concert programme
Nicolas Altstaedt Plays Haydn
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JS BACHOrchestral Suites “Exuberant and full of vitality.” BBC Radio 3 “a feast of meaningfully understated musicianship. I loved it.” AAM003
Editor’s Choice, GRAMOPHONE
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JS BACH St John Passion (1724 version)
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Sonate Concertate In Stil Moderno, Libro Primo
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DARIO CASTELLO
THE BIRTH OF THE SYMPHONY:
AAM001
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“AAM’s performances gave virtually unalloyed pleasure” GRAMOPHONE “A striking success” BBC MUSIC MAGAZINE
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“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
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Handel to Haydn
“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD
JS BACH St Matthew Passion
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This two-disc compilation of core baroque and classical repertoire gives a taste of our unrivalled award-winning catalogue of over 300 recordings.
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ACADEMY OF ANCIENT MUSIC 2018-19 SEASON
Academy of Ancient Music Nicolas Altstaedt
Nicolas Altstaedt plays Haydn
director & cello
West Road Concert Hall, Cambridge
Thursday 28 March 2019 7.30pm
Milton Court Concert Hall, London
Saturday 30 March 2019 8.15pm
Muziekgebouw Frits Philips, Eindhoven, Netherlands
MARTINEZ
Symphony (Overture) in C major (1770)
CPE BACH
Concerto for Cello in A major, Wq172 (1753)
HAYDN Symphony No. 14 in A major (c. 1762) Concerto for Cello No. 1 in C major (c. 1761-65)
HAYDN
"Andante Cantabile" from Symphony No. 13 (1763) 20-minute interval
This concert is kindly sponsored by Mark West
Nicolas Altstaedt plays Haydn
Wednesday 27 March 2019 7.30pm
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Welcome from Chief Executive, Academy of Ancient Music I am very excited to welcome cellist Nicolas Altstaedt to join with the Academy of Ancient Music in this programme of Haydn and CPE Bach. I was captivated on first hearing Nicolas's recording of Haydn's Cello Concerto No. 1 on the radio some years ago – I had to stay in the car to hear the concerto through to the end and find out who was performing. Nicolas has a natural flair for this music and a strong musical charisma; his recordings of the CPE Bach concertos and the two Haydn concertos are among the finest available. He has recently begun conducting too, and in these concerts with AAM he will direct both from the cello and the podium. After our last concerts in February with recorder player Lucie Horsch we embarked on a tour of Holland, performing in Heerlen, Groningen, Rotterdam and Amsterdam. Substantial audiences and standing ovations greeted Lucie and AAM, and I am delighted that the new album we recorded together Baroque Journey reached no. 1 in the Specialist Classical Chart in the week of release; it is well worth hearing. AAM's project to re-create and explore Handel's Brockes-Passion is nearly at its culmination, with a landmark performance in just a few weeks' time on 19th April, 300 years from the first known performance
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(Hamburg, Easter week 1719). In this anniversary year, we have created a brand new critical edition of the score; a new translation of the libretto; we will publish Jennens's version of the text for the first time; and we aim to make an important new recording of this incredible piece. We couldn't re-discover the Brockes-Passion without your support, and we are very grateful to those who have helped us get this far. But there is still more to do, and I warmly encourage you to take the opportunity to sponsor an aria, recit, role or more – do have a look at page 15 of this programme – and to join us to make this project possible. Just seven arias remain to be sponsored, along with the role of Petrus and the Glaubige Seelen: I would love to ensure that every element of this substantial project is supported in order to enable the Academy of Ancient Music to deliver the very best recording. Do contact me directly (alexander.vaningen@aam.co.uk) if you would like to help us make this possible.
Alexander Van Ingen Chief Executive Academy of Ancient Music
N I C OL A S A LT S TA E D T P L AY S H AY DN
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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
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Lady Alexander of Weedon Carol Atack and Alex van Someren Clive Butler Richard and Elena Bridges Elise Badoy Dauby John and Gilly Baker Mrs D Broke Jo and Keren Butler Hugh Burkitt Daphne and Alan Clark Kate Donaghy Mr John Everett The Hon Simon Eccles Marshall Field CBE Malcolm and Rosalind Gammie Christopher Hogwood CBE, in memoriam Graham and Amanda Hutton Mark and Liza Loveday Mr and Mrs Evan Llewellyn Roger Mayhew Anne Machin Alessandro Orsaria Christopher Purvis CBE and Phillida Purvis MBE Mrs Julia Rosier Sir Konrad and Lady Schiemann Mrs S Wilson Stephens Christopher Stewart
Mr Michael Smith Mr Anthony Travis Stephen Thomas Mark West Julie and Richard Webb Mr Charles Woodward Tony and Jackie Yates-Watson
AAM ASSOCIATES Dr Aileen Adams CBE Cumming Anderson The Hon Mr and Mrs Philip Havers Angela and Roderick Ashby-Johnson Marianne Aston Professor John and Professor Hilary Birks Mrs Stephanie Bourne Adam and Sara Broadbent Elisabeth and Bob Boas George and Kay Brock Charles Bryant Drs Nick and Helen Carrol David and Elizabeth Challen Derek and Mary Draper Nikki Edge Christopher and Jill Evans Michael and Michele Foot CBE Tina Fordham Andrew and Wendy Gairdner The Hon William Gibson Miles and Anna Hember Mrs Helen Higgs Heather Jarman Mr and Mrs Charles Jackson Alison Knocker Richard and Romilly Lyttelton Mr Peter and Mrs Frances Meyer Mrs Marilyn Minchom Goldberg Richard Meade
Peggy Post Nick and Margaret Parker Chris and Valery Rees Jane Rabagliati and Raymond Cross Michael and Giustina Ryan The Hon Zita Savile Dr Robert Sansom Mr Sarah Shepley and Mr Kevin Feeney Mr Peter Shawdon Peter Thomson and Alison Carnwath Mrs Janet Unwin Peter and Margaret Wynn Professor Tony Watts OBE Patricia C. Yeiser, USA and other anonymous Âdonors
Trusts & Foundations Ambache Charitable Trust Backstage Trust Constance Travis Charitable Trust Dunard Fund Ernest Cook Trust Geoffrey C Hughes Charitable Trust J Paul Getty Jr General Charitable Trust John Armitage Charitable Trust Newby Trust Ltd Thistle Trust R K Charitable Trust and other anonymous trusts and foundations
COMPANIES Beaux Arts London Savills VCCP
New Light on Handel’s Masterpiece
Messiah 1741 The Messiah from the Perspective of 1741 focusing on the work as first conceived by Handel with a most informative preface and a detailed critical report. Appendices include all re-composed arias for Guadagni and valuable information on performance practice.
Edited by Malcolm Bruno PB 5560 Score
OB 5560 Performance material
EB 8450 Piano vocal score
A Benchmark Critical Edition offering a reconstruction of the early wind parts based on a unique early source reflecting Handel’s continuo writing regarding cello, bass and viola basso parts incorporating all known 18th-century vocal ornamention featuring for the first time J.G. Herder’s German text with Handel’s music
ESSENTIAL BACH RECORDINGS Lars Ul L Ulrik ik M Mortensen t &C Concerto t C Copenhagen h
N EW
The Brandenburg Concertos No. 1–6 »Yet another successful Bach album from the Danish-based international baroque ensemble – 6 out of 6 stars.« Thomas Michelsen, Politiken September 2018 CPO 555 158–2
Mass in B Minor
Maria Keohane, Joanne Lunn Alex Potter, Jan Kobow, Peter Harvey
baroque vo c a l
St Andrews Bach Choral Course 23-28 July 2019 The St Andrews Bach Choral Course welcomes keen singers aged sixteen or above (no upper age limit!) Director: Sam Evans Places for student singers available, as well as up to two conducting apprenticeships. Join us in beautiful, historic St Andrews to immerse yourself in the music of J S Bach and contemporaries. The course concludes with a liturgical performance of a Bach cantata. www.st-andrews.ac.uk/music/perform /shortcourses/choralcourse
»One of the most profoundly captivating interpretations to have emerged recently.« David Vickers, Grammophone March 2016 Chosen for ‘Building a Library’ BBC 3 February 2017 CPO 777 851–2
coco.dk/en/discography/
Photography by Sonia Stevenson. The University of St Andrews is a charity registered in Scotland, No: SC013532.
AAM’s Legacy Giving
Remembering AAM in your Will
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!”
Invitation to Legacy Lunch If you are interested in finding out more about legacy support for AAM, or if you are planning to leave AAM a legacy, you are very welcome to attend an informal lunch in late spring. To find out more please contact Ellen Parkes (ellen.parkes@aam.co.uk or 01223 341 097) for more details.
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.
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“Feasting Reconciles Everybody"
AAM Quick Pick
In the late 1780s Haydn worked in Hungary but the local diet didn't sit well. in a letter to a friend he lamented the quality of the food including "a tough grill instead of a Bohemian pheasant [and] Hungarian salad instead of good juicy oranges".
Each concert Lars Henriksson picks out one key thing to listen out for.
Samuel Pepys
This recipe from William Verrel's 1758 A Complete System of Cookery, in which is Set Forth A Variety of Genuine Receipts, would have made Papa Haydn's heart rejoice.
Pheasant a la mongelas with fat livers Provide a large pheasant, cut off the pinions as to roast, and with the liver make such a forcemeat as you seen set down before, put it into your pheasant, and spit it, with some lards of bacon and paper, take care you roast it nicely and prepare your sauce: take some fat livers of turkeys or fowls, blanch them till thoroughly done, and pound 'em to a paste, put to some gravy and cullis [clear meat broth], mix it well together, and pass it through an etamine [muslin-type cloth]; cut off the flesh of the pheasant ... and add your sauce, minced parsley and the juice of two or three oranges.
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Carl Philipp Emmanuel Bach, JS Bach's most successful son and a brilliant composer, still dwells in relevant obscurity for some. Initially studying law, he turned his attention to music and got an appointment in Berlin, in service of the Crown Prince Frederick of Prussia. Here he was influenced by the move away from the baroque form, by then considered antiquated. The transitional period between baroque and classical saw many different directions. His style could be described as “Empfindsamer stil” (sensitive style), and his music was expressive, dynamic and dramatic. Although being an important influence during the movement towards classicism (Mozart said of him: “Bach is the father, we are the children”), he never quite “made it” and his particular musical style had no true successors. CPE Bach spent his entire career in limbo between the baroque and classical periods. The wonderful Cello Concerto in A major gives us a good opportunity to examine where he is to be found on the scale.
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Marianne von Martínez (1744-1812)
Symphony in C major (1770) Allegro con spirito / Andante con moto / Allegro spiritoso Marianne Martínez, the only female composer of the Classical period known to have written a symphony, was born in Vienna to a family of Spanish descent. As a child she came under the educational influence of Pietro Metastasio, the court poet and most distinguished opera librettist of his day, who happened to lodge in the Martínez family home. Also in the house at the same time were the celebrated opera composer and singing teacher Nicola Porpora and the young Joseph Haydn (then working as Porpora’s accompanist), and Martínez studied keyboard, singing and composition with the two of them. Her singing and playing was soon attracting attention and in 1761, when she still only 17, a Mass of hers was performed in Vienna. When Metastasio died in 1782 the Martínez family inherited his estate and were able to maintain a large household and host evening soirées at which Haydn and Mozart were among the guest performers – Marianne herself played a four-hand piano sonata with Mozart at one of them. In 1790 she also founded a successful singing school on the premises.
Apart from her childhood teachers, Martínez claimed to have been taught by the court composer Giuseppe Bonno, and to have as her principal models the leading contemporary operatic masters Hasse, Jommelli and Galuppi, alongside three earlier masters in Handel, Lotti and Caldara. It is not surprising then that her relatively small output as a composer consisted mostly of vocal music in the Italian (more specifically Neapolitan) style, including two oratorios, three cantatas, a Mass and 26 free-standing arias, often to texts by Metastasio. There were also piano concertos and sonatas, however (many sadly lost), as well as that Symphony. Composed in 1770, it, too, shows Italian influence in its cheerful and easygoing galant style and threemovement format, making it closer in atmosphere to what we find in the contemporaneous symphonies and overtures of the teenage Mozart than in those of her erstwhile teacher Haydn. AAM is grateful for the support of the ABO Sirens fund, enabling the performance of Martínez's Symphony in C
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Carl Philipp Emanuel Bach (1714-88)
Cello Concerto in A major, Wq172 (1753) Allegro assai / Andante / Allegro assai Carl Philipp Emanuel, the second son of Johann Romantic symphonies date from this time, as well Sebastian Bach, was born in Weimar, where his as an impressive series of large-scale choral works. father was a court musician. As a boy he followed Following his death in 1788, a Hamburg newspaper Sebastian’s career moves to Cöthen and Leipzig, lamented that "music loses in him one of its greatest and in 1740 obtained a post as harpsichordist at the ornaments, and to musicians the name of Carl court of Frederick the Great in Berlin. He Philipp Emanuel Bach will always remained there for nearly three decades, be a holy one." “To musicians, the during which he suffered considerable frustration; his principal duty was to name of Carl Phillipp The concerto in the Classical accompany the King’s performances and pre-Classical periods was Emanuel Bach will on the flute, and, though he composed an older form than the newalways be a holy one." minted symphony, and like many prolifically and in 1753 published one of the century’s most important musical composers Bach inevitably showed treatises in the Essay on the True Art less structural originality in it. His of Playing Keyboard Instruments, he was far from distinctive personality still shows through, however, being the senior musical figure at court. It was only even in pre-Hamburg works such as the after he had attained the post of Kantor (effectively A major Concerto in tonight’s programme, music director) for the city of Hamburg in 1768 composed around 1753, perhaps for the Berlin that he enjoyed true professional fulfilment, as his court cellist (and later cathedral organist) Christian international reputation rose and his musical range Friedrich Schale. Thus while its alternation of broadened – his daringly original, almost protoorchestral tuttis and virtuosic solo episodes in the
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first movement has the formal shape of the solo concerto as established by Vivaldi and others at the beginning of the century (albeit now on a more leisurely scale), the expressive intervals and taut, propulsive orchestral trills and tremolos of the outer movements give it a confident melodic cut that is
recognisably Bachian. His deeper artistic personality emerges with solemn power, however, in the dark and plaintively confessional slow movement, surely a highpoint of lyrical expression in mid-18th-century instrumental music.
Joseph Haydn (1732-1809)
“Andante Cantabile" from Symphony No. 13 in D major (1763) When Haydn joined the service of the Esterházy princes in 1761, his post as Vice-Kapellmeister carried very clearly defined duties, one of which was "to compose such pieces of music as his Serene Princely Highness may command" for performance at his court at Eisenstadt, some 25 miles outside Vienna. In effect, this meant that, while the ageing Kapellmeister Gregor Werner looked after the church music, Haydn’s job was to write for and direct a small orchestra recently recruited from among the ranks of Vienna’s freelance players. Haydn himself had formerly made a living in this way, and many members of the band were his friends, so it is no great surprise that the works he wrote for the
ensemble include concertos for some of them. In addition, several of his symphonies of the early 1760s make a point of featuring solo passages for these musicians. Symphony No. 13 is one of several that grandly and joyfully celebrates the brief presence in the band in 1763 of four horn-players, but they are silent (along with the flutes, oboes and timpani), in the second movement, an aria-like Adagio cantabile which is nothing less than a concerto-movement for cello, rich with exquisite and graceful lyrical detail. 20-minute interval
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Joseph Haydn
Symphony No. 14 in A major (c. 1762) Allegro molto / Andante / Menuetto and Trio: Allegretto / Finale: Allegro Although he did not invent the genre, Haydn was the symphony’s earliest master and has justly been called its "father" for his achievement in transforming it from light court music into the definitive orchestral genre and acknowledged public statement of a composer’s skill and seriousness. His earliest examples – composed in the late 1750s for his first employer, the Bohemian Count Morzin – are modest and polite, but already show a high level of craftsmanship and a musical mind ready to avoid the obvious. By the time he was writing for the Esterházys the following decade he was not only more assured but more assertive of his own personality and searching for ever more variety – and not just by writing solos for the members of the orchestra. Symphony No. 14 (probably written slightly before No. 13) is an exercise in concision that results in a first movement only 100 bars long, and the other
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three less than 70 each. No one could feel, however, that anything important has been left out. The first movement is cast as a tight but fully made sonataform, lent energy by a swinging triple-time meter with driving quavers in the bass. The slow second, for strings alone, is actually adapted from one in an earlier divertimento (where, with ensuing variations, it had stood as the finale), and presents an elegant and softly treading melody for the violins, with the unusual feature that a solo cello shadows them throughout at an octave below. As the violas also "double" the bass-line, the result is a predominantly two-part texture. It was a movement that proved popular beyond the bounds of this symphony; in 1767 an arrangement was published for keyboard. After this the Menuetto features a supple oboe solo in its central minor-key Trio, and the symphony ends in a burst of contrapuntal fun.
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Joseph Haydn
Cello Concerto No. 1 in C major (c. 1761-65) Moderato / Adagio / Allegro molto For all their manifest charm and freshness, Haydn’s concertos do not occupy the crucial position in his output that the symphonies and string quartets do. While the latter were nothing less than central to the development of Haydn as an artist, the concertos marked no comparable progress, the burden of the genre’s status as the most popular instrumental form of the previous 50 years perhaps proving hard to shake off. As a result, his output of concertos – most of which dates from his Vice-Kapellmeister years of the early 1760s – is relatively conservative and content, it seems, with adopting the received and trusted formal procedures of the Baroque. Not all of the concertos Haydn wrote for his friends in the Esterházy orchestra survive, but we know that there was at least one each for flute, harpsichord and double bass, four for violin and two each for horn and for cello. The lucky recipient of the two cello concertos – and presumably the solos already heard in tonight’s symphonic movements – was almost
certainly Joseph Weigl, a young Bavarian-born virtuoso who had been appointed to the orchestra in 1761 on Haydn’s recommendation, and who stayed there until he left to join the band of Vienna’s Kärntnertortheater in 1769. Haydn and his wife stood as godparents to two of Weigl’s children, one of whom subsequently became a successful opera composer. One of the two concertos Haydn wrote for Weigl is sadly lost, and even tonight’s work was only rediscovered in 1961, since when it has achieved a popularity that outshone not just the composer’s previously more familiar D major Cello Concerto of 1783 (not written for Weigl), but the rest of his concerto output as well. The course of the first movement follows the basic ritornello plan we have already encountered in CPE Bach’s concerto, often using material from the ritornello as starting-points for the solo passages; in this case the ritornello’s strong march-like opening theme and the sinuous
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tune which follows on from it prove especially fruitful. The slow movement is one of Haydn’s warmest melodic inspirations, with cello and orchestra discussing and elaborating its aria-like theme in perfect and tender accord, after which
Programme notes © Lindsay Kemp
Explore
On AAM's YouTube:
If you enjoyed tonight’s concert, you may be interested in the following recordings:
The Cello Maker
Haydn Cello Concertos 1 & 2
Nicolas Altstaedt, Kammerakademie Potsdam / Sanderling [Movimentos Edition GEN89148]
CPE Bach Cello Concertos
Nicolas Altstaedt, Arcangelo / Cohen [Hyperion CDA68112]
Haydn Symphonies Vol.2, Vol.3
AAM / Hogwood [Decca Vol.2: 4365922, Vol.3: 4336612]
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the finale fizzes with a dash and energy reminiscent of CPE Bach, giving the soloist’s technique a good run-out and bringing this sprightly concerto to a scampering finish.
youtube.com/acadofancientmusic/ film featuring Haydn's Adagio Cantabile Nicolas Altstaedt, AAM
Playlist: From Her Pen
Music videos rediscovering neglected works by female baroque composers AAM / Richard Egarr / Steven Devine 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.
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Nicolas Altstaedt director and cello
© Marco Borggreve
Washington and Edward Gardner, the NHK and Yomiuri Symphony at Suntory Hall, as well as return performances with the DSO Berlin and Rotterdam Philharmonic amongst others. Last season, he gave the highly acclaimed Finnish premiere of Esa-Pekka Salonen’s Cello Concerto under the composer’s baton at the Helsinki Festival and was also the Artist in Spotlight at the Concertgebouw, Amsterdam. German-French cellist Nicolas Altstaedt is one of the most sought after and versatile artists today. As a soloist, conductor and artistic director, he performs repertoire spanning from early music to contemporary. This season he is Artist in Residence at the NDR Elbphilharmonie Orchestra. Upcoming highlights include a tour at major European venues with the SWR Orchestra and Teodor Currentzis, a tour with B’Rock and René Jacobs, and debuts with the National Symphony Orchestra
As a conductor he will debut with the SWR Stuttgart, Orchestre Philharmonique de Radio France, the Aurora, Zurich and Scottish Chamber orchestras, and l’Orchestre de Chambre de Lausanne. In 2012 Nicolas was chosen by Gidon Kremer to succeed him as the new artistic director of the Lockenhaus Chamber Music Festival and in 2014 became the new Artistic Director of the Haydn Philharmonie. He will be Artistic Director of the Pfingstfestspiele Ittingen 2019 and 2020.
As a chamber musician, Nicolas's partners include Janine Jansen, Vilde Frang, Christian Tetzlaff, Pekka Kuusisto, Tabea Zimmermann and the Quatuor Ébène. He performs at both Salzburg's Mozart and Summer festivals, Verbier, Utrecht and the BBC Proms. He often performs new music and has performed and worked with Thomas Adès, Jörg Widmann, Wolfgang Rihm, Thomas Larcher, Fazil Say and Sofia Gubaidulina. Sebastian Fagerlund, Anders Hillborg, Helena Winkelman and Fazil Say are writing concertos for him. Nicolas’s recording of CPE Bach Concertos on Hyperion with Arcangelo and Jonathan Cohen received the BBC Music Magazine Concerto Award 2017. His latest recording, Four Cities, a recital programme released on Warner Classics, received the Edison Klassiek 2017.
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H A N D E L’ S
Brockes-Passion on the 300th anniversary of its first performance
Richard Egarr Robert Murray Cody Quattlebaum
director & harpsichord
Evangelist
Christus
with Elizabeth Watts, Ruby Hughes, Tim Mead, Gwilym Bowen & Nicky Spence
Good Friday 19 April 2019, 3.00pm Barbican Hall, London Box Office: 020 7638 8891 barbican.org.uk
Handel’s Brockes-Passion: Sponsor an Aria
AAM aims to produce a definitive recording of this work taken from our concert at the Barbican – but we can only do it with your help.
and send you a copy as soon as it is released. There are now only a limited number of sponsorship options available (please see table below) so please contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01233 341 097 as soon as possible to secure your choice! 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.
We invite you to sponsor an aria, or more – we will credit you in the beautifully presented hardback CD booklet,
Thank you for supporting our exploration, revelation and preservation of Handel’s Brockes-Passion.
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.
Recitative (47 26 available) £ 60 Chorale (5 available) £115 Aria (28 7 available) £200 Arioso (5 1 available) £225 Chorus (5 2 available) £260 Duet (2 available) £320 Jacobus £400 Johannes £400 Surtitles (2 available) £400 Research (new edition) (6 3 available) £475 Chorus – Soprano £600 Chorus – Alto £600 Chorus – Tenor £600
Chorus – Bass £ 600 Libretto Editing £ 800 "Gläubige Seele" (tenor) £ 950 Pilatus £1,000 Maria & Soldier £1,100 Printing (new edition) £1,200 Centurian & Maids £1,400 Judas £1,400 Libretto (new translation) £1,600 "Gläubige Seele" (sop.) £1,800 Petrus £2,000 Jesus £2,500 Evangelist £4,000 "Tochter Zion" £5,000
“It’s astonishing that there are so few performances and recordings of this profoundly stirring work, unique in Handel’s output… 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)
Photo: Eric Richmond
190x128_mono_esqad.qxp_Layout 1 11/03/2019 20:15 Page 1
Garfield Jackson viola
West Road Concert Hall
David Waterman cello 11 West Road Cambridge CB3 9DP
Andrew Watkinson violin
Wigmore Hall
Ralph de Souza violin 36 Wigmore Street London W1U 2BP
Wednesday, 24 April 2019
Wednesday, 22 May 2019
Wednesday, 29 May 2019
BEETHOVEN String Quartet in D major Op.18 No.3
MOZART String Quartet K.465 (‘Dissonance’) Short pieces* by SALLY BEAMISH, PRACH BOONDISKULCHOK, JONATHAN DOVE and GILES SWAYNE (40th Anniversary Commissions) SCHUBERT String Quartet No.14 in D minor (‘Death and the Maiden’)
BEETHOVEN String Quartet in F major Op.18 No.1 Short pieces* by SALLY BEAMISH, PRACH BOONDISKULCHOK, JONATHAN DOVE and GILES SWAYNE (40th Anniversary Commissions) SCHUBERT String Quartet in D minor (‘Death and the Maiden’)
DVORAK String Quartet in E major Op.80 BRAHMS String Sextet No.2 in G major Op.36 Guest second violin Emma Lisney Guest second cello Joy Lisney
Tickets: £40, £35, £30, £25, £18 Box Office: 020 7935 2141 Book online: www.wigmore-hall.org.uk
Tickets: £28, £26 (65+), £14 (reg. disabled), £6 (students and under 16s). Tickets available from: Cambridge Live Tickets, 2 Wheeler Street, Cambridge CB2 3QB. Box Office: 01223 357851 Book online: www.cambridgelivetickets.co.uk
(NB: A non-refundable £3 administration charge applies to online bookings.)
* These pieces were commissioned to celebrate The Endellion String Quartet’s 40th Anniversary and are generously supported by Lark Music and Brompton’s Auctioneers. Sally Beamish’s piece is additionally supported by Turner Sims Southampton. Sponsored by
www.larkmusic.com
All concerts begin at 7.30 p.m. and end at approximately 9.30 p.m. Join us on
www.endellionquartet.com
BBC RADIO 3 LUNCHTIME CONCERTS
LSO DISCOVERY FREE FRIDAY LUNCHTIME CONCERTS
Selected Fridays at 1pm
Selected Fridays at 12.30pm
Featuring the Nash Ensemble, Ashley Wass, Lucy Crowe, Adam Walker, Carolyn Sampson, Alice Sara Ott, Ray Chen & more
Drop in for 45 minutes of free music performed by LSO and Guildhall School musicians, with introductions from presenter Rachel Leach.
lso.co.uk/lsostlukes 161 Old Street, EC1V 9NG
BAROQUE AT THE EDGE 4 to 6 January 2019 Leading musicians from all backgrounds take the music of the Baroque and see where it leads them.
ACADEMY OF ANCIENT MUSIC Music Director Richard Egarr Hogwood Fellow Sandy Burnett Founder Christopher Hogwood CBE
11b King’s Parade, Cambridge CB2 1SJ +44 (0)1223 301509 info@aam.co.uk | www.aam.co.uk Registered charity number 1085485
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 Partner: Culture Mile
All details correct at time of printing
Visit aam.co.uk to find out more and to watch and listen to us in action
West Road Concert Hall Cambridge Live Tickets Box Office Tel. 01223 357 851 www.cambridgelivetickets.co.uk
@AAMorchestra
academyofancientmusic
Barbican Hall and Milton Court Concert Hall Barbican Advance Box Office, Silk Street Tel. 020 7638 8891 www.barbican.org.uk
Explore We seek to engage with out 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
Online
• past concert programme information • performance and educational video content on YouTube • 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
Learning
• dedicated Education & Outreach Manager, curating programmes for schools and communities • working with the next generation of performers and audience members • open rehearsals; opportunities to engage with performers • high-level scholarship and research presented in informative ways
jan‘19 11 26
36 performances 18 locations 1 unique festival For tickets & more information:
vallettabaroquefestival.com.mt
MINISTRY FOR JUSTICE, CULTURE & LOCAL GOVERNMENT
N I C OL A S A LT S TA E D T P L AY S H AY DN
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. The ensemble was founded by Christopher Hogwood in 1973 and remains at the forefront of the worldwide early music scene more than four decades on; Richard Egarr became its Music Director in 2006. The Academy of Ancient Music has always been a pioneer. It was established to make the first British recordings of orchestral works using instruments from the baroque and classical periods and has released more than 300 discs, many of which are still considered definitive
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.
Programmes include large-scale vocal masterpieces such as Bach’s St Matthew Passion, Handel’s Israel in Egypt, and a rare performance of Handel's Brockes-Passion, as well as concert performances of operas including Dido and Aeneas and The Marriage of Figaro.
AAM’s education and outreach programme, AAMplify, nurtures the next generation of audiences and musicians. With this expanding programme, working from pre-school through tertiary education and beyond, AAM ensures its work reaches the widest possible audience and inspires people of all ages, backgrounds and cultural traditions.
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 Orchestra-inResidence at the Grange Festival, Chiltern Arts Festival, Music at Oxford and the Apex, Bury St Edmunds. Visit www.aam.co.uk to find out more.
This season AAM collaborates with Michael Collins, VOCES8, Lucie Horsch, Nicolas Altstaedt, Tenebrae, the BBC Singers, the Choir of King’s College, Cambridge, and the Grange Festival.
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A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Academy of Ancient Music Violin I Bojan Čičić Sijie Chen Henry Tong Oliver Cave
Oboe Leo Duarte Lars Henriksson
Cello Sarah McMahon Jonathan Rees
Bassoon Joe Qui
Double Bass Judith Evans
Harpsichord Alastair Ross Keyboard Technician Malcolm Greenhalgh
Horn Daniele Bolzonella David Bentley
© Patrick Allen
Violin II James Toll Davina Clarke William Thorp Conor Gricmanis
Viola Jane Rogers Ricardo Cuende Isuskiza
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N I C OL A S A LT S TA E D T P L AY S H AY DN
Music Director Richard Egarr Hogwood Fellow Sandy Burnett Chief Executive Alexander Van Ingen General Manager Anthony Brice
Head of Concerts and Planning ChloĂŤ Wennersten Education and Outreach Manager Sue Pope Concerts and Projects Co-ordinator Alice Pusey
Development Manager Ellen Parkes
Development Consultant Programme Editor Sarah Breeden John Bickley
Fundraising and Marketing Assistant Kemper Edwards
Marketing Consultants Bethan Sheppard ChloĂŤ Priest Griffiths
Finance Manager Elaine Hendrie
PR Consultant Orchid Media PR
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 Peter Hullah Philip Jones Agneta Lansing Roger Mayhew Craig Nakan Chris Rocker Terence Sinclair Madeleine Tattersall
Richard Bridges Kate Donaghy Jonathan Freeman-Attwood CBE Nick Heath Lars Henriksson Christopher Lawrence Christopher Purvis CBE
Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell
(Honorary President)
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We are delighted to offer a 20% discount on our music titles upon presentation of this programme in our city centre bookshop. Valid until 30th April, 2019 1 Trinity Street, Cambridge CB2 1SZ 01223 333333 bookshop@cambridge.org
Johann Kuhnau
Magnificat The sacred works of the Leipzig St. Thomas Cantor Johann Kuhnau (1660–1722) have so far largely gone unnoticed in terms of research and performance practice. His »Magnificat« is considered Kuhnau’s most ambitious and best known vocal work.
Magnificat in C major with Insertion Movements for Performances over Christmas edited by David Erler
First Urtext edition, edited from authentic manuscript sources Detailed text sections, facsimiles as well as critical report Available for sale, complete
PB 32108 Score OB 32108 Performance material EB 32108 Piano vocal score by Andreas Köhs
18-19
concert programme
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
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
Mozart’s Requiem
Saturday 14 November 2018, King’s College Chapel, Cambridge
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
Michael Collins & Mozart
Handel’s Brockes-Passion
Friday 23 November 2018, Oxford Town Hall Sunday 25 November 2018, West Road Concert Hall Thursday 29 November 2018, Milton Court Concert Hall
Handel’s Messiah
2018-19 Season at a glance:
Nicolas Altstaedt plays Haydn
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
Vivaldi’s Four Seasons
Design by AproposCover photo: Patrick Allen
Purcell’s Dido & Aeneas
Good Friday 19 April 2019, Barbican Hall
Handel’s Israel in Egypt
Friday 10 May 2019, Milton Court Concert Hall Monday 13 May 2019, St James’ Church, Chipping Campden
Barbican Weekend: Sound Unbound
Saturday 18 - Sunday 19 May 2019, Barbican Centre
Handel’s Messiah
Saturday 1 December 2018, Vic, Spain Sunday 2 December 2018, Granada, Spain
Saturday 15 June 2019, Halle, Germany
Bach’s Christmas Oratorio
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)
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
Mozart’s Le nozze di Figaro
Musick for the Royal Fireworks Friday 21 June 2019, Katowice, Poland
Partner, Culture Mile Network