Welcome to tonight’s concert, to the Musical Revolutions series and to our 2011–12 season. Over the next year we’ll be giving a broad range of performances in London and Cambridge, spanning repertoire from Monteverdi’s madrigals to Beethoven’s ‘Eroica’ symphony. And how better to start it all than with these six works from the extraordinary 50-year period when the symphony took the world by storm? Our Cambridge performance has been sponsored by a group of generous subscribers who have together given over £2,500; we are very grateful to them. Whilst we look forward to joining Arts Council England’s National Portfolio for the first time in 2012, our ambitious artistic vision ‘at home’ in London and Cambridge continues to depend on the vital support of generous individuals. You can find out more about how to get involved on page 14. I hope you enjoy tonight’s performance, and I look forward to welcoming you to many AAM performances over the year ahead. Michael Garvey Chief Executive ACADEMY OF ANCIENT MUSIC, 2011-2012 SEASON 1 AAM performs Beethoven in London and Cambridge Next month the Musical Revolutions series continues as we turn the spotlight on the dawn of the Romantic era. Join us as we perform Beethoven’s groundbreaking ‘Eroica’ symphony, a work full of thrilling music and emotional depth which — as one critic puts it — "did for music what Napoleon was doing for society: turned tradition upside down". The performances also feature the UK debut of the brilliant Japanese-American violinist Shunské Sato, who performs Paganini’s virtuosic second Violin Concerto. Turn to page 20 for more details. Musical Revolutions: Birth of the symphony Richard Egarr director & harpsichord 19 September Wigmore Hall, London 20 September West Road Concert Hall, Cambridge
Transcript
Welcome to tonight’s concert, to the MusicalRevolutions series and to our 2011–12 season.Over the next year we’ll be giving a broad rangeof performances in London and Cambridge,spanning repertoire from Monteverdi’smadrigals to Beethoven’s ‘Eroica’ symphony.And how better to start it all than with these sixworks from the extraordinary 50-year periodwhen the symphony took the world by storm?
Our Cambridge performance has beensponsored by a group of generous subscriberswho have together given over £2,500; we arevery grateful to them. Whilst we look forward tojoining Arts Council England’s National Portfolio
for the first time in 2012, our ambitious artisticvision ‘at home’ in London and Cambridgecontinues to depend on the vital support ofgenerous individuals. You can find out moreabout how to get involved on page 14.
I hope you enjoy tonight’s performance, and Ilook forward to welcoming you to many AAMperformances over the year ahead.
Michael Garvey Chief Executive
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AAM performs Beethoven in London and Cambridge
Next month the Musical Revolutions seriescontinues as we turn the spotlight on thedawn of the Romantic era. Join us as weperform Beethoven’s groundbreaking ‘Eroica’symphony, a work full of thrilling music andemotional depth which — as one critic puts it— "did for music what Napoleon was doing
for society: turned tradition upside down".
The performances also feature the UK debutof the brilliant Japanese-American violinistShunské Sato, who performs Paganini’svirtuosic second Violin Concerto. Turn to page20 for more details.
Musical Revolutions:Birth of the symphonyRichard Egarr director & harpsichord
19 September Wigmore Hall, London20 September West Road Concert Hall, Cambridge
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GEORGE FRIDERIC HANDEL (1685–1759)Sinfonia from Saul (1738)
Allegro — Larghetto — Allegro — Andante larghetto
FRANZ XAVER RICHTER (1709–89)Symphony No.4 in C major (c1740)
Allegro — Andante — Allegro
WOLFGANG AMADEUS MOZART (1756–91)Symphony No.1 in E-flat major K.16 (1764)
Molto allegro — Presto
Interval of 20 minutesPlease check that your mobile phone is switched off, especially if you used it during the interval
JOHANN SEBASTIAN BACH (1685–1750)Sinfonia from Cantata No.42 ‘Am Abend aber desselbigen Sabbats’ (1725)
JOHANN WENZEL ANTON STAMITZ (1717–57)Sinfonia à 4 in D major (c1750)
Presto — Andante — Presto
FRANZ JOSEPH HAYDN (1732–1809)Symphony No.49 in F minor ‘La Passione’ (c1768)
Adagio — Allegro di molto — Menuet e trio — Finale
Programme
Would patrons please ensure that mobile phones are switched off. Please stifle coughing as muchas possible and ensure that watch alarms and any other electronic devices which may becomeaudible are switched off.
Musical Revolutions: at the heart of our 2011–12 season
The history of music has been shaped by shortperiods of intense innovation and genius —and it’s these moments which we’ll beexploring in the Musical Revolutions series. Aswell as tonight’s exploration of the early daysof the symphony, we’ll be showcasing theglorious music which gave birth to the
concerto, produced the masterworks of theFrench baroque and the Italian cantata, andinspired the earliest passions of the Romanticera. Turn to page 18 to find out more, and besure to join us over the year ahead for somecutting-edge, revolutionary music.
Few musical revolutions have been assignificant as the rise of the symphony in theeighteenth century. At the start of the centurythe human voice was regarded as the superiorform of music. As Georg Philipp Telemann wrotein 1731: “Singing is the foundation of music inevery respect”. Yet by the end of the eighteenthcentury, instrumental music — led by theincreasing dominance of the symphony — hadgained ascendancy. Over 10,000 symphonieswere written between 1740 and 1800, forperformance in places as far afield as Finland,North Carolina, Sicily and Poland.
Symphonies were played at a huge variety ofoccasions and venues in the eighteenthcentury. Many were used at courts (particularlythe courts of central Europe) as backgroundmusic for the aristocrats’ meals, conversationsand card-games. Others were performed attheatres, as an ear-catching curtain-raiser to theevening’s play or opera. In Catholic lands,symphonies were used in church, to punctuatecelebrations of Mass. And from the mid-eighteenth century onwards, symphonies wereincreasingly used at public concerts, especiallythose held in London. In Johann PeterSalomon’s concert series in early 1790s London,the pride of place in each programme wastaken by the première of one of Joseph Haydn’s symphonies.
Reflecting the varied ways in which symphonieswere used, the genre drew on a diverse rangeof musical traditions. The works by Bach andHandel in tonight’s programme show theimportant role of the concerto and the opera(or oratorio) sinfonia in supplying models forthe early symphony’s form and scoring. Butcomposers still faced major challenges in howto give shape to a substantial musical workwhen no text was present. By the 1750s theformal principle that would later be calledsonata form had evolved, whereby materialoriginally stated outside the home key wouldlater be recapitulated in the tonic. The sonata
principle enabled composers to write workswith a strong sense of tonal movement; thistonal narrative was the thread that held the firstmovement of symphonies together, no matterhow many contrasting themes were usedwithin a single movement.
For much of the eighteenth century,symphonies were regarded as pleasant ear-ticklers, works in which the dynamic range ofthe orchestra and the virtuosity of its string andwind sections could be showcased. Towards theend of the century, however, symphonies wereincreasingly seen as the most sophisticated ofmusical genres, capable of transporting anaudience on an emotional journey that couldreach the sublime. As Ludwig Tieck wrote in1799, the symphony was a genre “in which nosingle emotion is depicted, but rather a wholeworld, an entire drama of human affects ispoured out”.
Early examples of sinfonias: Handel and Bach
An important precursor to the symphonycomprised the sinfonias performed beforeoperas and oratorios. In Italy many of thesesinfonias were three-movement works intendedto catch the attention of the arriving audiencewith loud fanfares. Other sinfonias were moreheterogeneous creations, as is the case with theSinfonia to Saul (1738) by George FridericHandel (1685–1759). This sinfonia is a four-movement work that has echoes of the Frenchorchestral suite, the baroque concerto, and alsothe Italian sonata da chiesa of the seventeenthcentury. The opening Allegro has the ear-catching function expected of sinfonias; it isdominated by the snappy opening phrase,which is repeatedly played by the tuttiorchestra between various short sections forsmaller forces. The succeeding Largo combinesgently descending melodic phrases with asteadily moving bass line. Handel then surprisesus with the third movement, which is effectivelya miniature keyboard concerto. Handel directed
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Stephen Rose introduces the early days of the symphony
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the premiere of Saul from the keyboard, so thisthird movement was a chance for him todisplay his formidable talents as a keyboardsoloist and improviser. The Sinfonia ends with agraceful minuet headed Larghetto Andante;here the orchestral forces are condensed into athree-part texture that could be from achamber sonata.
Another example of a sinfonia that prefaced avocal work is the Sinfonia to Cantata No.42 byJohann Sebastian Bach (1685–1750). Scholarsthink that this instrumental piece was originallywritten for a lost secular cantata (Der Himmeldacht auf Anhalts Ruhm, BWV 66a) for thebirthday of Prince Leopold of Anhalt-Cöthen in1718. The surviving version, however, is found inthe sacred cantata Am Abend aber desselbigenSabbats, BWV 42, performed in Leipzig on 8April 1725 (the First Sunday after Easter).
Like many of Bach’s instrumental pieces, thisSinfonia is structured with the ritornelloprinciple he learned from the concertos ofAntonio Vivaldi. The opening eight-bar sectionforms the ritornello, with the distinctivebubbling semiquaver pattern for the violin.Statements of this ritornello are theninterspersed with episodes for two oboes andbassoon, which use a subtly different theme(although again consisting of bubblingsemiquavers). As is typical in Bach’s concertosfrom the 1710s onwards, the ritornello structureis itself subjugated to a larger form. The wholepiece consists of a gigantic da capo form: thefirst 53 bars are followed by a shorter middlesection (where the oboes take the melodiclead); the opening section is then repeated tobring the piece to an end. For Bach it wasentirely typical to use structures borrowed fromthe da capo aria and the concertos of Vivaldi;but these formal models would be rejected bysubsequent generations of sinfonia composers.
The symphony in the 1740s: Richter and Stamitz
By the 1740s the courts of central Europe werepioneering a new form of symphony that wascharacterised by its rhythmic vigour and itsbrilliance of sonic effects. Development of thisnew genre was spearheaded by the orchestra atthe Mannheim court. Between the 1740s and1770s the Mannheim orchestra was consideredto be one of the best in Europe, in particular forthe cohesion and discipline that allowed it toplay with an unprecedented combination ofdrama and precision. Charles Burney praised theMannheim orchestra for its “variety, taste, spirit,and new effects produced by contrast and theuse of crescendo and diminuendo”. The Germanaesthetician Christian Friedrich Daniel Schubartalso praised the orchestra’s control of dynamiccontrasts: “Its forte is a thunder, its crescendo acataract, its diminuendo a crystal brooksplashing off into the distance, its piano aspring breeze”.
Franz Xaver Richter (1709–89) joined theMannheim court in 1749, but he was alreadywriting symphonies in earlier stages of hiscareer. Richter’s Symphony No.4 in C major waspublished in 1744 and presumably was writtenin the late 1730s or early 1740s, when he wasworking at a succession of small institutionssuch as the Benedictine Ritterakademie in Ettal,and the court of Prince-Abbot Anselm vonReichlin-Meldegg in Kempten, Allgäu. Like thesymphonic style popularised by the Mannheimorchestra, Richter’s Symphony No.4 has anirrepressible rhythmic drive, given by theconstant semiquavers in the first movementand the short, clearly punctuated phrases in thefinale. Yet Richter’s symphonic style consists ofmore than superficial sonic effects. In the slowmovement, he shows his willingness to use theminor key, something rare among theMannheim composers. In all three movementsthere are touches of contrapuntal writing, as inthe cheeky rising upward lines for violin that are
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introduced towards the end of the firstmovement. And in the first movement heamazes the listener with his seeminglyunending succession of contrasting themes,often spiced by unexpected harmonic twists.
A taste of the powers of the Mannheimorchestra can be sampled in the Sinfonia à 4 inD major by Johann Stamitz (1717–57). Stamitzjoined the Mannheim court in about 1741, andin 1750 (the approximate date of this sinfonia)he gained the post of Director of InstrumentalMusic there. A relatively early work, the Sinfoniais in three movements for strings only, althoughsome performances may have enlarged theseforces with the addition of woodwind and evenbrass and timpani. The Sinfonia shows thebrilliance and vigour associated with theMannheim school, notably in the firstmovement with its rising violin scales over aharmonically static bass, and the drummingeffect of repeated notes. A more mellifluoustone is heard in the slow movement, wheregentle Scotch Snap figures adorn the violinmelodies. Stamitz’s style is constantlydemonstrative and lively, always with the aim ofarousing the attention of the audience. At thesame time, both Stamitz and Richter used earlyversions of the sonata principle to give tonalcoherence to their orchestral writing.
The symphony in the 1760s: Mozart and Haydn
The vivid orchestral styles pioneered by theMannheim composers soon gained wider usein European musical life. For Wolfgang AmadeusMozart (1756–91), such styles of symphonicwriting were part of the musical languagewhich he learned as a boy. In 1764–5 Mozartspent 15 months in London with his father andsister, giving concerts that amazed the publicwith his abilities as an infant prodigy. Duringthis stay in London, Mozart wrote hisSymphony No.1 in E flat major, K.16; it wasprobably completed in autumn 1764. The
symphony closely resembles the works ofJohann Christian Bach, who was one of theleading composers in London at the time andwho established a strong friendship with theMozarts during their stay. The first movementbegins with a fanfare-like figure, as wascommon in symphonies of the time; yet it alsoshows an assured use of the sonata principle.The second movement is a brief Andante in Cminor, and the finale is a jig-like 3-8 movementsimilar to those favoured by JC Bach. For all itsformulaic features, the symphony is still animpressive achievement for an eight-year-old, inparticular for its clear tonal design andconfident use of less familiar keys.
In the same decade that Mozart was writing hisfirst symphonies, Joseph Haydn (1732–1809)was already a highly experienced writer oforchestral music. His Symphony No.49 in Fminor ‘La Passione’ dates from about 1768,from the period when many composers soughtto shock and thrill their listeners, in the sameway that writers and artists in the Sturm undDrang movement cultivated an excess ofemotion that could overcome all rationality. Inmusic the Sturm und Drang effect wasassociated with macabre operatic scenariossuch as tomb scenes, and it was signalled bysuch musical features as minor keys, jaggedmelodies and violent changes of dynamic.
Haydn’s Symphony ‘La Passione’ is in the key of Fminor, associated since the early eighteenthcentury with melancholy and heartache; andthe piece soon acquired the nickname ‘LaPassione’, suggesting the tumult of emotionsfelt in Holy Week. Certainly the first movementhas a penitential air, particularly from theplaintive rising semitone of its opening themeand the slow tempo. To be sure, the use of aslow opening movement was a feature of manyof Haydn’s symphonies at the time; ‘La Passione’uses a four-movement sequence (slow— fast— slow— fast), following the formal outline of theItalian sonata da chiesa. The fast movements
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have jagged leaps, angry syncopations andfuriously pulsing lower parts. The Minuet is alsoin F minor and has a solemnity unusual fordance movements, although the major keyappears briefly for the trio. In its emotionalintensity and greater length, this symphonyindicates the direction that the genre wouldtake in later decades of the eighteenth century.
Holloway. His book The Musician in Literature inthe Age of Bach has recently been published by
Cambridge University Press.
Esterházy Palace in Eisenstadt, where Haydn was employed for nearly 30 years from 1761. During this timehe wrote the symphony which closes tonight’s concert. Steel engraving by C. Rohrich after L. Rohbock.
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Instrumental writing takes centre stage
Johann Sebastian Bach (1685–1750)George Frideric Handel (1685–1759)
Traditionally, the church and the theatre were dominated by the voice. ButHandel and Bach were among those who started to change this, establishinginstrumental writing as a powerful means of telling stories and teachinglessons.
In 1721 Bach took up the position of Kantor at Leipzig, a role which involvedthe constant composition of sacred vocal music. But the time spent writingstunning instrumental music before the move to Leipzig wasn’t to be wasted,and Bach refused to see the orchestra as merely ‘accompanying’ the choir.Instead he made his instrumental writing as eloquent as the vocal lines,matching the drama of the text in the music. Thrilling orchestral music wasemployed for a sacred purpose: the Sinfonia in tonight’s programme is aperfect example.
Over in England, Handel was undertaking a similar task. In 1737, he suffered a stroke which left hisright hand paralysed; it was thought that he would never write or perform again. But, miraculously, herecovered, and Saul was the first work he composed after convalescing. It’s hard not to feel a sense ofoptimism and joy pervading its Sinfonia, and indeed this was a defining moment in Handel’s life: fromnow on his oratorios were to be characterised by a new vibrancy of orchestral writing, incorporatingsome of the more flamboyant and Italianate elements of his operas. The Messiah is the most well-known result, but the affect was more wide-reaching. Between them, Bach and Handel had proventhat the orchestra could take a central place in the narrative of the church and theatre.
The triumph of the orchestra
Franz Joseph Haydn (1732–1809)
At the beginning of the eighteenth century, instrumental playing was regardedas second-rate musical entertainment in the private concerts of the aristocracy.Often orchestral works would be divided in two, the opening movementgreeting guests as they entered and the finale accompanying their departure.The music was background interest, secondary to the conversation and tea-drinking. The Duchess of Brunswick was even known to insist that the orchestraplay softly so that the card-playing wouldn’t be disturbed.
Haydn’s symphonies revolutionised this world. This was music which demanded to be heard — nolonger could it be talked over. Accordingly, Haydn’s new works became the centrepiece of concerts,placed at the beginning of the second half when the largest number of audience members would bepresent and the music wouldn’t be disturbed by latecomers. Orchestral music has never looked back.
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A prodigy comes of age
Wolfgang Amadeus Mozart (1756–91)
On 9 June 1763 the Mozart family set out on a three-and-a-half-year Europeantour, sparking considerable interest in this prodigious youngster. In London, forinstance, the philosopher Daines Barrington set Mozart a series of tests whichincluded improvising a ‘Song of Rage’ and a ‘Song of Love’ in the operatic styleof the day, and playing “with a handkerchief over the keys of the harpsichord”.
It was during this visit that Mozart composed his first symphony (which closesthe first half of tonight’s concert). He also met Johann Christian Bach, the son
of Johann Sebastian and one of the most important symphonists of the day; their acquaintance wouldbe life-long and have a significant impact on Mozart’s music. Later in the same tour Mozart visitedMannheim, an encounter immortalised in his ‘Paris’ symphony which bursts into life with the so-called‘Mannheim Rocket’ effect. In a letter to his father, however, his good impression wasn’t entirely musical:“[The Mannheim musicians] certainly behave quite differently from ours. They have good manners, arewell dressed and do not go to public houses and swill.”
A new standard for musicianship
Johann Wenzel Anton Stamitz (1717–57)Franz Xaver Richter (1709–89)
If Mannheim, in south-western Germany, was the seventeenth-century capitalof the symphony, then Johann Stamitz was Mannheim’s king. A musician ofexceptional talent and ambition, Stamitz created a musical culture whichresulted in not only the production of hundreds of symphonies, but also a newmusical language. The Mannheim composers (of whom Franz Richter was alsoa leading light) developed a symphonic style which was full of dramaticrhythmic and dynamic effects, featuring sudden contrast and explosivemomentum.
These radical new works required an excellent band — and so many of thecomposers themselves took up their instruments. This Mannheim orchestrabecame renowned throughout Europe for its phenomenal ability, with itsdistinctive sounds almost becoming trademarks: the Mannheim Rocket,Crescendo and Sigh were all well known (and used by, amongst others,
Mozart). A new benchmark for performance had been set.
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Academy of Ancient Music: our ethos
The history of the AAM is the history of arevolution. When Christopher Hogwoodfounded the orchestra almost forty years ago,he rejected the decades-old convention ofplaying old music in a modern style. Hogwoodand the AAM were inspired by originalperformances and, along with musicians acrossEurope, were beginning to discover the soundworlds which Bach, Handel and Haydn wouldhave known. These bold initial steps would leadto a radical transformation in musicalperformance, allowing baroque and classicalmasterworks to be heard anew from that day to this.
So what’s different about the AAM? Partly it’sthe instruments, which are originals (or faithfulcopies of them). The stringed instruments havestrings made of animal gut, not steel; thetrumpets have no valves; the violins and violasdon’t have chin-rests, and the cellists grip theirinstruments between their legs rather thanresting them on the floor. The result is a soundwhich is bright, immediate and striking. Also,
the size of the orchestra is smaller, meaningthat every instrument shines through and theoriginal balance of sound is restored.
There’s also a difference in the way weapproach our music making. Composers prizedthe creativity of musicians, expecting them tomake the music come alive and tocommunicate its thrill to the audience — anethos we place at the heart of all that we do.Very often we don’t have a conductor, but aredirected by one of the musicians; the result is aclose interaction within the orchestra, makingfor spontaneous, sparky and engagedperformances. It’s not just about researchingthe past; it’s about being creative in the present.
In everything we do, we aim to recapture theintimacy, passion and vitality of music when itwas first composed. The result? Performanceswhich are full of energy and vibrancy, thesuperb artistry and musical imagination of ourplayers combined with a deep understandingof the music’s original context.
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Academy of Ancient Music: our past, present and future
The AAM was founded in 1973 by ChristopherHogwood, under whose leadership theorchestra developed the global reputation forinspirational music making which continuestoday. In its first three decades the AAMperformed live to music lovers on everycontinent except Antarctica, and millions moreheard the orchestra through its astonishingcatalogue of over 300 CDs: Brit- and Grammy-Award-winning recordings of Handel operas,pioneering accounts of the Beethoven, Mozartand Haydn symphonies, and revelatory discswhich championed neglected composers.
This artistic excellence was fostered by astunning roster of guest artists: singers DameEmma Kirkby, Dame Joan Sutherland andCecilia Bartoli and pianist Robert Levin wereamong those performing regularly with theAAM. A range of collaborations continue toinspire the group with new ideas and freshapproaches. The current relationship with theChoir of King’s College, Cambridge recentlyproduced the world’s first live classical cinecast,with Handel’s Messiah streamed live intothousands of cinemas across the globe; andongoing work with the likes of sopranoElizabeth Watts, tenor Andrew Kennedy andcellist Steven Isserlis lies at the heart of theAAM’s present-day artistic success.
In 2006 Richard Egarr succeeded Hogwood as
Music Director, and the orchestra continues itstradition of enthralling audiences old and new.Already Egarr has directed the first-everperformances in China of Purcell’s Dido andAeneas and JS Bach’s complete BrandenburgConcertos, and has led tours throughout Europeand to Australia, America and the Far East. Recentrecordings, including a complete cycle ofHandel’s instrumental music Opp.1-7, have wonMIDEM, Edison and Gramophone Awards. In 2007Egarr founded the Choir of the AAM, which ayear later was awarded the title of ‘Choir of theYear’ at the Beijing Classical Elites.
The future is just as bright. Performances in2011–12 feature music from Monteverdi toBeethoven, with outstanding artists includingAlina Ibragimova and Anna Prohaska makingtheir AAM debuts. In early 2012 the world-première recording of music by the Englishcomposer Christopher Gibbons, featuring theChoir of the AAM, will be released.
Meanwhile the AAMplify new generation schemecontinues to flourish: hundreds of young musiclovers will be welcomed to AAM concerts thisseason, and the musicians of the future will rehearseand perform side-by-side with the orchestra inCambridge and, for the first time, in London.
Visit www.aam.co.uk to find out more, or pick upa season brochure tonight.
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Richard Egarr director & harpsichord
Richard Egarr brings a joyful sense of adventureand a keen, enquiring mind to all hismusic–making. A brilliant harpsichordist andequally skilled on the organ, fortepiano andmodern piano, Richard’s many roles includedirecting from the keyboard, playing concertos,giving solo recitals and playing chamber music.He is also an accomplished conductor, and herelishes the chance to talk about music at every opportunity.
Richard trained as a choirboy at York Minster, atChetham’s School of Music in Manchester andas organ scholar at Clare College, Cambridge.His studies with early music pioneers Gustavand Marie Leonhardt further inspired his workin the field of historical performance.
Richard was appointed Music Director of theAAM in 2006, since when he has led theorchestra on tours to four continents and in anumber of acclaimed recordings. Richard is alsoinvolved with a number of other periodensembles: he appears in America with theHandel and Haydn Society and PortlandBaroque, and this season makes his debut withPhilharmonia Baroque in San Francisco. He hasperformed as a soloist with The English Concert,the Orchestra of the Age of Enlightenment andthe Orchestra of the 18th Century.
In 2007 Richard established the Choir of theAAM, and operas and oratorios lie at the heartof his repertoire. He regularly appears at theConcertgebouw in Amsterdam with, amongothers, the Netherlands Opera Company; and in2007 he made his Glyndebourne debut in astaged performance of JS Bach’s St MatthewPassion. Richard is also renowned as aninspiration for young musicians: alongside histeaching position at the AmsterdamConservatoire, he has regular relationships withthe Britten–Pears Foundation in Aldeburgh andwith the Netherlands Opera Academy.
Richard is increasingly sought after bynon–period orchestras. This season he returnsto conduct the Rotterdam PhilharmonicOrchestra and the Scottish Chamber Orchestra,and makes his debut with the BerlinKonzerthausorchester and Helsingborg Symphony.
Richard has performed as a soloist throughoutEurope, Japan and the USA, and his solorecording output comprises works byFrescobaldi, Orlando Gibbons, Couperin, Purcell,Froberger, Mozart and JS Bach. For many yearshe formed an “unequalled duo for violin andkeyboard” (Gramophone) with violinist AndrewManze, which resulted in acclaimed concertsand award-winning recordings of music fromStylus Phantasticus to Mozart and Schubert.
Richard has directed the AAM in recordings byJS Bach, including the Brandenburg Concertos;and in a complete cycle of Handel’s Opp.1-7instrumental music which has won MIDEM,Edison and Gramophone Awards.
Richard lives in Amsterdam with his wife and daughter.
“It was Richard Egarr who unblocked my mindto how beautiful a harpsichord can sound”MAT THEW PARRIS , THE T IMES, JANUARY 2011
“ I think that, as with other instruments whose role is mainly toaccompany, my job as a violist is to focus on beauty of tone inorder to encourage those around me to shine more brightly. It'ssuch a wonderful feeling to be in the middle of the texture. Being aviolist himself, Bach really understood this — I feel a specialconnection with his Sinfonia in tonight's programme. As with allhis cantatas, I find it incredibly spiritually uplifting.”You can read more of Jane’s thoughts on our blog. Visit academyofancientmusic.wordpress.com
*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
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Supporting the Academy of Ancient Music
Having fun, getting closer to the music andsecuring the future of a great tradition. That’swhat supporting the Academy of Ancient Musicis all about.
The music we are enjoying tonight only evercame into being through a tradition ofpatronage. JS Bach composed his instrumentalmasterpieces at the courts of Weimar andKöthen; Haydn enjoyed the backing of theEsterházy family; Mozart’s patrons included theArchbishop of Salzburg and Emperor Joseph II.
The AAM exists to keep this music alive — butincome from ticket sales covers only a third ofthe cost of staging concerts like tonight’s. Justlike the composers of old, the orchestra relieson generous support from those who value itswork and care about its future.
Over the next few years the AAM will be doingmore than ever to develop the audiences,musicians and arts managers of the futurethrough its AAMplify new generationprogramme, to bring baroque and classicalmusic to a global audience through recordingsand online work, and to enrich people’s livesthrough its concerts. In order to do so it mustraise a total of £2.8 million by 2015. Throughthe generosity of individual philanthropists, ArtsCouncil England and other funders andsupporters £1.3 million has already beensecured. £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 ofregular supporters. Members’ annual giftsprovide the vital ongoing support withoutwhich the orchestra would be unable tocontinue to perform.
Members enjoy a close and ongoinginvolvement with the life of the orchestra: theydine with the musicians after performances inLondon; they receive regular invitations to openrehearsals, private recitals and other specialevents; and at least once each year they areinvited to travel with the orchestra on tourinternationally.
Membership starts from £250 per annum (£100for young supporters aged up to 40) and goesup to £20,000+. Gifts can be made annually orby regular standing order. Those giving over£1,000 receive invitations to regular recitals andother special events held in the homes of fellowmembers. Those giving over £5,000 have the
opportunity to sponsor a specific position inthe orchestra, and are invited to join theCouncil of Benefactors which meets annuallyto receive an update on the orchestra’sperformance from the Chief Executive andChairman.
To join the AAM Society, please either contactthe AAM or complete and return themembership form on page 17.
“The AAM’s Porto-Lisbon trip was memorable.We socialised with the players, heardwonderful music twice over with sopranoCarolyn Sampson, had an exclusive tour andtasting of Graham’s Port, and were introducedto Porto’s extraordinary churches by an expert— with an optional trip to the Gulbenkianthrown in. All smoothly organised, relaxedand with the bonus of excellent company,meals and wine”. ELIZABE TH DE FRIEND A A M S O C I E T Y M E M B E R
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 15
“We love the AAM’s excellent performances,academic depth and innovative programming,and as AAM Society members we share themusical life of this superb ensemble project byproject. The AAM is as welcoming and friendlyas it is enlightening, and as professional behindthe scenes as it is on stage!” RICHARD AND ELENA BRIDGES A A M S O C I E T Y M E M B E R S
From time to time, syndicates are formed tosupport special artistic projects. Membersenjoy a particularly close involvement with thework they are supporting. It’s not too late to
get involved with Musical Revolutions, theconcert series at the heart of the AAM’s2011–12 London and Cambridge season.Please contact the AAM to find out more.
Support a special project
The AAM Tomorrow Fund has been establishedfor those who want to invest at a substantiallevel in the long-term future of the orchestra.Support from the Fund is making majorstrategic initiatives possible, including thedevelopment of the AAMplify new generation
programme and the revitalisation of the AAM’srecording programme. The Fund wasestablished by a generous leading gift fromLady Sainsbury of Turville, and major gifts havesubsequently been received from otherindividual and institutional supporters.
Invest in the AAM Tomorrow Fund
Over the last four decades the AAM hasbrought joy and inspiration to millions ofpeople. Our aim over the next is to begin tobuild an endowment which will ultimatelyenable it to do so in perpetuity.
Leaving a legacy is one of the most enduring
ways in which you can support our work: giftsof any size have a real impact in enabling theAAM to keep baroque and classical music alivefor generations to come. By supporting ourwork in this way you may also be able to reducethe overall tax liability due on your estate.
Leave a legacy
Generous tax incentives exist for UK taxpayerssupporting charities like the AAM. Under theGift Aid scheme the eventual cost of making agift to the AAM could be as little as half of its
value to the AAM — and for donors who makegifts of shares the cost could be lower still.Further information is available from the AAM.
Tax-efficient giving
• Contact Simon Fairclough, Head of ExternalRelations, on 01223 341096 [email protected];
• Visit www.aam.co.uk and click “Support the AAM”.
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The AAM is indebted to the following trusts, companies, publicbodies and individuals for their support of the orchestra’s work:
AAM Funders & Supporters
Special giftsThe Academy of Ancient Music extends itsgrateful thanks to Lady Sainsbury of Turville,who has supported the orchestra’s work at aparticularly 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 EcclesElma Hawkins and Charles RichterProfessor Sean Hilton
Lord HindlipJohn McFadden and Lisa Kabnick *Mr and Mrs C NortonLionel and Lynn PerseyNigel and Hilary Pye *Mr and Mrs Charles RawlinsonSir Konrad and Lady Schiemann *JG StanfordJohn and Madeleine TattersallMarcellus and Katharine Taylor- JonesStephen 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 *David and Linda LakhdhirSusan 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 BuntingDr and Mrs S ChallahDavid and Elizabeth ChallenStephen and Debbie Dance Derek and Mary Draper
Beatrice 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 Cambridge performance has been supported by the Cambridge Friends of the AAM:J ButterfieldMr and Mrs Peter CarpenterMr GardnerMr J C HardingDavid and Sally LiveseyMr Richard MeadeRichard and Vanessa PriceSian ReidProfessor A G Watts
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
Payment detailsI would like to make my donation by
I enclose a cheque for £................................(please make payable to ‘AAM’)
I enclose a CAF cheque for £................................(please make payable to ‘AAM’)
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 canhelp the orchestra to plan for the future with confidence.
Please tick here if you are able to pledge to support theorchestra at this level for three years.
Leaving a legacyPlease tick here if you would be willing to receive informationabout remembering the AAM in your will.
Matched givingMy firm operates a matched giving policy. Please contact meto discuss this further.
Gift Aid declarationPlease complete this section if you pay UK income tax and/orcapital gains tax at least equal to the tax which the AAM willreclaim on your donations in the appropriate tax year.
Please treat this donation and all donations that I make from thedate of this declaration until I notify you otherwise as Gift Aiddonations.
18 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
Musical RevolutionsMusical Revolutions is the concert series at the heart of the AAM’s work in 2011–12, showcasing five moments from the earlybaroque to the Romantic era when music changed forever. We’ll be exploring the earliest days — and some of the greatestachievements — of the concerto and the symphony; the unique periods of musical history which produced the early Italiancantata and the French baroque; and the birth of the phenomenon of the Romantic hero. Musical Revolutions celebrates cuttingedge 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 Sinfonia 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 Egarrdirector &harpsichord
Richard Egarr conductor
Shunské Sato violinAAM DEBUT
PavloBeznosiukdirector & violin
RebeccaBottone 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)
Handel’s MessiahHandel’s timeless masterpiece in an unmissable festive performance
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 19
AlinaIbragimovadirector & violinAAM 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 thesummit of the baroque concerto
JS Bach’s St Matthew PassionOur acclaimed collaboration with theChoir of King’s College, Cambridgecontinues with a performance of JSBach’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 Stephanymezzo- soprano
Ben Johnson tenor
Stephan Loges baritone
Choir of the AAM
James GilchristEvangelist
Stephen Cleoburyconductor
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 instrumentalworks by two of his contemporaries
Richard Egarrdirector &harpsichord
Anna Prohaska soprano
James Gilchrist tenor
Jonathan Cohendirector & keyboardsAAM 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 Suite from 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
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Academy of Ancient Music
Richard Egarr conductor
Violinist Henning Kraggerud directs Britten Sinfonia in Mahler’s arrangement of Schubert’s fiercely intense Death and the Maiden
Death and the Maiden
Further information: www.brittensinfonia.com
CAMBRIDGEWest Road Concert Hall Wednesday 5 October 7.30pmBox Office: 01223 357851
LONDONSouthbank Centre’s Queen Elizabeth Hall Friday 7 October, 7.30pmBox Office: 0844 847 9910
Deathanthe Maid
ndden
Wigmore Hall
36 Wigmore StreetLondon W1U 2BPDirector: John GilhoolyThe Wigmore Hall TrustRegistered Charity No.1024838
Wigmore Hall is a no-smoking venue.
No recording or photographic equipment may be taken into theauditorium, nor used in any other part of the Hall without theprior written permission of the Hall Management.
Wigmore Hall is equipped with a ’Loop’ to help hearing aid usersreceive clear sound without background noise. Patrons can usethe facility by switching their hearing aids over to ’T’.
In accordance with the requirements of City of Westminster,persons shall not be permitted to stand or sit in any of thegangways intersecting the seating, or to sit in any of the othergangways. If standing is permitted in the gangways at the sidesand rear of the seating, it shall be limited to the numbersindicated in the notices exhibited in those positions.
Facilities for Disabled People:
Please contact House Management for full details.
“Sato was a knockout... astonishing poise and musicality,with plenty of dazzling moments” T H E N E W Y O R K T I M E S
CAMBRIDGE Monday 10 October 20117.30pm West Road Concert HallTickets £14, £20, £ 27 01223 503333
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