieces. Interspersed with these will be improvised fugues in which suggestions from the audience are welcomed and radical re-workings of pieces by JS Bach

SaTurday 18 May 2013

Study day: Sacred Worksdr Stephen rose (Royal Holloway, University of London)dr Bettina Varwig (Kings College, London)

I: The Church Cantata in Baroque Leipzig Two illustrated presentations by Bach specialists Stephen Rose and Bettina Varwig, exploring the 18th-century contexts of Bachs sacred music. The first presentation traces how Bach and his contemporaries modelled their church cantatas on Baroque operas. The second presentation reconstructs the experiences of the churchgoers who listened to Bachs cantatas in Leipzig. Far from being accepted in his lifetime as masterworks, Bachs sacred compositions often aroused criticism from their early audiences.

II: Bach and the ChoraleThe hymn-tunes known as chorales, including Bachs sacred cantatas, are the cornerstone of Lutheran music. With sung demonstrations by students from Royal Holloway, Stephen Rose explores the riches of the chorale tradition. Many of these melodies originated as protest songs in the religious upheavals of the 16th century. Two centuries later, they provided Bach with inspiration for his church cantatas and organ works, as well as stimulating his harmonic ingenuity.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | Includes tea & coffee during break

Organ Trio Sonata in G, BWV 525 (originally in E flat) (all three arr. Florilegium)Musical Offering, BWV 1079

FlorilegiumBojan Cicic violinJennifer Morsches celloTerence Charlston harpsichordashley Solomon flute (director)

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online Savers 9.50

ThurSday 13 June 2013

Kenneth hamilton: 250 years of BachBach French Suite in G, BWV 816Bach (arr. Busoni) Ich ruf zu dir, Herr Jesu Christ, BWV 639 Nun komm, der Heiden Heiland, BWV 659 Chaconne in D minor from Partita No. 2 for violin, BWV 1004 Bach (arr. rachmaninov) Partita in E, BWV 1006Liszt Fantasy and Fugue on the theme B-A-C-HVariations on Bachs Weinen, Klagen, Sorgen, Zagen

Kenneth hamilton piano

Hall One 7.30pm

14.50 17.50 21.50 26.50 Online Savers 9.50

SaTurday 15 June 2013

academy of St Martin in the Fields with Carolyn Sampson: Concertos and Cantatas 2 Cantata Weichet nur, betrbte Schatten, BWV 202 Concerto for oboe and violin in C minor, BWV 1060 Violin Concerto in A minor, BWV 1041 Cantata O holder Tag, erwnschte Zeit, BWV 210

Carolyn Sampson sopranoSoloists from the academy of St Martin in the Fields

Pre-concert Talk St Pancras Room 6.30pm Performance Hall One 7.30pm

19.50 24.50 29.50 39.50 Online Savers 9.50

The Swingle Singers

Kenneth Hamilton

BACH UNWRAPPED 31

Sunday 16 June 2013

Keyboard Conversations:Bach and the Romanticsa Concert with Commentary

Bach Chromatic Fantasy and Fugue in D minor, BWV 903Mozart Gigue in G, K574 (Eine kleine gigue)Mendelssohn Prelude and Fugue in E minor, Op. 35 No. 1Chopin Two Preludes (in F major and D minor), Op. 28 Nos 23 & 24 Reizenstein Prelude and Fugue in D, Op. 32 No. 8Shostakovich Two Preludes and Fugues (in C major and C minor), Op. 87 Nos 1 & 20Rachmaninov Two Preludes (in E Flat major and C minor), Op. 23 Nos 6 & 7Questions & answers

Jeffrey Siegel piano

Hall One 11.30am

14.50 17.50 21.50 26.50 Online Savers 9.50

BACH UNWRAPPED WEEk 10Sunday 15 SepteMBeR

Wallfisch Band: aHa! Bach 1also part of Kings place Festival 2013

Adagio (Movement I) from Sonata No. 1 in G minor for solo violin, BWV 1001Finale (Presto) from Brandenburg Concerto No. 4 in G, BWV 1049Allegro (Movement I) from Concerto in D for solo keyboard, BWV 972 (based on Vivaldis Violin Concerto Op. 3 No. 7, RV 230)Schlummert ein (Aria II) from Cantata Ich habe genug, BWV 82

Allegro moderato (Movement I) from Brandenburg Concerto No. 3 in G, BWV 1048 [Programme interspersed with short readings from CPE Bachs obituary of his father, Bachs own letters, and those of Mozart and Mendelssohn amongst others.]

Hall One 12.30pm | Lasts 45 mins

4.50

Wallfisch Band: aHa Bach 2also part of Kings place Festival 2013

Prelude (Movement I) from Suite No. 2 in D minor for solo cello, BWV 1008 Menuets I & II from Orchestral Suite No. 4 in D, BWV 1068 Sinfonia from Cantata Ich steh mit einem Fuss im Grabe, BWV 156 Allegro (Movement I) from Concerto in C minor for oboe, violin and strings, BWV 1060R Allegro (Movement I) from Brandenburg Concerto No. 6 in B flat, BWV 1051 Mache dich mein Herze rein from St Matthew Passion, BWV 244[Programme interspersed with short readings from CPE Bachs obituary of his father, JS Bachs own letters, and those of Mozart and Mendelssohn amongst others.]

Hall One 1.45pm | Lasts 45 mins

4.50

WedneSday 25 SepteMBeR 2013

Rachel podger & Marcin Swiatkiewicz: the Violin Sonatas and partitas 2Sonata No. 2 in A minor for solo violin, BWV 1003 Sonata No. 6 in G for violin and harpsichord, BWV 1019

Sonata No. 5 in F minor for violin and harpsichord, BWV 1018 Partita No. 2 in D minor for solo violin, BWV 1004

Rachel podger violinMarcin Swiatkiewicz harpsichord

Hall One 7.30pm

16.50 21.50 27.50 34.50 Online Savers 9.50

tHuRSday 26 SepteMBeR 2013

Charles Owen: the French SuitesThe 6 French Suites, BWV 812817 No. 1 in D minor | No. 2 in C minor No. 3 in B minor | No. 4 in E flat No. 5 in G | No. 6 in E

Charles Owen piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

FRiday 27 SepteMBeR 2013

academy of St Martin in the Fields with Carolyn Sampson: Concertos and Cantatas 3Cantata Ich bin in mir vergngt, BWV 204 Violin Concerto in E, BWV 1042 Cantata Ich bin vergngt mit meinem Glcke, BWV 84 Cantata Mein Herze schwimmt in Blut, BWV 199

Carolyn Sampson sopranoSoloists from the academy of St Martin in the Fields

Pre-concert Talk St Pancras Room 6.30pm Performance Hall One 7.30pm

19.50 24.50 29.50 39.50 Online Savers 9.50

SatuRday 28 SepteMBeR 2013

Study day: Bachs sound world and instrumentsLinked to the OAEs series of Brandenburg concertos and cantata performances at Kings Place is this study day dedicated to JS Bachs sound world and instruments. With players from the OAE we take a look at some of the specific instruments that Bach would been writing for, including live demonstrations of the instruments as well as musical examples. We will focus on his wind instruments, particularly recorders and oboes, as well as the lower strings cello and viola da gamba. A unique chance to get up close to these instruments and learn about them first-hand from the musicians of the Orchestra.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | includes tea & coffee during break

Chris Garrick Quartet: Barking!Chris Garrick violindave Gordon pianoOle Rasmussen double basstom Hooper drums

Following in a long and respectful tradition of jazz musicians gaining inspiration from the music of Bach, the Quartet takes a wry and light-hearted look at his music. The programme includes original jazz compositions based on Bachs keyboard preludes, irresistible arrangements of some of his compositions, and Bach-based music from such luminaries as George Shearing and Chucho Valds.

Hall Two 8pm

14.50 | Online Savers 9.50

Jeffrey Siegel Charles Owen

Academy of St Martin in the Fields

32 BACH UNWRAPPED

Join animateur Jessie Maryon Davies and principal players of Aurora Orchestra as we explore the Goldberg Variations. This performance will bring Bachs masterpiece to life through specially commissioned stories from writer Kate Wakeling, interwoven with lively performances from Auroras principal players. Children will be able to interact with the musicians and get close to the wonderful characters, sounds and feelings in this music. With opportunities to become part of the music and stories this concert will be a brilliant introduction to young people to Bachs music for young people. Suitable for children aged 3+.

Hall Two 11.30am, 12.15pm Each performance lasts 45mins

4.50 Child; 6.50 Adult 16.50 Family of 4 (at least 1 adult) 19.50 Family of 5 (at least 1 adult)

Aurora Orchestra with Erik Bosgraaf: Songs without WordsBach Oboe Concerto in D, BWV 1053 (performed with recorder solo)

Erik Bosgraaf Bach arrangementsAnna Meredith New work for chamber orchestra and solo recorder

Erik Bosgraaf recorderPrincipal Players of Aurora Orchestra

Hall One 7.30pm

14.50 19.50 24.50 29.50 Online Savers 9.50

ThurSdAy 17 OCTOBEr 2013

Miki Skuta: ToccatasToccatas, BWV 911914 Selections from The Art of Fugue, BWV 1080

Miki Skuta piano

Hall One 7.30pm

16.50 21.50 27.50 34.50 Online Savers 9.50

FridAy 18 OCTOBEr 2013

Oxford Philomusica & New College Choir: MagnificatHarpsichord Concerto No. 4 in A, BWV 1055 Cantata Nach dir, Herr, verlanget mich, BWV 150 Magnificat in D, BWV 243

Mahan Esfahani harpsichord Choir of New College, Oxford Oxford Philomusica Edward higginbottom director

Hall One 7.30pm

19.50 24.50 29.50 39.50 Online Savers 9.50

SATurdAy 19 OCTOBEr 2013

Aurora Orchestra: Storytelling with Bach 2Goldberg Variations and other works

Kate Wakeling storywriterJessie Maryon davies animateurPrincipal Players of Aurora Orchestra

SuNdAy 29 SEPTEMBEr 2013

Come and Sing Bach!Mass in B minor, BWV 232

ivor Setterfield music directorChris Lee accompanist

A rare opportunity to explore and participate in Bachs greatest choral masterpiece under the musical direction of Ivor Setterfield, culminating in a full performance of this uplifting work.

Hall One 10am Registration 10:30am 1pm Workshop (first half) 2pm 3:30pm Workshop (second half) 4pm 5pm Cameo performance

26.50 singer 9.50 audience

BACH UNWRAPPED WEEk 11WEdNESdAy 16 OCTOBEr 2013

Fretwork: Goldberg VariationsGoldberg Variations, BWV 988

Fretwork viol consortLiam Byrne, Asako Morikawa, reiko ichise, richard Tunnicliffe & richard Boothby

Hall One 7.30pm

16.50 21.50 27.50 34.50 Online Savers 9.50

SuNdAy 20 OCTOBEr 2013

Ashley Solomon: The Complete Flute SonatasSonata in G minor for flute and harpsichord, BWV 1020 The Six Sonatas for flute and harpsichord, BWV 10301035 No. 1 in B minor | No. 2 in E flat | No. 3 in A No. 4 in C | No. 5 in E minor | No. 6 in E

Ashley Solomon fluteTerence Charlston harpsichord

Hall One 11.30am

14.50 19.50 24.50 29.50 Online Savers 9.50

Ivor Setterfield Miki Skuta Fretwork

Mahan Esfahani

Choir of New College, Oxford Oxford Philomusica

Erik Bosgraaf

Aurora Orchestra

BACH UNWRAPPED 33

BACH UNWRAPPED WEEk 12Sunday 17 november 2013

bine bryndorf: organ WorksPice dOrgue, BWV 572 Partite diverse sopra O Gott, du frommer Gott, BWV 767 Trio Sonata No. 1 in E flat, BWV 525 Nun danket alle Gott, BWV 657 Allein Gott in der Hh sei Ehr, BWV 662 Prelude and Fugue in D, BWV 532

bine bryndorf organ

Royal Academy of Music, Dukes Hall 12pm

Tickets 12 (9 concessions) available from the royal academy of music box office. Telephone 020 7873 7300 (10am12noon and 24pm, Mon to Fri) or online at www.ram.ac.uk/events. Tickets can be collected 10am12noon and 24pm Mon to Fri, or from 45 mins before the concert. Doors open 30 mins before the concert.

WedneSday 20 november

maxim rysanov plays bachSuite No. 3 in C for solo cello, BWV 1009 Sonata No. 1 in G for viola da gamba, BWV 1027 Suite No. 6 in D for solo cello, BWV 1012 Sonata No. 3 in G minor for viola da gamba, BWV 1029

maxim rysanov violaalexander Sitkovetsky violinKristine blaumane cello

Hall One 7.30pm

16.50 21.50 27.50 34.50 online Savers 9.50

ThurSday 21 november 2013

robert Levin: The english SuitesEnglish Suite No. 2 in A minor, BWV 807 English Suite No. 3 in G minor, BWV 808 English Suite No. 6 in D minor, BWV 811

robert Levin harpsichord

Hall One 7.30pm

19.50 24.50 29.50 39.50 online Savers 9.50

Friday 22 november 2013

david Greilsammer conducts: bach and his Sonsfeaturing avi avital (mandolin)

JC bach Symphony No. 6 in G minor, Op. 6JS bach Concerto in D minor for keyboard and orchestra, BWV 1052 (arr. mandolin) CPe bach Symphony in F, Wq 181JS bach Concerto in F minor, for keyboard and orchestra BWV 1056 (arr. mandolin)

Hall One 7.30pm

19.50 24.50 29.50 39.50 online Savers 9.50

SaTurday 23 november 2013

Study day: Father, Sons and holy Ghostdr Simon heighes writer and broadcasterdr Warwick Cole harpsichordist and cellist

Bach experts Simon Heighes and Warwick Cole will unwrap Bach from both ends: contrasting 18th-century and modern-day perspectives to bring us closer to the composer and his music. The day starts with a presentation which would have shocked our grandparents a sequence of rare archival recordings which reveal just how much the performance of Bachs music has changed over the last 100 years. Then its back to the 18th century as Warwick Cole takes a closer look at how Bachs keyboard music was performed during the composers lifetime with live illustrations and plenty of tips for todays performers.

St Pancras Rm 10.30am1pm; 2pm4.30pm

39.50 | includes tea & coffee during break

Sunday 24 november 2013

Penelope Spencer: Trio SonatasTrio in G for flute, violin & basso continuo, BWV 1038 Trio in C for two violins & basso continuo, BWV 1037 Trio in D minor for two violins & basso continuo BWV 1036 Trio Sonata from the Musical Offering, BWV 1079

Claire Guimond flauto traversoPenelope Spencer violinJorge Jimnez violinJonathan byers cellodavid roblou harpsichord

Hall One 11.30am | Lasts 60 mins

14.50 17.50 21.50 26.50 online Savers 9.50

BACH UNWRAPPED WEEk 13ThurSday 5 deCember 2013

daniel-ben Pienaar: The Well-Tempered Clavier, book i The Well-Tempered Clavier, Book I, BWV 846869

daniel-ben Pienaar piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 online Savers 9.50

Friday 6 deCember 2013

daniel-ben Pienaar: The Well-Tempered Clavier, book ii The Well-Tempered Clavier, Book II, BWV 870893

daniel-ben Pienaar piano

Hall One 7.30pm

14.50 19.50 24.50 29.50 online Savers 9.50

Maxim Rysanov

Avi Avital

Daniel Ben-Pienaar

Bine Bryndorf

David Greilsammer

Penelope Spencer

Claire Guimond

34 BACH UNWRAPPED

BACH UNWRAPPED WEEk 14Wednesday 18 december 2013

rachel Podger & marcin swiatkiewicz: The Violin sonatas and Partitas 3S