Cambridge, London, UK and International performances
AC A D E M Y O F A N C I E N T M U S I C
18-19
ACADEMY OF ANCIENT MUSIC
2018-19 SEASON
Purcell’s Dido & Aeneas
Tuesday 2 October 2018, Barbican Hall (semi-staged)
BBC Singers: Rameau & Lully
Friday 19 October 2018, Milton Court Concert Hall Sunday 21 October 2018, West Road Concert Hall
Michael Collins plays Mozart
Friday 23 November 2018, Oxford Town Hall Sunday 25 November 2018, West Road Concert Hall Thursday 29 November 2018, Milton Court Concert Hall
2018-19 Season at a glance:
Handel’s Messiah
Nicolas Altstaedt plays Haydn
Wednesday 27 March 2019, West Road Concert Hall Thursday 28 March 2019, Milton Court Concert Hall Saturday 30 March 2019, Eindhoven, Netherlands
Bach’s St Matthew Passion
Monday 15 April 2019, King’s College Chapel, Cambridge Tuesday 16 April 2019, King’s College Chapel, Cambridge Wednesday 17 April 2019, Cadogan Hall, London
Handel’s Brockes-Passion
Good Friday 19 April 2019, Barbican Hall
Saturday 17 November 2018, Antwerp, Belgium Monday 3 December 2018, Gresham Centre, London Wednesday 5 December 2018, Trinity College Chapel, Cambridge Sunday 9 December 2018, Fribourg, Switzerland
Handel’s Israel in Egypt
Vivaldi’s Four Seasons
Barbican Weekend: Sound Unbound
Friday 10 May 2019, Milton Court Concert Hall Monday 13 May 2019, St James’ Church, Chipping Campden
Saturday 1 December 2018, Vic, Spain Sunday 2 December 2018, Granada, Spain
Saturday 18 - Sunday 19 May 2019, Barbican Centre
Bach’s Christmas Oratorio
Saturday 15 June 2019, Halle, Germany
Saturday 22 December 2018, St Luke’s, Chelsea (parts I, II & III) Friday 11 January 2019, St Luke’s, Chelsea (parts IV, V & VI)
Bach’s B minor Mass
Friday 1 February 2019, Oxford Town Hall
Lucie Horsch & Richard Egarr
Sunday 24 February 2019, Milton Court Concert Hall Monday 25 February 2019, Apex, Bury St Edmunds Tuesday 26 February 2019, West Road Concert Hall Thursday 28 February 2019, Groningen, Netherlands Friday 1 March 2019, Heerlen, Netherlands Saturday 2 March 2019, Rotterdam, Netherlands Sunday 3 March 2019, Amsterdam, Netherlands
Handel’s Messiah
Mozart’s Le nozze di Figaro
Thursday 6 June, Saturday 8 June, Friday 14 June, Wednesday 19 June, Sunday 23 June, Thursday 27 June, Tuesday 2 July, Sunday 7 July, Grange Festival, Hampshire Thursday 4 July 2019, Barbican Hall (concert performance)
Musick for the Royal Fireworks Friday 21 June 2019, Katowice, Poland
Part of AAM’s Barbican Multibuy package, see page 26 for information Part of AAM’s Cambridge subscription series, see page 27 for information
Welcome from Richard Egarr Welcome to this new, exciting and diverse season from the Academy of Ancient Music. It is massively important for us to keep challenging ourselves and you, both with repertoire and by demonstrating the latest research, ideas and trends in historical performance. This year’s offerings do just that, with new artists and unusual repertoire appearing for the first time. We warmly welcome Michael Collins, Nicolas Altstaedt, and the young superstar recorder talent from the Netherlands Lucie Horsch. Of particular importance to me this season is our performance of Handel’s much neglected Brockes-Passion. It is a work I have wanted to bring to AAM for many years. No less a composer than JS Bach thought this piece worthy enough to have made a handwritten score of the work for his own study and contemplation – I am sure that it was a huge inspiration for his own St John Passion of a few years later. It is a work that we are very much hoping to record and we would welcome all thoughts and contributions in this respect! Two operatic masterpieces bookend our season: Purcell’s Dido & Aeneas (October) and Mozart’s incomparable Marriage of Figaro (June & July). These works contain just about everything that is part of the human experience on this somewhat tortured planet of ours. This music, and all our season’s offerings, we at AAM wholeheartedly share with our fantastic audiences to give some meaning, optimism and joy to us all.
Richard Egarr, Music Director
“Egarr and the AAM gave us miraculous, alchemical changes in colour and texture, an unresting musical surface of dancing lights.” BACHTRACK 3
Welcome from Alexander Van Ingen It is a huge privilege and pleasure to welcome you to the Academy of Ancient Music’s 20182019 season. We’ve a broad range of terrific music to whet your appetite, and for the first time we combine all our concert activity into one brochure. Our main residencies in Cambridge and London form the backbone of the season, and this year we are delighted to be Associate Ensemble for Music at Oxford. It perhaps makes AAM the first ensemble to be resident in both Cambridge and Oxford simultaneously, and with a new research partnership at the University of Oxford, we look forward to the fruits of concerts and academic work across both great cities. We are also proud to become Orchestra in Residence in Bury St Edmunds following two wonderful concerts there last season. The Apex is a beautiful concert hall with an excellent audience, and we look forward to many more performances there. A special highlight of the 18-19 season is Handel’s Brockes-Passion in a concert on Good Friday, exactly 300 years to the day from its first performance. This is a lesser-known gem of a work which undoubtedly deserves far greater hearing, and all of us at AAM are excited 4
about performing this work, but also about the prospect of recording it. We’d love you, our audience, to get involved by sponsoring an aria, chorus or even a character from the work – see page 21 for more details. AAM’s Strategic Recording Fund, which is helping us make many smaller recordings, goes from strength to strength: AAM is now the most listened-to period ensemble online. Of course the fund couldn’t exist without your generous support, for which we thank you; and should you want to help us deliver more music to more listeners in this way, please do get in touch. We open our season with Purcell’s best-known opera, Dido & Aeneas, perhaps the jewel in the crown of our three-year Purcell cycle at the Barbican. A season-long collaboration with the BBC Singers starts with an all-French programme in October, and we have a very special concert with leading clarinettist Michael Collins in November, who makes his debut with not just one but two period instruments. Handel’s Messiah is a seasonal favourite, and this year we explore a new partnership with VOCES8, as we go around the corner from our ‘home’ venues: to the Gresham Centre (next to the
Barbican) in London, and to the magnificent chapel of Trinity College in Cambridge. As 2019 gets underway the incredibly talented young recorder virtuoso, Lucie Horsch, joins us in a series of concerts which also launch her new album for Decca. As a cellist, I must admit my hot ticket for the season has to be AAM’s concert with Nicolas Altstaedt. Ever since I heard Nicolas play Haydn some years ago I have wanted to work with him in this repertoire, and we are very lucky that here he both plays and directs a programme including Haydn’s Cello Concerto No.1 in C. Our annual Passion at King’s College, Cambridge carries an extra special note in 2019: after 37 years, this will be Stephen Cleobury’s last Easter as Director of Music, and we perform the Matthew twice at King’s before bringing it to London with the Chapel Choir of the Royal Hospital Chelsea at Cadogan Hall. We round off the season with Israel in Egypt with the BBC Singers, followed by Mozart’s wonderful Le nozze di Figaro in a brand new production at The Grange Festival, which we’re excited to bring in concert to the Barbican on 4 July.
Explore I do hope that you will join us for many of our concerts, and that you might consider supporting our recording and education endeavours. An enormous and heartfelt thank you to a host of individual supporters as well as trusts and foundations for their generous backing, without which the work we do and the music we perform simply would not be possible; to our generous and dedicated Board and Council members; and to Richard and our players – it is they, after all, who create the magic we all love so much: on stage, in the classroom and in the recording studio. This is a season of important, brilliant and living music, superbly performed with great skill and passion – I look forward to sharing our concerts across the 2018-19 season with you.
We seek to engage with our audiences in numerous ways:
Concerts • brilliant music, expertly performed • inspirational, engaging performers at the highest level • detailed, informative programmes, free of charge • pre-concert talks and discussions • digital programmes and playlists sent in advance • post-concert listening and reading suggestions
Online • past concert programme information • performance and educational video content on YouTube and VEVO • news and updates through social media such as Facebook and Twitter • developing playlists for leading streaming services such as Spotify
Recordings • over 300 albums, creating a substantial resource of historically-informed performance practice • our own record label, AAM Records • new Strategic Recording Fund enabling track-by-track recording of lesser-known works • making some of the finest performances available worldwide
Alexander Van Ingen, Chief Executive
Learning • dedicated Education & Outreach Manager, curating programmes for schools and communities • working with the next generation of performers and audience members • open rehearsals and opportunities to engage with performers and directors • high-level scholarship and research presented in informative ways
5
Purcell’s Dido & Aeneas (semi-staged) Richard Egarr
Thomas Guthrie
Christine Rice
Rowan Pierce
Ashley Riches
Neal Davies
director & harpsichord
Belinda
stage director
Dido
Aeneas
Sorceress
L ‘Envoûteuse (The Sorceress) by Georges Merle, 1883 Collection of the Art Fund, Inc. at the Birmingham Museum of Art, Alabama; Purchased with funds provided by the Children of the Vann Family: William O. Vann, Sally V. Worthen, Robert D. Vann, in memory of Suzanne Oliver Vann
Choir of AAM
6
Dido: a Funeral for the Queen of Carthage with music by Purcell
Purcell Dido & Aeneas (c. 1688) (semi-staged)
Our three-year Purcell opera cycle in co-production with the Barbican reaches its finale with a semi-staged performance of the greatest English opera of its time. “When I am laid in earth, may my wrongs create no trouble in thy breast…” Over 300 years since its premiere Purcell’s opera still speaks poignantly of love and loss, retelling Virgil’s tragic tale of Dido and Aeneas – the Queen of Carthage and a Trojan Prince – in music that moves from the raw emotional power of Dido’s celebrated lament to catchy sailors’ songs and graceful dances. Directed by Thomas Guthrie, this performance stars celebrated soprano Christine Rice, bringing her emotive delivery to Purcell’s most courageous heroine. She is joined by young soprano Rowan Pierce as her faithful handmaiden Belinda and Ashley Riches as Aeneas. Following on from the success of The Fairy Queen and King Arthur in AAM’s Purcell opera series, this performance of Dido & Aeneas is paired with a specially curated selection of other works by Purcell portraying Dido’s funeral. Part of Barbican Presents. Produced by the Barbican and Academy of Ancient Music. Surtitles will be displayed.
Reviews of 2017’s King Arthur “Richard Egarr drew wonderfully light, fresh playing from the instrumentalists of the AAM.” OPERA TODAY
“The sweetness and graceful cheek of the buttery strings, cooing winds and nobly bronzed trumpets, all kept dreamily buoyant by Egarr from his seat at the harpsichord.” TIMES
Tuesday 2 October 2018, 7.30pm | Barbican Hall, London Free pre-concert talk at 6.30pm | page 26 for ticket information
BBC Singers: Rameau & Lully Sofi Jeannin conductor
BBC Singers
Aakash Odedra Company (19 Oct only)
Repertoire to include items from:
Rameau Les Indes galantes Rameau Castor et Pollux Rameau Les Boréades and works by Lully
For the first of our three collaborations with the BBC Singers this season we welcome their newly-appointed Chief Conductor, Sofi Jeannin, in a programme of glorious music for the 17th- and 18th-century stage by Rameau and Lully. At our London performance we are joined by the Aakash Odedra Company – a group of dancers giving a vibrant and contemporary interpretation of the dances of Rameau. They originally collaborated with the BBC Singers in critically-acclaimed performances of Ravi Shankar’s opera Sukanya, and this promises to be another unforgettable partnership.
“The BBC Singers were on luminous form.” TELEGRAPH
BBC Singers. Photo: Sim Canetty-Clarke
“… Odedra [is] a powerful stage presence... his dancing is a pleasure to watch.” THE ARTS DESK
Friday 19 October 2018, 7.30pm Milton Court Concert Hall, London Free pre-concert talk at 6.30pm | barbican.org.uk for ticket information
Sunday 21 October 2018, 7.00pm West Road Concert Hall, Cambridge Free pre-concert talk at 6.00pm | page 27 for ticket information 7
Michael Collins plays
MOZART
Salieri Sinfonia Veneziana Mozart Symphony No. 16 in C major Crusell Clarinet Concerto No. 1 Amalia Overture Erwin und Elmire Mozart Symphony No. 48 Mozart Clarinet Concerto
We are joined by legendary British clarinettist Michael Collins, tracing Mozart’s relationship with his musical predecessors and his influence on those who came after. Not only will Collins be making his directing debut with AAM, but he will also appear as soloist, bringing his exuberant, expressive style to both Mozart’s much-loved Clarinet Concerto, with its exquisite slow movement, and Crusell’s sunny Concerto in E flat major – performances that will also mark Collins’ period instrument debut. Operatic drama comes to the concert hall in a piece Salieri re-worked from two of his own opera overtures, and an overture by the German princess and composer, Anna Amalia, Duchess of Brunswick-Wolfenbüttel, who transformed her court into the most influential cultural centre of late 18th-century Germany. Mozart’s Symphony No. 48 (K.120/111a) also has one foot in the opera house, borrowing its vivacious first two movements from the composer’s Ascanio in Alba.
“Collins’s breath control and easy virtuosity … had to be heard to be believed.” SUNDAY TIMES
“Michael Collins is on superb musical and technical form … matchless performances.”
Friday 23 November 2018, 7.30pm Oxford Town Hall musicatoxford.com for ticket information
Sunday 25 November 2018, 7.00pm West Road Concert Hall, Cambridge Free pre-concert talk at 6.00pm | page 27 for ticket information
Thursday 29 November 2018, 7.30pm Milton Court Concert Hall, London Free pre-concert talk at 6.30pm | page 26 for ticket information 8
Michael Collins. Photo: Benjamin Ealovega
INTERNATIONAL RECORD REVIEW
Hogwood Fellow The late Christopher Hogwood was a pioneer of the early music scene, his belief in a strong foundation of scholarship underpinning his musical interpretations with AAM. Starting with the original manuscripts and using original instruments, Hogwood and AAM led the ground-breaking “period instrument revolution” from the 1970s, the resonances of which are still felt today. AAM’s new position of Hogwood Fellow was created to further our understanding of, and relationship with music from this era – some of the most powerful and personal music ever written.
Robert Levin HOGWOOD FELLOW
2017-18
Our inaugural Hogwood Fellow, Prof. Robert Levin, has made a significant impact on the musical world with his work on Mozart, Bach, and his performances and realisations at the keyboard. During his Fellowship, in addition to being a prominent advocate of historically informed performance practice, he has performed concertos with AAM, written a season of detailed historical programme notes, filmed video content, and delivered pre-concert talks and lectures.
SANDY BURNETT HOGWOOD FELLOW
2018-19
“It was a singular honour to have been named the first Hogwood Fellow by AAM. My association with AAM dates to the 1980s, when Christopher Hogwood and the Academy collaborated with me on a broadcast devoted to classical period improvisation (an excerpt is available on YouTube). Central to our work together was the cycle of Mozart piano concertos for Decca/L’Oiseau Lyre that featured for the first time improvisation of all cadenzas and decorations.
Hogwood Fellow for the 2018-2019 season is Sandy Burnett, a leading broadcaster, conductor, bassist, lecturer and evangelist for music. Known to fans of BBC Radio 3, he has been a frequent guest at AAM’s concerts, in the audience, leading tour groups, and presenting our pre-concert talks. Sandy Burnett writes: “I’m thrilled to be chosen as Hogwood Fellow for the forthcoming season, and can’t wait to work alongside the superb members of
This project lies at the core of my identity as an artist and I shall forever be grateful to Christopher and AAM for making possible the realisation of this dream. I am delighted to have continued my relationship with the Academy under the expert leadership of Richard Egarr. To be appointed first Hogwood Fellow has further deepened my relationship with the Academy, which I treasure.”
the Academy of Ancient Music, whose music-making has inspired me for decades. For me it will be all about making connections – both deepening the knowledge of the AAM’s existing loyal audience and reaching out to new listeners. And I have lots of ideas brewing about how we’re going to extend the understanding and enjoyment of 17th- and 18th-century music, whether it’s live performance in the hall, discussions in the bar, or resources online – so watch this space!” 9
Support Us Our donors make our music happen: affordable concerts, accessible education and high-level research. For more than four decades, the Academy of Ancient Music has been changing the way the world hears some of the greatest music ever written. We have got this far thanks to the generosity of our supporters: but there is much more to do. As this brochure shows, our 2018-19 season is ambitious: presenting masterpieces; working with leading artists of our time; releasing more recordings; and delving deep into the past with doctoral research projects on Beethoven’s contemporaries. Off-stage, we are determined to introduce more and more young and disadvantaged people to music via a major expansion of our outreach programme, AAMplify. We can only do this, and continue to heighten the levels of excellence for which we are renowned, with your help.
Sandy Burnett. Photo: Benjamin Ealovega
When you join the AAM family, you will receive invitations to a range of exclusive events that explore the Orchestra, our music, and our work behind the scenes. To find out more about how you can help AAM, please contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097.
10
Choir of AAM. Photo: Alexander Van Ingen
By supporting AAM, you play an essential role in sustaining our excellent performances, recordings, and education, bringing more early music experiences to more people every year.
Handel’s Messiah
Handel Messiah
Richard Egarr
Hana Blažiková
Alex Potter
Handel needed a change of fortune in 1740: his most recent opera had flopped, and he turned back to the world of oratorio. Messiah was his sixth of the genre, and caused great controversy by bringing a cathedral choir to join his “club of fiddlers” for the premiere; but with this work he hit gold.
Samuel Boden
Joshua Bloom
Choir of AAM
Handel’s epic oratorio depicting the birth, life and death of Christ and the eventual triumph of good over evil has held a special place in the Western choral concert calendar since its first performance in Dublin in 1742, and with good reason. Some of the greatest dramatic scenes ever depicted in music are related by soloists, orchestra and choir through profoundly beautiful arias and thrilling choruses, none more famous than the ‘Hallelujah!’.
director & harpsichord
tenor
soprano
counter-tenor
bass
Saturday 17 November 2018, 8.00pm AMUZ, Antwerp, Belgium Director & harpsichord: Richard Egarr, Choir of AAM; amuz.be for ticket information
Barnaby Smith
VOCES8 choir
conductor
Join us to hear it performed on the instruments Handel intended, by turns touchingly lyrical and dramatically energetic, speaking with the raw emotion of the story. These performances of Messiah in London and Cambridge with VOCES8 and VOCES8 Scholars, in Antwerp with our own AAM Choir and a fabulous line-up of soloists, and in Fribourg with the Ensemble vocal de Villars-sur-Glâne will sweep you through the festive season with a smile on your face and a tune or three on your lips.
Monday 3 December 2018, 7.00pm Gresham Centre, London
Conductor: Barnaby Smith, VOCES8 and VOCES8 Scholars voces8.com/tour for ticket information
Wednesday 5 December 2018, 7.30pm Trinity College Chapel, Cambridge
Jérôme Kuhn
conductor
Ensemble vocal de Villars-sur-Glâne
Sunday 9 December 2018, 5.00pm Villars-sur-Glâne, Fribourg, Switzerland Conductor: Jérôme Kuhn, Ensemble vocal de Villars-sur-Glâne concerts-avent.ch for ticket information
Voces8. Photo: Andy Staples
Conductor: Barnaby Smith, VOCES8 and VOCES8 Scholars By kind permission of the Master and Fellows of Trinity College. Free pre-concert talk at 6.30pm | page 27 for ticket information
11
Bach’s Christmas Oratorio Bach Christmas Oratorio
Bach’s Christmas Oratorio is an essential part of the festive season. Six cantatas, originally conceived to be heard separately over the 12 days of Christmas, tell the story of the Nativity. From its extraordinary opening, one of the greatest in all music, with its trumpets, drums and woodwind flourishes, to the profoundly moving, meditative accounts of the first few days of the Christ Child’s life, and hints of the suffering to come, Bach’s mastery of skilful story-telling is never in doubt. Sofi Jeannin and the BBC Singers join us for two performances, giving a complete account of this spellbinding work.
director
BBC Singers
“The BBC Singers gave their all, delivering one of the most complete and engrossing performances … so far this season.” ARTS DESK
Christmas Oratorio parts I, II & III Saturday 22 December 2018, 2.00pm St Luke’s, Chelsea Christmas Oratorio parts IV, V & VI Friday 11 January 2109, 7.30pm St Luke’s, Chelsea barbican.org.uk for ticket information 12
Jan Griffier the Elder Frost Fair, 1683 (© Illustrated London News Ltd/Mary Evans)
Sofi Jeannin
Bach’s
B minor Mass Bach B minor Mass
Nigel Short
Tenebrae choir
Listening to Bach’s Mass in B minor, one could have the impression of a culmination of his life’s work – a choral equivalent of The Art of Fugue. Monumental in conception and thrilling in execution, this work was unsurpassed in grandeur and profundity in the mid 1700s, the soundscape combining huge complexity with incredible beauty, enchanting solo writing, glorious celebratory choruses and trumpetfestooned splendour. Composed – or perhaps assembled – the year before his death, this is an enigmatic work which Bach himself may never have heard in a single sitting. The choruses and solo arias cover the full range of baroque vocal expression and make this one of the most joyful musical experiences in the repertoire. We are joined by the outstanding choir Tenebrae in the beautiful surroundings of Oxford’s Victorian Town Hall for a performance, featuring soloists from Tenebrae, and directed by Nigel Short. From the mighty opening ‘Kyrie’ and brilliantly unfurling fugue through to the angelic ‘Sanctus’, this work of many contrasting moods and styles is the ultimate example of Bach’s unrivalled talent and ability to articulate his religious faith through music.
“For purity and precision of tone, and flawless intonation, Nigel Short’s chamber choir Tenebrae is pretty much unbeatable.” TIMES
Friday 1 February 2019, 7.30pm Oxford Town Hall musicatoxford.com for ticket information
Tenebrae. Photo: Sim Canetty-Clarke
conductor
13
Lucie Horsch & Richard Egarr
“The young musician … once again demonstrates her confidence and genuine fascination for her instrument, from which she creates sounds that one – way too hastily – probably wouldn’t have expected to be possible.”
KLASSIK AKZENTE Vivaldi Concerto for Flautino in C major, Op. 44 No. 11 (arr in G major for Recorder) Bach Concerto for Harpsichord No. 3 in D major BWV1054 Sammartini Concerto for Recorder in F major Sunday 24 February 2019, 5.00pm | Milton Court Concert Hall, London Bach ‘Erbarme dich’ from St Matthew Passion Free pre-concert talk at 4.00pm | page 26 for ticket information Bach Concerto for Oboe in D minor BWV1059r (arr for Recorder) Monday 25 February, 7.30pm | Apex, Bury St Edmunds theapex.co.uk for ticket information Bach Concerto for Harpsichord No. 7 in G minor BWV1058 Tuesday 26 February 2019, 7.30pm | West Road Concert Hall, Cambridge Free pre-concert talk at 6.30pm | page 27 for ticket information Vivaldi Concerto for Flute in G minor, Op. 10 No. 2 ‘La notte’
Thursday 28 February 2019 | De Oosterpoort, Groningen, Netherlands de-oosterpoort.nl for ticket information
Friday 1 March 2019 | Parkstad Limburg Theaters, Heerlen, Netherlands plt.nl for ticket information
director & harpsichord
Lucie Horsch recorder
This programme of concertos and transcriptions explores the full emotional gamut of baroque music, from the heartbreaking beauty of Bach’s ‘Erbarme dich’ to the many extrovert moods of Vivaldi’s ‘La notte’ concerto. Young recorder-player Lucie Horsch is already in demand internationally as a soloist and, with a critically-acclaimed solo album to her name, has launched what promises to be a distinguished career. Now in his 12th season as AAM’s music director, harpsichordist Richard Egarr still continues to surprise and excite audiences with his technique and his instinctive musicality. Here he demonstrates both in two of Bach’s finest keyboard concertos. 14
Lucie Horsch. Photo: Dana van Leeuwen
Richard Egarr
Saturday 2 March 2019 | Rotterdam, Netherlands dedoelen.nl for ticket information Sunday 3 March 2019 | Amsterdam, Netherlands muziekgebouw.nl for ticket information
JS BACHOrchestral Suites
AAM Records
Editor’s Choice, GRAMOPHONE AAM003
We have released five critically acclaimed studio recordings on our own in-house record label, AAM Records. You can learn more about these as well as our rich back-catalogue of over 300 recordings on other labels at aam.co.uk/recordings.
“Exuberant and full of vitality.” BBC Radio 3 “a feast of meaningfully understated musicianship. I loved it.”
JS BACH St John Passion (1724 version)
All the titles here are available online aam.co.uk/recordings
Sonate Concertate In Stil Moderno, Libro Primo
With an all-star cast including James Gilchrist as Evangelist and Matthew Rose as Jesus. AAM002
DARIO CASTELLO
Handel to Haydn
AAM001
AAM005
“AAM’s performances gave virtually unalloyed pleasure” GRAMOPHONE “A striking success” BBC MUSIC MAGAZINE
£12
£25 (3 CD)
£12
ACADEMY OF ANCIENT MUSIC at
“Egarr’s compellingly original vision of this greatest of all musical tombeaus, with its fresh anticipation founded on collective adrenaline and uniformly outstanding lyrical Bach-singing . . . is a triumph.” AAM040
AAM004
(1727 version)
GRAMOPHONE
£20 (2 CD) BIRTH OF THE SYMPHONY:
“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD
JS BACH St Matthew Passion
£20 (2 CD)
40
This two-disc compilation of core baroque and classical repertoire gives a taste of our unrivalled award-winning catalogue of over 300 recordings.
£20 (2 CD)
15
Corporate Support Corporate Sponsors The Academy of Ancient Music is able to offer bespoke sponsorship packages for individual concerts and tours, both in the UK and internationally, and for major recording and education projects. Every partnership is tailored to the sponsor’s specific requirements, with branding, marketing and entertainment opportunities alongside the chance to interact with the artists. Our tailored packages range from £5,000 for a concert in London through £25,000 for a globally-released recording to £50,000 for supporting an international tour to Japan or the USA – and everything in between. To discuss forthcoming sponsorship opportunities, please contact Ellen Parkes on ellen.parkes@aam.co.uk or 01223 341097.
We also offer corporate partnerships in our resident cities of Cambridge and London, giving companies the chance to be associated with the UK’s foremost period instrument orchestra, to network with other corporate partners and our major individual donors, and – above all – to attend some outstanding concerts and musical events in both cities. A dedicated member of AAM staff will facilitate your partnership with the orchestra, and will be on hand at all receptions and concerts you attend. Our Corporate Partners scheme is available from £2,000 per year; for full details, contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097.
16
Richard Egarr and Mary Bevan during filming. Photo: Alexander Van Ingen
Corporate Partners
AAM Strategic Recording Fund The Academy of Ancient Music is now more listened to online than any other similar ensemble, and our recordings reach millions of people every year through this medium alone, with data showing that our music is being listened to as far afield as Mexico, Montreal, Tokyo and Taipei. New ways of consuming music are giving more people around the world more access to music than ever before, and it is vital that AAM makes the very best use of new technology to ensure an online audience has access to our music too.
Our Strategic Recording Fund has already allowed us to record a number of short educational and promotional videos throughout the 17-18 season, as well as enabling a recording of our highly successful Mortal Voices tour with soprano Keri Fuge and counter-tenor Tim Mead. It is important that we now engage strongly and swiftly with the new listeners that online services such as Spotify, YouTube, Deezer and others bring. Support for the Strategic Recording Fund will make a substantial difference to the Academy of Ancient Music’s artistic output, and will help AAM secure itself as an authority in the performance and understanding of baroque and classical music in the new and vibrant world of online music consumption. We warmly welcome donations to the Strategic Recording Fund to support an ongoing programme creating important new recordings. To find out more, contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097. Featuring on:
4,530,746 fans (28m listens)
Soprano Mary Bevan during filming. Photo: Alexander Van Ingen
In September 2017, we launched AAM’s Strategic Recording Fund. This will give AAM the financial and artistic flexibility we need to make fast, artistic-led decisions to record anything from just a single movement or an aria to complete works; to create first-rate materials to support our creative learning programme; to respond quickly to artistic priorities and demand for new recordings; and to adapt effectively to a changing marketplace in the consumption of music online.
17
Nicolas Altstaedt plays
HAYDN
Boccherini Overture in D major Op. 43 CPE Bach Concerto for Cello in A major Haydn ‘Adagio cantabile’ from Symphony No. 13 Haydn Symphony No. 14 Haydn Cello Concerto No. 1
Few soloists make the cello’s uniquely human voice sing with more baritonal warmth than Nicolas Altstaedt, whose passionate performances bring out all the colours of his period instrument. Continuing this season’s theme of rediscovered works, Altstaedt here performs one of Haydn’s masterpieces, the Cello Concerto in C major – a work lost for nearly 200 years, before resurfacing in the 1960s. Stretching the form of the baroque concerto to its limits, this generous, joyous work, with its bravura finale, marries 18th-century elegance with the adventurous, questioning spirit of the 19th century. The same spirit of adventure and experimentation runs right through a programme directed from the cello by Altstaedt himself, reaching its peak in CPE Bach’s A major concerto, whose heroic soloist must do battle in music that reflects the highly individual, prescient voice of its composer. Erratic energy gives way to sustained lyricism in the lovely central movement – which rivals Haydn’s ‘Adagio cantabile’ for songlike beauty.
Nicolas Altstaedt
director & cello
“An absolute revelation. Nicolas Altstaedt, one of the cello realm’s most brilliant young princes.”
Wednesday 27 March 2019, 7.30pm West Road Concert Hall, Cambridge Free pre-concert talk at 6.30pm | page 27 for ticket information
Thursday 28 March 2019, 7.30pm Milton Court Concert Hall, London Free pre-concert talk at 6.30pm | page 26 for ticket information
Saturday 30 March 2019 Muziekgebouw Frits Philips, Eindhoven, Netherlands muziekgebouweindhoven.nl for ticket information 18
Nicolas Altstaedt. Photo: Marco Borggreve
HUFFINGTON POST
Bach’s St Matthew Passion
Bach St Matthew Passion Bach’s wife referred to it as the ‘Great Passion’. The composer himself broke with protocol, penning the score with red as well as brown ink. Both knew that in the Matthew Passion, Bach had created something special – perhaps even something monumental.
Stephen Cleobury James Gilchrist conductor
Evangelist
Choir of King’s College, Cambridge
Monday 15 April 2019, 6.30pm Tuesday 16 April 2019, 6.30pm King’s College Chapel, Cambridge shop.kings.cam.ac.uk for ticket information from early 2019
As part of Stephen Cleobury’s final celebration of Easter at King’s, we join the conductor and King’s College Choir to present Bach’s musical telling of Christ’s final hours on earth under the chapel’s famous vaulted ceiling, before performing the work with the Chapel Choir of the Royal Hospital Chelsea in London’s Cadogan Hall under conductor William Vann. This iconic score for vocal soloists, two choirs and two orchestras combines drama with devotion like no other. It questions, challenges and reassures, and contains some of the most beautiful and exquisitely crafted music from a composer who excelled in both those fields.
Reviews of 2018’s St John Passion
“A Good Friday Passion which was performed with intelligence, insight and intensity of feeling in equal measure.” OPERA TODAY
William Vann conductor
James Gilchrist Evangelist
Chapel Choir of the Royal Hospital Chelsea
Wednesday 17 April 2019, 7.00pm Cadogan Hall, London cadoganhall.com for ticket information
Peter denies Jesus, unnamed artist in the Bible Picture Book, 1906 (Mary Evans Picture Library)
“I’ve never heard the final chorus conducted more intelligently, or more movingly.” TELEGRAPH
19
Handel’s Brockes-Passion Richard Egarr
director & harpsichord
Tim Mead
counter-tenor
Choir of AAM
Robert Murray Evangelist
Cody Quattlebaum Christus
Handel Brockes-Passion On the 300th anniversary of its premiere AAM and Richard Egarr realise a long-held ambition to perform Handel’s mighty Passion setting, one of rare humanity and beauty. Composed while the young Handel was at the peak of his operatic success in London, his Brockes-Passion is a sacred opera by another name, its emotions and events intricate and richly painted. Following the Passion story from the Last Supper to the Crucifixion, Barthold Heinrich Brockes’ text was set by numerous composers including Telemann and Fasch, but it is Handel’s treatment which has stood the test of time, inviting its listeners into the heart of the Easter story. A vivid mixture of chorales, choruses and emotive recitatives is enough to place the work alongside Handel’s finest, but it is the astonishingly varied sequence of arias – over 40 of them – that sets the Brockes-Passion apart. Egarr has assembled a terrific cast to give what promises to be an emotionally charged performance on Good Friday.
London students rehearse a Passion play, 1930 (Imagno/Mary Evans)
Sung in German with English surtitles
20
Reviews of 2017’s Messiah “The AAM Choir dazzled the ear with breathtaking tempos, clarity of articulation and unanimity of tone ... the agility, energy and control were extraordinary … a masterclass in discipline.” CLASSICAL SOURCE “The evening’s star turn… was the 17-strong AAM choir. From their outstanding ensemble virtuosity and beautifully melded sound to high-definition fugato passages … the choir shone.” GUARDIAN “The AAM Choir let us hear Handel’s diaphanous textures in all their glory.” BACHTRACK
Good Friday 19 April 2019, 3.00pm | Barbican Hall, London Free pre-concert talk at 2.00pm | page 26 for ticket information
Handel’s Brockes-Passion: Sponsor an Aria Overtaken by many of Handel’s more famous choral works, the Brockes-Passion is (undeservedly) a lesser-known piece: there are very few performances, and even fewer recordings. But we believe this work merits much greater recognition. Reflecting the story’s anguish in some of Handel’s poignant and beautiful solo vocal writing and a series of endlessly inventive choruses, the setting represents a significant contribution to the choral Passion repertory. AAM aims to produce a definitive recording of this work taken from our concert at the Barbican with the tremendous cast seen opposite. We want to advance knowledge of the work and increase the number of performances it enjoys by making an extraordinary performance more widely available. This recording will feature the scholarship, vivacity and perfection for which AAM is known, but we can only do it with your help.
Recitative (x 47 available) £ 60 Chorale (x 5 available) £115 Aria (x 28 available) £200 Arioso (x 5 available) £225 Chorus (x 5 available) £260 Duet (x 2 available) £320 Sinfonia (x 1 available) £360 Trio (x 1 available) £450 Chorus - Soprano £600 Chorus - Alto £600
Chorus - Tenor £ 600 Chorus - Bass £ 600 Pilatus £1,000 Maria £1,100 Judas £1,400 “Gläubige Seele” £1,800 Petrus £2,000 Jesus £2,500 Evangelist £4,000 “Tochter Zion” £5,000
We invite you to sponsor an aria, or more – we will credit you in the beautifullypresented hardback CD booklet, and send you a copy as soon as it is released. You can even choose which specific aria, chorus, duet or recitative you wish to sponsor (first come first served!); or sponsor as a gift for someone else. Achieving support for every musical component of this work – recitatives, arias, choruses and characters – will make this project feasible, and we hope you will join us in this project – please contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097. Thank you for supporting our exploration, revelation and preservation of Handel’s Brockes-Passion. “It‘s astonishing that there are so few performances and recordings of this profoundly stirring work, unique in Handel’s output. In often almost unbearably close-up focus, the events of the Passion are made vividly physical and emotionally gripping, compelling the listener’s involvement. The raw intensity of Brockes’ text unleashes all Handel’s power to evoke the whole range of human feelings – outrage, remorse, shock, awe, brutality, grief, tenderness, love, rapture and many more, in swift succession and with tremendous cumulative force. Anyone who responds to Handel’s extraordinary expressive potency and ravishing melodic gift must wonder why his Brockes-Passion isn’t better known. I suspect it’s a work that will speak more tellingly to the present century than to any since it was written, and it’s exciting to think that the Academy of Ancient Music’s recording plans will engage new audiences with this masterpiece.”
Dr Ruth Smith (Cambridge): Handel scholar, author of Handel’s Oratorios and Eighteenth Century Thought (CUP) 21
Handel’s
Handel Israel in Egypt
Israel in Eg y pt Gergely Madaras conductor
BBC Singers
In the third of three collaborations with the BBC Singers this season, AAM presents the oratorio by Handel that best conveys the composer’s gift for theatrical effect, dramatic grandeur and poignant contemplation. Handel’s three-part Israel in Egypt from 1739 charts the biblical Lamentation of the Israelites, their subsequent escape from captivity through the parted Red Sea and the triumphant celebration of their new-found freedom. With a divided choir and large orchestra complete with trumpets, trombones and drums, Handel depicts the frogs, flies and hailstones that confront the Israelites before conjuring an electrifying climax with the resplendent C major hymn of praise: ‘Sing ye to the Lord, for he hath triumphed gloriously.’ The range and variety of Handel’s writing in Israel in Egypt is unprecedented and staggering. We welcome the young Gergely Madaras to take charge of these performances of Handel’s most dramatic score.
“The BBC Singers… [gave] a tight, expertly driven performance.”
The Fifth Plague of Egypt, JMW Turner, 1800
THE STAGE
22
“… it sounded consistently lively and colourful under the dynamic baton of Hungarian-born Gergely Madaras; his easy command of both stage and orchestral forces revealed a major talent promising much for the future.” OPERA NEWS Friday 10 May 2019, 7.30pm Milton Court Concert Hall, London barbican.org.uk for ticket information
Monday 13 May 2019, 7.30pm St James’ Church, Chipping Campden campdenmusicfestival.co.uk for ticket information
Mozart’s Le nozze di Figaro (in concert)
Mozart Le nozze di Figaro
In association with The Grange Festival Richard Egarr
director & fortepiano
Cast to be announced in association with The Grange Festival
Martin Lloyd-Evans stage director
An irresistible blend of musical wit and social satire, Figaro is Mozart’s operatic masterpiece. AAM and a cast of Europe’s brightest young artists breathe vibrant new life into this classic opera. A score fizzing with life and melody brings song to Beaumarchais’ provocative play, and colour to his captivating cast of characters – from the lascivious Count and bombastic Dr Bartolo to the gawky teenage Cherubino, charismatic Figaro and of course his clever wife-to-be Susanna. Coming fresh from a brand-new production by Martin Lloyd-Evans at The Grange Festival, our concert performance at the Barbican on 4 July promises an evening of laughter, throwing the spotlight onto Mozart’s glorious music with its muchloved arias and breathtakingly intricate ensembles. Sung in Italian with English surtitles
Review of AAM’s Il Ritorno d’Ulisse in Patria at Grange Festival 2017: “Michael Chance opts for a decidedly pared down orchestra … It works like a charm … the sound never overpowers the singers and you get a real chamber music feel of everyone tightly together.” BACHTRACK
Praise for the work of Martin Lloyd-Evans:
Richard Egarr © Patrick Allen
“What joy to watch the direct, effective staging of director Martin Lloyd-Evans.” TIMES “Martin Lloyd-Evans’ grand production is thrillingly clear and fluid.” METRO
6 June - 7 July 2019 The Grange Festival, Hampshire Thursday 6 June, Saturday 8 June, Friday 14 June, Wednesday 19 June, Sunday 23 June, Thursday 27 June, Tuesday 2 July, Sunday 7 July. thegrangefestival.co.uk for ticket information
Thursday 4 July 2019, 7.00pm (concert performance) Barbican Hall, London Free pre-concert talk at 6.00pm | page 26 for ticket information
23
AAM’s Legacy Giving Dame Emma Kirkby “I was so lucky to sing over many years with Christopher Hogwood and his Academy of Ancient Music. Christopher based his work on sound scholarship and was all his life a generous educator. He also looked to AAM’s future, choosing his successors carefully, so that the orchestra remains in excellent hands. When Christopher died in 2014, a grievous loss to us all, his final gift was a generous legacy to AAM. Under Richard Egarr the orchestra and choir continue to flourish, bringing joy and inspiration to new audiences, and especially to young players, singers and listeners through the educational initiative, AAMplify. I salute Christopher for his care and foresight, and also AAM’s loyal Friends who have been with us throughout: thank you for all you have done up to now, and especially for any future bequests!”
Frances Hogwood “I am honoured to support AAM’s Legacy campaign. [My brother] Christopher was able to make such a difference to the musical world, and so much of the way we perform and listen to music now is his legacy to us. He left his beloved orchestra a generous legacy too, that they may continue to flourish and build on his achievements; and I hope that many of us might consider a similar gift in support of this wonderful group to ensure that this powerful, passionate music lives on, changing lives for future generations too.“ 24
Remembering AAM in your Will The Academy of Ancient Music is committed to bringing more early music experiences to more people every year, and we are determined to preserve our music and music-making so that it can be enjoyed by generations to come. Our music moves audiences now just as it did when first written, and the commitment and generosity of our supporters ensure it continues to be powerful and immediate for audiences of the future. If AAM has enriched your life by performing music that you love, please consider remembering AAM in your Will; help us to pass on our extraordinary treasure house of early music to the next generation. There may also be tax benefits* for your estate should you wish to leave a percentage of your estate to charity. Gifts that are left to the Academy of Ancient Music in Wills are one of the most important ways you can support our work. Joining our Legacy Circle will bring you into AAM’s unique and convivial supporting community, and you will be invited to an annual lunch as a thank you for your generosity, so that we can keep you updated with AAM’s work. Your gift today is supporting AAM’s artistic activities of tomorrow. If you would like to find out more about AAM’s Legacy Circle, please contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097. Every gift in every Will makes a difference – however large or small. * as every individual situation is different, we recommend taking professional advice when assessing potential tax benefits.
Education & Outreach The Academy of Ancient Music’s Education & Outreach activity takes many forms, from introducing toddlers and primary school children to music and its historical context through to work with conservatoire students and high-level academic research and musicological studies. AAM is currently working with partners on new performing editions of unpublished and unavailable works by Dussek and Schmidt, amongst others; and continues to work with the University of Cambridge in the context of our residency there. This year we are proud to announce a new partnership with the University of Oxford, jointly working on doctoral studies centered around Beethoven and his contemporaries, in addition to undertaking practical training with students. AAMplify, AAM’s Participation & Learning programme, provides high quality music-making opportunities strategically linked with our concert programmes and performance activity: workshops and sit-in rehearsals for school children; discovery activities and inter-disciplinary work at the Fitzwilliam Museum and elsewhere; composing and performance alongside AAM; research and participatory music-making with Addenbrookes Hospital; and masterclasses and side-by-side training for students at music colleges in Manchester, Cardiff and London. Actively building partnerships across the country, our wide-ranging AAMplify programme is developing new ways to work creatively, engaging people of all ages in baroque and classical music. To find out more contact us on info@aam.co.uk or call 01223 301509. Under 26 or a full-time student? You can get £5 AAMplify tickets for all performances in AAM’s London and Cambridge seasons (listed on pages 26-27) by providing proof of age or a valid NUS card on collection at the box office. AAMplify tickets are only available for collection in person at the box office. “A Young Known Voice, a new choral work by Hannah Conway involving London schoolchildren … Skilfully constructed with material created in workshops, it layered anthemic unisons for the children, scraps of Handel for the Academy of Ancient Music Choir … disarmingly powerful narrations from teenage readers.” GUARDIAN “My 2 year-old got a chance to listen to some amazing musicians so close up and with such a personal connection.” Participant in Baby Music Magic at Fitzwilliam Museum 25
LONDON multibuy series Purcell’s Dido & Aeneas (semi-staged) Tuesday 2 October 2018, Barbican Hall Tickets £10, £20, £30, £40, £50
Michael Collins plays Mozart
Multibuy
Concessions
Buy tickets for five or more AAM performances in the 2018-19 multibuy series listed above and receive a 15% discount. This discount cannot be used in conjunction with any other offer and will not apply to 2 October, however this concert will still count towards your multibuy total – book five concerts including 2 October and you will still save 15% on four concerts.
Under 26 or a full-time student? You can get £5 AAMplify ticketsfor all AAM Barbican performances by providing proof of age or a valid NUS card on collection at the box office. AAMplify tickets are only available for collection in person at the box office.
Thursday 29 November 2018, Milton Court Concert Hall Tickets £15, £25, £32 Fann Street <
Lucie Horsch & Richard Egarr
Sunday 24 February 2019, Milton Court Concert Hall Tickets £15, £25, £32
Golden Lane >
Chiswell Street <
Barbican
Handel’s Brockes-Passion
Good Friday 19 April 2019, Barbican Hall Tickets £10, £20, £30, £40, £50
Beech Street < Silk Street Entrance >
Nicolas Altstaedt plays Haydn
Thursday 28 March 2019, Milton Court Concert Hall Tickets £15, £25, £32
< Bunhill Row
Whitecross Street >
BARBICAN CENTRE
MILTON COURT
< Milton Street
< Finsbury Street < Ropemaker Street
Silk Street >
Liverpool Street >
Moorfields > Moor Lane >
Aldersgate Street >
< Fore Street Wood Street >
South Place > New Union Street >
< Finsbury Circus
Moorgate London Wall >
Bank <
Mozart’s Le nozze di Figaro (concert performance) Thursday 4 July 2019, Barbican Hall Tickets £10, £20, £30, £40, £50, £60
How to book
Online at barbican.org.uk (£3 booking fee per transaction) By telephone 020 7638 8891 (£4 booking fee per transaction) Monday-Saturday 10am-8pm; Sunday and bank holidays 11am-8pm In person at Barbican Advance Box Office Monday-Saturday 10am-8pm; Sunday and bank holidays 11am-8pm 26
Barbican Hall, Silk Street, London EC2Y 8DS Milton Court Concert Hall, Silk Street, London EC2Y 9BH The main entrance at Silk Street is ramped and lifts give access to all levels. Both the Barbican Hall and Milton Court have seating for wheelchair users. Please inform the Box Office of any access requirements on booking. An induction loop is provided in the Barbican Hall. Visitors with hearing aids can make use of this facility by switching their hearing aid to the “T” position. An Access Guide with full details is available at barbican.org.uk/access or from the Barbican box office. Visitors with access requirements who have joined the Barbican Access Membership scheme can provide information about their requirements, receive information in alternative formats and may be eligible for reductions on tickets. Any available discounted tickets are limited in number and subject to availability – please book early to avoid disappointment.
CAMBRIDGE subscription series BBC Singers: Rameau & Lully
Sunday 21 October 2018, West Road Concert Hall
Michael Collins plays Mozart
Sunday 25 November 2018, West Road Concert Hall
Handel’s Messiah
Wednesday 5 December 2018, Trinity College Chapel
Lucie Horsch & Richard Egarr
Concessions
Under 26 or a full-time student? You can get £5 AAMplify tickets for all AAM performances by providing proof of age or a valid NUS card on collection at the box office. AAMplify tickets are only available for collection in person at the box office. There are a limited number of concessionary rate tickets available to over 65s for all concerts at West Road Concert Hall. The discounted rate is £2 off full-price tickets.
West Road Concert Hall, West Road, Cambridge CB3 9DP Information about accessing the concert hall including disabled parking is available from westroad.org/visit/access
Trinity College Chapel, Trinity Street, Cambridge CB2 1TQ Information about accessing the Chapel is available from trinitycollegechapel.com/about/information-visitors
Tuesday 26 February 2019, West Road Concert Hall
A10, A14 (W) >
Nicolas Altstaedt plays Haydn
< M11 Jct 13
Victoria Avenue >
Magdalene St >
Midsummer Common
Wednesday 27 March 2019, West Road Concert Hall Jesus Lane
< Bridge St
Tickets £15, £27, £33
Maids Causeway
TRINITY COLLEGE CHAPEL
How to book
Online at cambridgelivetrust.co.uk/tickets
Queen’s Road >
By telephone 01223 357851 Monday to Saturday 10am-6pm
West Road
WEST RD CONCERT HALL
In person at the Cambridge Live Tickets box office, Wheeler Street, Cambridge CB2 3QB Monday to Friday 12-6pm; Saturday 10am-6pm
Trinity St > King’s Parade >
Grange Road >
Silver St
< Sidney St BOX OFFICE
Buy tickets to all five AAM concerts listed left and save 15%. Subscription booking opens on Friday 1 June and closes on Friday 19 October 2018. We advise you to book early to ensure you get the same seat for every concert at West Road Concert Hall. Please note seating at Trinity College Chapel is arranged in price bands but the actual seats are unreserved, therefore we suggest you arrive early.
Drummer St >
Benet St
Wheeler St Lion Yard < St Andrew’s St Corn Car Park Exchange Downing St > St
Pembroke St Regent St >
Sidgwick Site Sidgwick Avenue
Subscriptions
Christ’s Pieces
< Parkside
Parker’s Piece
< Trumpington St
Newnham Rd >
< M11 Jct 12
Lensfield Rd < Hills Road Fen Causeway Barton Road
< Trumpington Rd
A1134 to M11 Jct 11 >
Cambridge Railway Station >
27
Get involved: @AAMorchestra academyofancientmusic Watch season trailers: acadofancientmusic
Associate Ensemble at the Barbican Centre Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at The Grange Festival Orchestra-in-Residence at Chiltern Arts Orchestra-in-Residence at the Apex, Bury St Edmunds Associate Ensemble at Music at Oxford Music Director: Richard Egarr Hogwood Fellow: Sandy Burnett Founder: Christopher Hogwood CBE 11b Kingâ&#x20AC;&#x2122;s Parade, Cambridge CB2 1SJ +44 (0) 1223 301509 info@aam.co.uk www.aam.co.uk Registered charity number 1085485 All details correct at time of printing
Design by Apropos-
Full programme details at aam.co.uk