AAM Dussek and Beethoven concert 2 October with Stephen Fry by Academy of Ancient Music

Dussek & Beethoven

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

19-20

ACADEMY OF ANCIENT MUSIC

Concert Programme

2019-20

Brockes-Passion

300th-Anniversary Release Over the last two years, AAM has worked closely with scholars and musicologists around the world to set down a staggering new edition of this compelling masterpiece. The new edition reinstatesreinstates the first 63 “missing” bars, brings in additional instruments, and showcases choruses and previous numbers omitted from other editions. Our exploration has taken in 15 sources from 11 collections, in nine cities across five countries. The accompanying CD book acts as a comprehensive guide to Handel’s Brockes-Passion, including a complete guide to all known recordings of the work; detailed notes and commentary from Handel scholars; the first modern publication of the original Kurrentschrift text from the manuscript score, alongside modern German and AAM’s new translation; and for the very first time, the music from Charles Jennens’ 18th-century partial English translation in the appendices. The book also includes striking artwork created by contemporary visual artist Emma Safe, live in response to AAM’s 300th-anniversary Good Friday performance. Released in October 2019, this definitive guide to Handel’s Brockes-Passion is presented as a 3-CD deluxe package. For more information on the project, as well as to purchase your recording, visit: aam.co.uk

“A gruesomely graphic work to break Bach’s monopoly.” THE FINANCIAL TIMES Price £40 (3CD, deluxe)

Artists:

Richard Egarr director & harpsichord Elizabeth Watts Daughter of Zion Robert Murray Evangelist Cody Quattlebaum Jesus Gwilym Bowen Peter

Tim Mead Judas Ruby Hughes Faithful Soul Nicky Spence Faithful Soul Rachael Lloyd Mary / Faithful Soul Morgan Pearse Pilate / Centurion Choir of the Academy of Ancient Music

ACADEMY OF ANCIENT MUSIC 2018-19 SEASON

Richard Egarr conductor Wednesday 2 October 2019 7.30pm Barbican Hall, London

DUSSEK Mass in G major (1811) Stefanie True soprano Helen Charlston mezzo-soprano Gwilym Bowen tenor Morgan Pearse bass Choir of AAM New edition by Reinhard Siegart 20-minute interval

BEETHOVEN Egmont, complete incidental music, Op.84 (1810) Chen Reiss soprano Stephen Fry narrator English surtitles for Egmont adapted and operated by

Jonathan Burton

Dussek & Beethoven

Academy of Ancient Music

Dussek & Beethoven

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Welcome from Chief Executive, Academy of Ancient Music I am very pleased to welcome you to the Academy of Ancient Music’s first concert of the 2019-20 season, and the opening of the Barbican Centre’s Beethoven 250 celebrations which span the season. We are delighted to host Stephen Fry to narrate Beethoven’s Egmont – we rarely have an opportunity to hear more than just the Overture, let alone the story too, and to have one of the most authoritative and revered voices in the arts to bring this work to life is a real treat. A few months ago at Easter, AAM presented a 300thanniversary performance of Handel’s neglected masterpiece, his Brockes-Passion, here at the Barbican. It received a tremendous response, as I’m proud that we have now recorded this magnificent work together with the wonderful cast who led the Good Friday staging. Presented with a fullsome 220-page guide to this work in a deluxe hard-back package, this 3-CD set comes from AAM’s brand new edition of the score (and includes a variety of appendices and world-premiere recordings), and is released in two days, on 4 October. Although it will

retail for around £40, advance orders can be made at the AAM desk in the foyer tonight at a special audience price of just £30. Tonight’s concert sees another revival of a forgotten masterpiece, the long-lost Mass in G by Dussek. A remarkable work, the score’s whereabouts was the subject of much speculation until AAM’s Music Director, Richard Egarr, located it after years of searching. We have produced a new edition of the music which, as with Handel’s BrockesPassion, we will make freely available to all, enabling other ensembles, scholars, and listeners to download scores and parts for performance, recording, listening and more. We will also release the world premiere recording of this piece, which you can pre-order at the AAM desk tonight for £15. AAM’s 2019-20 season is set to be a tremendous mixture of music and more. We welcome our new Artist-in-Residence and Hogwood Fellow, Emma Safe, who will be drawing and painting throughout the seasons; and begin wine and music partnerships with Berry Bros. & Rudd and

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Guy Williams others, starting tonight with Beethoven & Bordeaux. We are delighted to showcase leading artists such as Viktoria Mullova, Jean Rondeau, Alison Balsom, Mary Bevan VOCES8 and more, and to explore brilliant works by lesser known composers from Dussek and Eccles to Castello and Venturini. Thank you to the many generous donors who support our work on stage, in the recording studio and in the classroom – without you, we could not deliver the incredible music and inspiring performances that make AAM so special. Welcome to the start of the 2019-20 AAM journey; we look forward to welcoming you to many of our concerts and events across the year.

Alexander Van Ingen Chief Executive Academy of Ancient Music

sub-principal flute

Tonight’s concert will be the last with AAM for our sub-principal flute, Guy Williams. After over 40 years playing the baroque flute professionally – 37 of those (since 1982) with AAM – Guy is sadly stepping down, and will be much missed by his colleagues and friends. In 1973 Guy became a pupil of Stephen Preston, the pioneer of the baroque flute in the UK and an original member of AAM, who introduced him to Marais’ Tombeau de Monsieur de Sainte-Colombe. Guy never looked back. Guy has sat next to AAM's principal flute Rachel Brown for 30 years, and together they have created a first-class woodwind partnership; finding Guy’s successor will not be an easy task. Guy’s beautiful playing features on many recordings, including AAM’s 2015 St. Matthew Passion (AAM Records, AAM004) and as principal flute on 2017’s St. John Passion (Kings College, KGS0018). We wish Guy the very best.

AAM’s Legacy Giving

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

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.“

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 Liz Brinsdon (liz.brinsdon@aam.co.uk). 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.

10 to 12 January 2020 | LSO St Lukeâ&#x20AC;&#x2122;s & Saint James Clerkenwell baroqueattheedge.co.uk

ESSENTIAL AUTUMN ALBUMS Lars Ulrik Mortensen & Concerto Copenhagen – Danish National Baroque Orchestra

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Four Seasons – after Vivaldi Antonio Vivaldi recomposed by Karl Aage Rasmussen. Musical direction: Magnus Fryklund & Lars Ulrik Mortesnen Album release: 6/9 2019 DACAPO 8.226220

The Brandenburg Concertos No. 1–6 »Unique sounds in Danish – Concerto Copenhagen is the only ensemble playing on original instruments in Scandinavia which has managed to have an international breakthrough – rightfully as their recording of Bach’s Brandenburg Concertos shows.« Marco Frei, Neue Zürcher Zeitung, October 2018 CPO 555 158–2

coco.dk/en/discography/

MAY 29 TO JUNE 14, 2020 IN HALLE (SAALE), GERMANY in authentic venues in the city of George Frideric Handel’s birth

EXPERIENCE TESEO (HWV 9) OTTONE, Ré di Germania (HWV 15) MESSIAH (HWV 56) GALA CONCERTS with Valer Sabadus, Nathalie Stutzmann, Daniel Behle, Iestyn Davies and much more

SALES START NOVEMBER 28, 2019 handel-festival.com/en MORE INFORMATION: festspiele@haendelhaus.de

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Introduction

Jan Ladislav Dussek (1760-1812)

While Ludwig van Beethoven’s Egmont Overture is a much-loved concert staple, it’s only rarely that we get to hear the complete incidental music. This is an imbalance firmly redressed in tonight’s programme, part of the 250th anniversary celebrations. The fervour of Beethoven’s music shows how strongly he believed in the play’s central message: that freedom must prevail over oppression.

1. Kirie / 2. Christe / 3. [Kirie] / 4. Gloria 5. Qui Tollis / 6. Quoniam / 7. Cum Sancto 8. Credo / 9. Et in Carnatus Est / 10. Et resurrexit 11. Et in Spiritum / 12. [Qui locutus est] 13. Fugato [Et vitam venturi] / 14. Sanctus 15. Benedictus / 16. [Hosanna] / 17. Agnus Dei 18. Dona nobis pacem

Equally worthy of imbalance-redressing is the view of Jan Ladislav Dussek as just a keyboard composer; tonight’s programme offers a fresh perspective on this neglected Czech, in the form wof a fine Mass setting, rescued from obscurity by Richard Egarr and performed tonight for the first time since the 19th century.

Mass in G major (1811)

Were Dussek to learn that just over two centuries after his death, the only biography of his in print was a dusty dissertation from the University of Southern California, then this distinguished pianist and composer might be more than a little put out. After all, he was a musician with a brilliant reputation and a colourful life story to match. A decade older than Beethoven, Dussek was born in Časlav in Eastern Bohemia, sang as a choirboy in Iglau and studied in Prague. His piano playing took him right across Europe to France, until the turmoil of the tumbrils in 1789 drove him to sanctuary in London. Somewhat lacking in both business sense and moral fibre,

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Programme notes continued

he presided over the collapse of an English music as wide as the piano itself! Rendered immobile and publisher in which he had an interest. Leaving his bedbound by his obesity, Dussek died in Talleyrand’s father-in-law to face the music and serve time in palace just a few days after that Napoleonic concert, prison, Dussek did a runner to Hamburg, and never on 20 March of that year. saw his wife or daughter again. In the brave new world of French Revolutionary Tonight’s conductor, the Academy of politics, Dussek found himself to Ancient Music’s director Richard Egarr, is be extremely popular in Paris once Dussek was a a staunch Dussek fan, and maintains that again; in 1807 he was engaged despite the current neglect of his music, musician with a by Napoleon’s foreign minister Dussek is a crucial figure in the evolution brilliant reputation Talleyrand as a kind of in-house of early 19th-century piano music. Where pianist. It was a job that suited him and a colourful life though does this scarcely known Solemn well, not least because he drank Mass setting of 1811 fit in? It’s a work story to match. deeply at the well of Talleyrand’s whose score resides in the library of the liberal hospitality. conservatory in Florence. And that’s where Richard Egarr, not without some difficulty, Expressive and melodic pianist though he was, in managed to obtain a scan of the music from which terms of physical appearance Dussek was not one tonight’s performing edition has been made. of the lithest. A tuner who was present when the Bohemian played for the Emperor Napoleon in the That the work has gone AWOL for so long is spring of 1812 remarked that Dussek seemed to be especially surprising since it was written for

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Nicolas II, the eminent Esterhazy prince who had been Joseph Haydn’s last employer. Nicolas commissioned it to celebrate the name day of his wife, Maria Hermenegilde née Liechtenstein, something he was wont to do. He had commissioned half a dozen masses for the same annual occasion from Haydn over the years, as well as others from Albrechtsberger, Gyrowetz, Hummel, and one from Beethoven. Although oddly Nicolas seems to have taken against Beethoven’s offering, calling his setting “unbearably ridiculous and detestable.”

good-natured and genial, while the Kyrie II is notable for a powerful and well-worked double fugue. Later highlights to mention are the Et in Spiritum section of the Credo, marked "Arietta" and scored for solo soprano with a pair of flutes and strings, and a beautiful and restrained Sanctus, featuring a prominent obbligato for solo cello. Another cello obbligato follows in the Benedictus, while the predictably calm and serene Dona nobis pacem brings Dussek’s setting to a peaceful close.

Dussek scored his Mass for four-part choir with solo voices, and for an orchestra comprising pairs of horns, flutes, oboes and bassoons. The disposition of the string section is fairly unusual in that it often calls for divided violas and cellos, a rich sonority first heard clearly in the Christe section of the opening Kyrie; much is made of duo textures in the orchestra to reflect the pairing of the two vocal soloists, soprano and tenor. The first Kyrie that precedes it is

Text starts on page 8 20-minute interval

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Dussek Mass Text 1st Kirie Kirie eleison

Lord have mercy.

Christe: duo, soprano and tenor Christe eleison

Christ have mercy.

2nd Kirie: chorus Kirie eleison

Lord have mercy.

Gloria Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam, Domine Deus Rex coelestis, Deus Pater omnipotens. Domine fili unigenite, Jesu Christe, Domine Deus, Agnus dei Filius patris, Laudamus te, adoramus te, glorificamus te, benedicumus te, adoramus te.

Glory to God in the highest, and peace on earth to men of good will. We praise Thee, we adore Thee, we glorify Thee, we give Thee thanks for Thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord Jesus Christ, only begotten Son, Lord God, Lamb of God, Son of the Father, we praise Thee, we adore Thee, we glorify Thee, we bless Thee, we adore thee.

Qui Tollis Qui tollis [peccata mundi], suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

Thou who [takest away the sins of the world], receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us

H A N DE L' S B R O C K E S - PA S S ION

Quoniam Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe Suscipe deprecationem nostram Cum Sancto Spiritu in gloria dei patris. Amen.

For Thou alone art the Holy One, Thou alone art the Lord, Thou alone art the Most High, Jesus Christ Recieve our prayer. With the Holy Spirit, in the glory of God the Father. Amen.

Cum Sancto Cum Sancto Spiritu in gloria dei patris. Amen.

With the Holy Spirit, in the glory of God the Father. Amen.

Credo Credo in unum Deum, Patrem omnipotentem, Factorem coeli et terrĂŚ, visibilium omnium et invisibilium. Et in unum Dominum, Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri; per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.

I believe in one God, the Father Almighty, maker of heaven and earth, of all things visible and invisible And in one Lord, Jesus Christ, the only-begotten Son of God, born of the Father before all ages; God from God, Light from Light, true God from true God; begotten, not made, consubstantial with the Father, by whom all things were made; who for us men and for our salvation descended from heaven.

Please turn the page quietly

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Dussek Mass Text continued Et incarnatus Est Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo He was incarnate by the Holy Ghost from the Virgin Mary, and was factus est. made man. Crucifixus etiam pro nobis sub Pontio Pilato passus, et He was crucified also for us under Pontius Pilate; he suffered and sepultus est: was buried: Et resurrexit Et resurrexit tertia die, secundum Scripturas, And he rose again on the third day according to the Scriptures: et ascendit in coelum, sedet ad dexteram Patris. And ascended into heaven, and sits on the right hand of the Father: Et iterum venturus est cum gloria, judicare vivos et mortuos, And the same shall come again, with glory, to judge the living and the dead: cuius regni non erit finis Of whose kingdom there shall be no end; Et in Spiritum: solo, soprano Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prophetas. Qui locutus est: chorus qui locutus est per prophetas. Credi et unam sanctam catholicam et apostolicam Ecclesiam.

And [I believe] in the Holy Spirit, the Lord and life-giver, who proceeds from the Father and the Son, who, with the Father and the Son, together is worshiped and glorified, who has spoken through the prophets. who has spoken through the prophets. And I believe in one, holy, catholic, and apostolic Church,

H A N DE L' S B R O C K E S - PA S S ION

Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum,

I confess one baptism for the remission of sins. And I await the resurrection of the dead:

Fugato: [Et vitam venturi] Et vitam venturi sĂŚculi. Amen.

And the life of the coming age. Amen.

Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth: Pleni sunt coeli et terra gloria tua, Hosanna in excelsis.

Holy, holy, holy, Lord God of hosts, heaven and earth are full of thy glory. Hosanna in the highest.

Benedictus Benedictus qui venit in nomine Domini.

Blessed is he that cometh in the name of the Lord

[Hosanna] Hosanna in Excelsis.

Hosanna in the highest.

Agnus Dei Agnus dei qui tollis peccata mundi miserere nobis Dona nobis pacem Dona nobis pacem

Lamb of God who taketh away the sins of the world have mercy on us. Grant us peace.

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Ludwid van Beethoven (1770-1827)

Egmont, complete incidental music, Op.84 (1810) Overture 1. Lied "Die Trommel gerühret!" 2. Zwischenakt I 3. Zwischenakt II 4. Lied "Freudvoll und Leidvoll" 5. Zwischenakt III 6. Zwischenakt IV 7. Clärchens Tod bezeichnend 8. Melodrama 9. Seigessymphonie

Johann Wolfgang von Goethe, the author of the play for which tonight’s overture and incidental music was written, was a polymath of the type they just don’t seem to make any more. Born in Frankfurt am Main in 1749, he frittered away his time as a Leipzig law student, dropped out through illness and returned home. It was there, lying in his sickbed, that Goethe developed an interest in scientific matters, as well as unwholesome things such as occult philosophy and alchemy. Then he came under the influence of Johann Gottfried Herder, trailblazing philosopher and leading light of the German Enlightenment, and their meeting of minds created a kind of alchemy of its own. Herder’s strong views on what drama should be for emboldened Goethe to develop his own style of vivid theatrical writing. Although Goethe began writing Egmont in his mid-20s, still flushed with the runaway success of his first novel The Sorrows of Young Werther, he didn’t complete the play until 13 years later, and the premiere took place at the National Theatre in Mainz in 1789.

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A tragedy along Shakespearean lines, Egmont is based on the life story of a leading nobleman in the Low Countries during the Counter-Reformation years of the 16th century. The Dutch were chafing against the yoke of their Spanish rulers who had introduced the Inquisition to the Netherlands in an attempt to wipe out Protestantism. Egmont, a leading military hero, was passed over for the new job of Regent there, and went to Spain to argue his case. His request was declined, and as a troublemaker his neck was one of the first to rest on the chopping block. The Netherlands, though, had the last laugh; after Egmont’s death, the Spanish were ejected from the region once and for all. Goethe took several steps to spice up the action of the drama. He compressed the action, which took place over several years, into just a few days; he lopped 20 years off Egmont’s age, so that he died at a more heroic-sounding 27; and he did away with Egmont’s real-life wife and eleven children in favour

of a maidenly love interest of his own invention, Clärchen, who’s both gutsy and romantic. Fast forward a couple of decades, and when Egmont was revived at Vienna’s Burgtheater in 1810, Beethoven was approached to write the incidental music. How could he turn down an offer like that? Egmont was the very model of a Beethovenian hero, someone who had fought for freedom and against authoritarian oppression, and acted entirely according to his conscience. What’s more, the subject matter had achieved an unwelcome topicality. For Egmont’s oppressive Spanish rulers, read unwelcome Napoleonic forces, who had captured Vienna and taken up residence in the city the previous year. The powerful overture opens in a dark and brooding F minor, switching to the major towards the end to reflect the almost hysterical joy that freedom from the Spanish oppressors would eventually bring. As

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Programme notes continued

for the nine further pieces of incidental music that public, but she didn’t count singing as one of her Beethoven wrote for the Burgtheater production, strengths. This is borne out in the scoring of both of they didn’t appear in print until long after the event; her songs, where Beethoven discreetly doubles the Messers Breitkopf & Härtel published them four years voice part in the orchestra. "Die Trommel gerühret!"is after Beethoven’s death in 1831. One feature of the a jubilant description of the drum roll that summons entr’actes that might raise eyebrows Clärchen’s beloved Egmont in a concert setting is that they often to battle. The very idea of it Egmont was the very fade away into silence at the end; makes her heart thump and her this was to allow for Goethe’s verse model of a Beethovenian blood boil… While "Freudvoll to begin immediately afterwards. A und Leidvoll" finds her in hero, someone who had striking Melodrama depicts the vision romantic mode, musing on the fought for freedom and of death and military triumph that emotional ups and downs of against oppression. hovers over Egmont like a celestial love. Its penultimate phrase vision as he sleeps, while a concluding "Himmelhoch jauchzend, zum Victory Symphony reprises the jubilant music of the Tode betrübt" ("shouting to the heavens in triumph, overture’s closing pages. troubled to the point of death") achieved a fame of its own; later 19th-century writers quoted Goethe’s And there are two songs for Clärchen to sing; words to sum up the dizzy extremes of the entire Beethoven wrote them especially for the Viennese Romantic movement actress Antonie Adamberger. Just 19 years old, she was beautiful, brilliant and a great hit with the Programme notes © Sandy Burnett

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Beethoven 250 at the Barbican This season the Barbican, London Symphony Orchestra, BBC Symphony Orchestra and Academy of Ancient Music celebrate 250 years since the birth of Ludwig van Beethoven. But what is his relevance today – and why should we care? Beethoven is the ultimate creative genius. He epitomises the popular, romanticised image of the great composer. Beethoven suffered. He was taciturn, isolated, and lacking in social graces. He endured the worst affliction imaginable for a musician: deafness. In spite of all this, (many, including Wagner, would argue because of all this), he managed to compose some of the most breath-taking, transcendental, sublime music of the Western canon. At first, Beethoven’s deafness was understood as a barrier to his compositional prowess: the reason for the bizarre, jarring sounds of the late string quartets. Later, it was seen as the key to his greatness, enabling him to access profound, inward truths. Living through turbulent revolutionary times, Beethoven was an advocate for political reform. He saw a power shift

away from the aristocracy. His political beliefs were more ambivalent and changeable than his mythology allows, but Beethoven’s music has come to represent resistance against tyranny and oppression, individual freedom, equality, and radical social change. It is a powerful symbol of hope, revisited in times of political struggle, a celebration of freedom and brotherhood. The popular image can be problematic. Beethoven’s lyrical and choral music, or simply the works that do not contain journeys of struggle to redemption, are rarely performed because they do not comply with our perception of the heroic, suffering artist. In contrast, the Barbican’s innovative, inclusive, and, at times, irreverent programme will question the myths. The Beethoven we hear will be refreshingly unfamiliar at times.

Beethoven’s music endures. Its universal themes mean that it remains relevant to almost any time and place. It has been heard in prisons, concentration camps, at the fall of the Berlin Wall, in films, and in venues across the globe. 250 years after his birth, Beethoven belongs to everyone. And that is something to celebrate. Dr Joanne Cormac University of Nottingham

For full details of Beethoven 250 events at the Barbican visit barbican.org.uk/ beethoven250

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Richard Egarr director and harpsichord

Artistic Partner of the St. Paul Chamber Orchestra in Minnesota. He will become Music Director Designate of Philharmonia Baroque Orchestra and Chorale in 2020-21 and assume Music Directorship from 2021-22.

Music Director of the Academy of Ancient Music since 2006, September 2019 he added two new responsibilities: Principal Guest Conductor of the Residentie Orkest in The Hague and

Operas and particularly Handel's oratorios lie at the heart of his repertoire. He made his Glyndebourne debut in 2007, and has conducted Mozart's La Finta Giardinera, a Monteverdi cycle

ÂŠ Patrick Allen

Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music-making â&#x20AC;&#x201C; whether conducting, directing from the keyboard, giving recitals, playing chamber music, or, indeed talking about music at every opportunity.

Plans with the AAM this season include Bach and Haydn with Viktoria Mullova, and Castello and Monteverdi with soprano Lucie Chartin. Guesting in 201920 includes debuts with the St. Louis Symphony and with Klangverwaltung Munich at the Gasteig, and returns to the City of Birmingham Symphony, Antwerp Symphony, Orchestre Philharmonique de Luxembourg, Orquesta Sinfonica de Galicia, Mostly Mozart Lincoln Center and to the Kioi Sinfonietta in Tokyo.

and Purcell operas with the Academy of Ancient Music at the Barbican as well as Il nozze di Figaro, repeated from their staged production together this summer at Grange Festival. Richard's extensive discography on Harmonia Mundi includes solo keyboard works by Bach, Handel, Mozart and Couperin, and latterly discs for Linn Records of Byrd and (due for imminent release) Sweelinck. His long list of recordings with the Academy of Ancient Music includes seven Handel discs (2007 Gramophone Award, 2009 MIDEM and Edison awards), and JS Bach's St. John and St. Matthew Passions on the AAM's own label. He features as director on the recording of Handel's Brockes-Passion, released this autumn, in a new edition of the music for which he was an integral contributor. Richard is Visiting Professor at the Juilliard school.

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Stefanie True

Helen Charlston

Recent engagements for Canadian soprano Stefanie True include the role of Cécile de Volanges in Dangerous Liaisons, a brand new baroque opera, with music by Antonio Vivaldi presented by Opera2Day, the role of Poppea in Handel’s Agripinna at The Grange Festival 2018, Celia in Handel’s Lucio Silla at the Internationale Händel-Festspiele Göttingen, the title role in Handel’s Esther with La Risonanza led by Fabio Bonizzoni, Belinda in Dido and Aeneas at the Händel-Festspielle Halle and the title role in Handel’s Theodora with the Scottish Chamber Orchestra.

Acclaimed for her musical interpretation, presence and “warmly distinctive tone” (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Helen won first prize in the 2018 Handel Singing Competition and was a finalist in the Hurn Court Opera Competition. She was a "Rising Star" of the Orchestra of the Age of Enlightenment 2017-19 and is a 2018 City Music Foundation Artist.

soprano

In 2011, Stefanie was placed first in the London Handel Singing Competition, and won second prize in the John Kerr Award competition 2010 in Kent. She studied voice with Catherine Robbin at York University (Toronto). She then went on to study at the Royal Conservatory in The Hague where she completed her Masters in Early Music .

mezzo-soprano

This season Helen makes debuts with the Academy of Ancient Music, Cambridge Handel Opera Company, Queensland Symphony Orchestra, Slovenian Philharmonic Orchestra and the Concertgebouw Chamber Orchestra, as well as joining Fretwork for a solo recital programme at Wigmore Hall and York Early Music Christmas Festival. Helen premieres the full role of Anna in the newly completed opera Blue Electric by Tom Smail, and will continue her commissioning project of lute songs with duo partner Toby Carr.

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Gwilym Bowen

Morgan Pearse

Exacting musicianship and a voice of remarkable clarity are qualities which have distinguished Gwilym Bowen as a next generation tenor with great potential. Ensembles such as the Academy of Ancient Music, Orchestra of the Age of Enlightenment and Concerto Copenhagen have played a significant role in establishing Gwilym's speciality in earlier repertoire, with Handel, Monteverdi and Bach amongst his most in demand repertoire. This season's highlights include Messiah in Brisbane with Queensland Symphony Orchestra, Christmas Oratorio with Oslo Philharmonic and returns to the Barbican later this month for a concert with trumpeter Alison Balsom. Recent highlights include Messiah with the BBC National Orchestra of Wales, Royal Liverpool Philharmonic Orchestra and City of Birmingham Symphony Orchestra; St. Matthew Passion (Evangelist) with the Auckland Philharmonic Orchestra, and St. John Passion (Evangelist) with the Adelaide Symphony Orchestra under Stephen Layton, and the role of Peter in a rare performance of Handel's Brockes-Passion with AAM.

bass

tenor

London-based Australian baritone Morgan Pearse is making his mark in both hemispheres. He completed the renowned Houston Grand Opera studio programme in 2014-15 and made his professional debut with English National Opera in 2015-16 singing Figaro in The Barber of Seville. Recent and future engagements include performances of the title role in Verbier Festival Academy's Don Giovanni, the title role in Le nozze di Figaro and Papageno in Die Zauberflöte for the Badisches Staatstheater and Sid in Albert Herring for the Buxton Festival, as well as making his New Zealand Opera debut as Belcore in The Elixir of Love, Valens in Theodora and Araspe in Tolomeo for the International Handel Festival. He performed in Russia with Moscow Philharmonic and Musica Viva orchestras; Don Giovanni with the Auckland Philharmonic; Messiah with West Australian, Adelaide and Tasmanian Symphony orchestras, Mozart with the Netherlands Radio Philharmonic and Royal Philharmonic Orchestra, and with AAM last Easter in Handel's Brockes-Passion. Morgan has won a number of prestigious competitions including the Cesti Competition and the Lies Askonas prize.

D U S S E K & B E E T HOV E N

Chen Reiss

Editor, Dussek Mass in G

soprano

Reinhard Siegert studied sacred music, organ, harpsichord and music pedagogy with Wolfgang Rübsam and Lutz Gillmann at the Hochschule für Musik Saar in Saarbrücken, where he was an assistant teacher of keyboard improvisation from 2008-10. He then studied clavichord, basso continuo and improvisation with Menno van Delft, Richard Egarr and Miklos Spanyi at the Conservatorium van Amsterdam until 2014. He has been teaching music theory and piano improvisation since September 2013 at the ArtEZ Conservatorium in Arnhem and is currently a PhD Student at Hochschule für Musik und Theater Köln.

With “immaculately produced and enticing tone matched by superb musicianship” (Opera News, USA), soprano Chen Reiss is a regular guest with major institutions including the Vienna State Opera, Royal Concertgebouw Orchestra, BBC Proms and the Schleswig-Holstein and Lucerne festivals. Forthcoming highlights include Marzelline in a new production of Beethoven’s Leonore at the Vienna State Opera, a return to the Royal Opera House Covent Garden, and her debut as Ann Trulove in Stravinsky’s The Rake’s Progress at the Teatro dell’Opera di Roma. In concert she debuts with the Los Angeles, Rotterdam and Czech Philharmonic orchestras, and performs Mahler’s Symphony No.2 at Zubin Mehta’s final performance with the Israel Philharmonic. Her operatic repertoire includes Mozart and Handel heroines, Gilda (Rigoletto), Adina (L’Elisir d’amore), Zdenka (Arabella), and the title role in The Cunning Little Vixen. Her concert repertoire spans from Bach and Haydn, through Rossini and Mahler, to Berg and Gorecki. She has recorded widely from Cimarosa and Salieri to Fauré and Lehar, and in 2020 releases an album of rare Beethoven arias and songs.

Reinhard was a prize-winner of the STIMU Symposium at the Festival Oude Muziek in Utrecht, 2014.

Reinhard Siegert

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Stephen Fry narrator

Stephen Fry is an English actor, screenwriter, author, playwright, journalist, poet, comedian, television presenter, film director and all-round national treasure. He has written and presented several documentary series, contributed columns and articles for newspapers and magazines, appears frequently on radio, reads for voice-overs and has written four novels and three volumes of autobiography, Moab Is My Washpot, The Fry Chronicles and his latest, More Fool Me. For the Shaw Festival in Niagara-on-the-Lake, Ontario Canada, during the summer of 2018 Stephen gave 13 presentations of his trilogy of one-man shows (39 performances in all) based on his book Mythos. In the summer of 2019 Stephen toured seven UK theatres with the shows.

“Feasting Reconciles Everybody" Samuel Pepys

Being a genius is never easy. Beethoven, often referred to in such terms, paid for it with a lifetime of poor health, losing his hearing aged 27 and suffering from various horrors such as colitis, rheumatism, typhus, jaundice, inflammatory degeneration of the arteries and chirrhosis of the liver. It’s no wonder that he may have occasionally turned to comfort food, such as a protein-heavy soup with 12 drowned eggs (“Only the pure in heart can make a good soup” he proclaimed). A particular favourite was macaroni with butter and cheese, or rather Käsespätzle. Here is a modern-day version: Melt some butter in a pot. Add onions and stir until deeply caramelized. While the onions are cooking make the Spätzle. Grate the parmesan. Butter a casserole dish. Place a third of the Spätzle in the bottom of dish, followed by a third of the cheese and a third of the caramelized onions, repeat, sprinkling some salt over each layer. End with the cheese and the onions on top. Bake the Spätzle uncovered until the cheese is melted and the some of the edges have just started to get crispy.

D U S S E K & B E E T HOV E N

Support AAM You can live it, love it and get lost in it – and not want to go home! AAM Supporter

than ever. You can support us by joining the AAM Academy or AAM Associates and by doing so, you play an essential role in sustaining excellence in the concert hall, classroom and recording studio, bringing more early music experiences to more people every year.

AAM Academy: with a donation of £1000+ p/a

Our donors make our music happen: affordable concerts, accessible education and high-level research. Over the past 40 years AAM has become a global authority on the performance of baroque and classical music, and is now the most listened-to ensemble of its kind online. As well as a world-class orchestra, we are also a music charity, and as we approach AAM’s 50th Anniversary in 2023 we need to secure our future, fulfilling our mission to explore, preserve and reveal our rich treasure-house of early music.

Your support as an Academy member develops our artistic activity and longevity, bringing our music to millions every year, season after season. As an Academy member you will be at the very heart of the Orchestra. You will have opportunities to meet the musicians, immerse yourself in our music, and explore our work behind the scenes. With the support of our Academy members, our artistic vision and achievements will grow with strength and sustainability.

To succeed, the loyalty and generosity of our supporters is more important now

Academy members have the additional opportunity to make an even greater

difference by sponsoring a specific component of AAM’s work – it could be a concert; the Leader or the scores from which AAM performs.

AAM Associates: with a donation of £300-£999 p/a

Your support as an Associate will sustain our music-making every season. As an Associate you will be close to the Academy of Ancient Music’s work with opportunities to experience our musicmaking beyond the concert-platform, as well as being the first to hear about news, developments and plans for the future. To discuss sponsorship opportunities or to find out more about how you can help AAM, please contact Liz Brinsdon (liz. brinsdon@aam.co.uk).

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Thank you

Audience Communications Dr Julia Ellis

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

Digital: Supporter Database Annual License Philip Jones

Discounted tickets for under 26s Philip Jones

AAM ACADEMY MUSIC SPONSORS Music Director Matthew Ferrey Sub-Principal First Violin Graham Nicholson Principal Viola Elizabeth and Richard de Friend Sub-Principal Viola Nicholas and Judith Goodison Principal Cello Dr Christopher and Lady Juliet Tadgell Sub-Principal Cello Newby Trust Ltd Principal Flute Terence and Sian Sinclair Principal Oboe David and Linda Lakhdhir Principal Harpsichord Chris and Alison Rocker Principal Theorbo John and Joyce Reeve Principal Trumpet John and Madeleine Tattersall

Lady Alexander of Weedon Carol Atack and Alex van Someren Elise Badoy Dauby Julia and Charles Bland Richard and Elena Bridges Mrs D Broke Hugh Burkitt Clive Butler Jo and Keren Butler Daphne and Alan Clark Kate Donaghy The Hon Simon Eccles Mr John Everett Marshall Field CBE Malcolm and Rosalind Gammie Madeleine Gantley Christopher Hogwood CBE, in memoriam Graham and Amanda Hutton Mr and Mrs Evan Llewellyn Mark and Liza Loveday Anne Machin Roger Mayhew Alessandro Orsaria Christopher Purvis CBE and Phillida Purvis MBE Mrs Julia Rosier Sir Konrad and Lady Schiemann Mr Michael Smith

Mrs S Wilson Stephens Christopher Stewart Mr Peter Tausig Stephen Thomas Mr Anthony Travis Mrs Janet Unwin Julie and Richard Webb Mark West Mr Charles Woodward Tony and Jackie Yates-Watson and other anonymous donors

AAM ASSOCIATES Dr Aileen Adams CBE Angela and Roderick Ashby-Johnson Marianne Aston His Hon. Judge Michael Baker, Q.C. Professor John and Professor Hilary Birks Elisabeth and Bob Boas Mrs Stephanie Bourne Adam and Sara Broadbent George and Kay Brock Drs Nick and Helen Carrol David and Elizabeth Challen Derek and Mary Draper Nikki Edge Christopher and Jill Evans Tina Fordham Andrew and Wendy Gairdner The Hon. William Gibson The Hon. Mr and Mrs Philip Havers Miles and Anna Hember Mrs Helen Higgs Mr and Mrs Charles Jackson Heather Jarman Alison Knocker Richard and Romilly Lyttelton Richard Meade Mr Peter and Mrs Frances Meyer

Mrs Marilyn Minchom Goldberg Nick and Margaret Parker Peggy Post Chris and Valery Rees Jane Rabagliati and Raymond Cross Michael and Giustina Ryan Dr Robert Sansom The Hon. Zita Savile Mr Peter Shawdon Mr Sarah Shepley and Mr Kevin Feeney Peter Thomson and Alison Carnwath Professor Tony Watts OBE Peter and Margaret Wynn Patricia C Yeiser, USA and other anonymous donors

Trusts & Foundations Ambache Charitable Trust Amberstone Trust Angus Allnatt Charitable Foundation J Paul Getty Jr General Charitable Trust John Armitage Charitable Trust John Ellerman Foundation Limoges Charitable Trust R K Charitable Trust Sir John Fisher Foundation William A Cadbury Trust and other anonymous trusts and foundations

COMPANIES Beaux Arts London Savills VCCP

D U S S E K & B E E T HOV E N

Rejoice greatly! in an evening of Handel, Purcell and Bach

Rejoice! Rowan Pierce & David Blackadder

Tuesday 22 October 2019 West Road Concert Hall Cambridge Thursday 24 October 2019 Milton Court Concert Hall London Full programme details at aam.co.uk Concerts in Cambridge Online cambridgelivetrust.co.uk/tickets Telephone 01223 357851 In person Cambridge Live Box Office, Wheeler Street

Concerts in London Online barbican.org.uk Telephone 020 7638 8891 In person Barbican Advance Box Office

Get involved: @AAMorchestra academyofancientmusic @aamorchestra

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Explore If you have enjoyed this evening's concert, you may be interested in the following releases:

Re-Sound Beethoven Volume 3: Egmont

Föttinger, Malkovich, Bobro, Wiener Akademie Orchester / Haselböck [Alpha, ALPHA472]

Beethoven: The Symphonies

Academy of Ancient Music et al / Hogwood [Decca / L’Oiseau-Lyre, 4525512]

Beethoven: The Symphonies

Gewandhausorchester Leipzig et al / Chailly [Decca, 4783492]

Dussek: Duos for Harp and Piano Forte Masumi Nagasawa, Richard Egarr [Etcetera, KTC1436]

Dussek: Concerto for Two Pianos & Chamber Works Lubimov, Pashchenko, Finnish Baroque Orchestra [Alpha, ALPHA416]

The Classical Piano Concerto 1: Dussek Howard Shelley, Ulster Orchestra [Hyperion, CDA68027]

You can find many of AAM's recordings at www.prestomusic.com/aam. Receive £5 off when you spend £25 or more at Presto Classical with voucher code AAM2018.

2019-20 concerts Salvation and Damnation Season highlights: Vivaldi and Pergolesi: Sacred Baroque Monday 11 November 2019 Southbank Centre’s Queen Elizabeth Hall Mozart’s Final Flourish Friday 7 February 2020 Southbank Centre’s Royal Festival Hall Saving Michael Haydn Tuesday 19 May 2020 Southbank Centre’s Queen Elizabeth Hall

oae.co.uk

ACADEMY OF ANCIENT MUSIC Music Director Richard Egarr Hogwood Fellow Emma Safe 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

aam.co.uk @AAMorchestra academyofancientmusic

@aamorchestra

Barbican Hall and Milton Court Concert Hall Barbican Advance Box Office, Silk Street Tel. 020 7638 8891 www.barbican.org.uk West Road Concert Hall Cambridge Live Tickets Box Office Tel. 01223 357 851 www.cambridgelivetickets.co.uk

Engage Join us on our journey to explore, reveal and preserve baroque and classical music.

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 • news and updates through social media • 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

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 • new baroque performance summer school in 2020

LOVE

CLASSICAL

MUSIC ?

Feed your curiosity and love of classical music by joining the Royal Philharmonic Society. Among the benefits, members can attend – and exclusively watch online – our talks and events in which great artists and musical heroes share their fascinating stories. Upcoming guests include Nicola Benedetti, Dame Sarah Connolly and Sir Thomas Allen, among others. Every subscription helps us to help emerging musicians follow in their footsteps and find their voice, ensuring classical music continues to thrive for years to come. Find out more online at:

royalphilharmonicsociety.org.uk

AAM Strategic Recording Fund The Academy of Ancient Music is listened to more than any other similar ensemble online, and our recordings reach millions of people every year through both this medium and radio broadcasts. Streaming data shows our music is being listened to as far afield as Mexico, Montreal, Tokyo and Taipei. It is important that we engage strongly and swiftly with AAMâ&#x20AC;&#x2122;s new listeners that streaming services bring. This is why, in September 2017, we launched the Strategic Recording Fund. This Fund gives AAM the financial and artistic flexibility it needs to make fast, artistic-led decisions to record anything from just a single movement or aria to full 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.

Support for this Fund will make a huge difference to AAMâ&#x20AC;&#x2122;s artistic output and will help AAM secure itself as an authority in the performance and understanding of baroque and classical music. If you would like to donate to the Strategic Recording Fund, or to find out more information about it, please contact support@aam.co.uk

Featuring on:

4,530,746 fans (28m listens)

Soprano Mary Bevan during filming. Photo: Alexander Van Ingen

The generosity of our supporters in response to this Fund enabled us to record a range of short educational and promotional videos throughout last season, as well as make an audio recording of our highly successful Mortal Voices tour with Keri Fuge and Tim Mead in spring 2018.

D U S S E K & B E E T HOV E N

Who we are and what we do The Academy of Ancient Music is an orchestra with a worldwide reputation for excellence in baroque and classical music. It takes inspiration directly from the music's composers, using historically informed techniques, period-specific instruments and original sources to bring music to life in committed, vibrant performances.

performances. (Among its countless accolades for recording are Classic BRIT, Gramophone and Edison awards.) It has now established its own record label, AAM Records, and is proud to be the most listened-to orchestra of its kind online.

AAM's education and outreach programme, AAMplify, nurtures the The ensemble was founded by next generation of audiences and Christopher Hogwood in 1973 and musicians. With this expanding remains at the forefront of the worldwide programme, working from pre-school early music scene more than four through tertiary education and beyond, decades on; Richard Egarr became its AAM ensures its work reaches the Music Director in 2006. widest possible audience and inspires people of all ages, backgrounds and The Academy of Ancient Music has cultural traditions. always been a pioneer. It was established to make the first British recordings of This season AAM collaborates with orchestral works using instruments from VOCES8, Lucie Chartin, Viktoria Mullova, the baroque and classical periods and Jean Rondeau, Alison Balsom, Sofi has released more than 300 discs, many Jeannin, James the BBC Singers, the of which are still considered definitive Choir of King’s College, Cambridge,

Milton Abbey International Music Festival and Loughborough Festival Opera. Programmes include large-scale vocal masterpieces such as Bach’s St. John Passion and Handel’s Israel in Egypt, as well the ground-breaking modern premiere of Jan Ladislav Dussek’s Mass in G Minor; a piece which hasn’t seen the light of day since 1811. The AAM is based in Cambridge and is Orchestra-in-Residence at the city’s university. Its London home is the Barbican Centre, where it is Associate Ensemble, and it is also Orchestrain- Residence at the Grange Festival, Music at Oxford and the Apex, Bury St. Edmunds. Visit www.aam.co.uk to find out more.

Academy of Ancient Music

Choir of AAM

Violin I Bojan Čičić Elin White Magdalena Loth-Hill Davina Clarke James Tol

Soprano Philippa Goss Philippa Hyde Eloise Irving Dani May Philippa Murray

Tenor Jack Granby Robert Jenkins Thomas Kelly Matthew Sandy Julian Stocker

Alto Cathy Bell Holly-Marie Bingham Christopher Field Clara Kanter Susanna Spicer

Bass James Arthur Adrian Horsewood Richard Latham Jonathan Stainsby Reuben Thomas

Violin II Liz MacCarthy Persephone Gibbs Stephen Pedder William Thorp Joanna Lawrence Viola Jane Rogers Jordan Bowron Heather Birt Carmen Martinez Cruz

Cello Sarah McMahon Imogen Seth-Smith Jonathan Rees Gavin Kibble

Horn Gavin Edwards David Bentley Richard Bayliss Clare Penkey

Double Bass Judith Evans Timothy Amherst

Trumpet David Blackadder Philip Bainbridge

Flute Rachel Brown Guy Williams

Timpani Benedict Hoffnung

Oboe Leo Duarte Federico Forla Clarinet Emily Worthington Oscar Arguelles Bassoon Ursula Leveaux Joe Qui

Organ Alexandra Nepomnyashchaya Keyboard Technician Malcolm Greenhalgh

Music Director Richard Egarr

Head of Finance Julie Weaver

Hogwood Fellow Emma Safe

Head of Concerts and Planning Fiona McDonnell

Chief Executive Alexander Van Ingen

Head of Development Liz Brinsdon

Education and Outreach Manager Sue Pope

Development and Media Co-ordinator Kemper Edwards

Marketing and Audience Engagement Manager Lorna Salmon

Concerts and Projects Co-ordinator Alice Pusey

PR Consultant Orchid Media PR Programme Editor Sarah Breeden

Librarian Emilia Benjamin

Board of Trustees

Development Board

Council

Paul Baumann CBE Hugh Burkitt Elizabeth de Friend Philip Jones (Chair) Ash Khandekar Graham Nicholson John Reeve Terence Sinclair Madeleine Tattersall Janet Unwin Kim Waldock

Elise Badoy Dauby Hugh Burkitt Elizabeth de Friend (Chair) Andrew Gairdner MBE Philip Jones Agneta Lansing Craig Nakan Chris Rocker Terence Sinclair Madeleine Tattersall

Richard Bridges Kate Donaghy Matthew Ferrey Jonathan Freeman-Attwood CBE Nick Heath Lars Henriksson Christopher Lawrence Christopher Purvis CBE (Honorary President)

Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell

A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

J.S. BACHOrchestral Suites

A selection of our critically acclaimed recordings are available to buy tonight, or online aam.co.uk/recordings

“Exuberant and full of vitality.” BBC Radio 3 “a feast of meaningfully understated musicianship. I loved it.”

HANDEL Brockes-Passion

(1724 version)

£40 (3 CD, deluxe)

With an all-star cast including James Gilchrist as Evangelist and Matthew Rose as Jesus.

DARIO CASTELLO

£20 (2 CD)

Sonate Concertate In Stil Moderno, Libro Primo

BIRTH OF THE SYMPHONY:

Handel to Haydn

“AAM’s performances gave virtually unalloyed pleasure” GRAMOPHONE “A striking success” BBC MUSIC MAGAZINE

£12

J.S. BACH

St. Matthew Passion

AAM001

AAM005

“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD

(1727 version)

GRAMOPHONE

£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

£20 (2 CD)

J.S. BACH St. John Passion

AAM002

AAM007

300th anniversary recording from our new edition of the score, new in 2019. “A gruesomely graphic work to break Bach’s monopoly” THE FINACIAL TIMES

AAM003

Editor’s Choice, GRAMOPHONE

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)

Get involved: @AAMorchestra academyofancientmusic @aamorchestra 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 the Apex, Bury St Edmunds Orchestra-in-Residence for VOCES8 Milton Abbey International Summer Music Festival Associate Ensemble, Teatro San Cassiano Research Partner: University of Oxford Partner: Culture Mile Network Music Director: Richard Egarr Hogwood Fellow: Emma Safe 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 Cover Photo: Patrick Allen

Full programme details at aam.co.uk