concert programme
Lucie Horsch & Richard Egarr
18-19
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
We have released five critically acclaimed studio recordings on our own in-house record label, AAM Records. You can learn more about these as well as our rich back-catalogue of over 300 recordings on other labels at aam.co.uk/recordings.
JS BACH St John Passion (1724 version)
All the titles here are available to buy tonight or online aam.co.uk/recordings
Sonate Concertate In Stil Moderno, Libro Primo
With an all-star cast including James Gilchrist as Evangelist and Matthew Rose as Jesus. AAM002
DARIO CASTELLO
THE BIRTH OF THE SYMPHONY:
AAM001
AAM005
“AAM’s performances gave virtually unalloyed pleasure” GRAMOPHONE “A striking success” BBC MUSIC MAGAZINE
£10
£25 (3 CD)
£10
ACADEMY OF ANCIENT MUSIC at
“Egarr’s compellingly original vision of this greatest of all musical tombeaus, with its fresh anticipation founded on collective adrenaline and uniformly outstanding lyrical Bach-singing . . . is a triumph.” AAM040
AAM004
(1727 version)
GRAMOPHONE
£20 (2 CD)
Handel to Haydn
“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD
JS BACH St Matthew Passion
£20 (2 CD)
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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.
£20 (2 CD)
ACADEMY OF ANCIENT MUSIC 2018-19 SEASON
Richard Egarr director and harpsichord
Lucie Horsch recorder
Sunday 24 February 2019 5.00pm Milton Court Concert Hall, London
Monday 25 February 2019 7.30pm The Apex, Bury St Edmunds in partnership with
Tuesday 26 February 2019 7.30pm West Road Concert Hall, Cambridge
Lucie Horsch & Richard Egarr SAMMARTINI
VIVALDI
BACH
BACH
Recorder Concerto in F major (unknown: first half of 18th century) "Erbarme Dich" from St Matthew Passion (1727) Concerto for Harpsichord No. 3 in D major BWV1054 (1717)
VIVALDI
Concerto for Flautino in C major, Op. 4 No. 11 RV443 (arr. in G major for recorder) (1728-29) 20-minute interval
Concerto for Flute in G minor "La Notte", Op. 10 No. 2 RV104 (1728) Concerto for Harpsichord No. 7 in G minor BWV1058 (1738) Concerto for Oboe in D minor BWV1059r (arr. for recorder) (1726)
Lucie Horsch & Richard Egarr
Academy of Ancient Music
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
Welcome from Chief Executive, Academy of Ancient Music I am delighted to welcome Lucie Horsch as she makes her debut with the Academy of Ancient Music in concerts in London, Cambridge, Bury St Edmunds, and across Holland. I first met Lucie in summer 2016, recording her first album (Lucie Horsch Vivaldi) for Decca, and, at just 17 years old, she was already a consummate artist. I’m very pleased that having invited Lucie to work with AAM, we found ourselves recording her second album together over the summer of 2018, with AAM led and directed by Bojan Čičić . That album, Baroque Journeys was released last week and Lucie will happily sign copies after the concert. February also sees the release of another album featuring Academy of Ancient Music performers: our director Richard Egarr and principal theorbo William Carter play Purcell with soprano Rowan Pierce for her debut release on Linn Records (also newly available tonight). Many of you will know Rowan from her appearances with AAM in recent years, and this new release The Cares of Lovers showcases her elegant, fresh voice in its full expressivity. Before Christmas we enjoyed performances of Messiah together with VOCES8 and friends, and the live stream of the Cambridge performance (our first ever) has been viewed
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over 180,000 times on Facebook and YouTube. I am thrilled that AAM’s superb music-making is accessible for a truly international audience, and we will look to make more music available in this way in the future. As we move towards the other major Christian festival, Easter, our project to re-create and explore Handel’s great, neglected Brockes-Passion is taking shape. We will create a brand new critical edition of the score (which we will make available to others), a new translation, publish Jennens' version for the first time, and make a landmark new recording of Brockes-Passion, all in the 300th year since its first performance. We couldn’t do this without your support, and I am 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.
Alexander Van Ingen Chief Executive Academy of Ancient Music
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.
CE
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Gala concerts with Vivica Genaux, Carolyn Sampson, Valer Sabadus, Sandrine Piau and much more
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ALCINA (HWV 34) ATALANTA (HWV 35) MESSIAH (HWV 56)
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LU C I E HO R S C H & R I C H A R D E G A R R
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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.
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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 Ellen Parkes, Development Manager (ellen.parkes@ aam.co.uk | 01223 341097).
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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
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 SUPPORTERS 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 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 Malcolm and Rosalind Gammie Christopher Hogwood CBE, in memoriam Graham and Amanda Hutton Mark and Liza Loveday Mark and Sophie Lewisohn Mr and Mrs Evan Llewellyn Roger Mayhew Anne Machin Alessandro Orsaria Christopher Purvis CBE and Phillida Purvis MBE Mrs Julia Rosier Mark and Elizabeth Ridley Sir Konrad and Lady Schiemann Mrs S Wilson Stephens Christopher Stewart Mr Michael Smith
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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
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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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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
AAM Quick Pick Each concert Lars Henriksson picks out one key thing to listen out for. Musical transcriptions were a popular method of recycling old compositions during the baroque. JS Bach is a good example of someone who employed this practice. Almost all of his known concertos resurface in alternative versions for different solo instruments. It’s essentially the same music, but by introducing instruments with completely different qualities, the compositions change character radically. In tonight’s programme the majority of the compositions played by Lucie Horsch are transcriptions. We hear music originally written for voice, oboe and flute played on the recorder. It’s interesting to consider what qualities the recorder might bring to each composition and where it might lack certain abilities. Whereas the other instruments have an obvious dynamic range, the recorder’s ability to do dynamics is limited: playing louder or softer will affect the pitch.
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The way around this is to use different fingerings for each note, which may enable the instrument to be blown either softer or louder without losing pitch. The hardcore approach to this method involves a great range of fingering options and to integrate this throughout a performance takes great skill. Lucie Horsch is one of the most exciting young recorder players world wide and you will hear her mastery of the instrument in the range of dynamics and colours she employs.
LU C I E HO R S C H & R I C H A R D E G A R R
Introduction
Giuseppe Sammartini (1695-1750)
Concerto for Recorder in F major Allegro / Siciliano / Allegro assai
Recorder and harpsichord share the spotlight tonight in music from three stars of the Baroque firmament. Though the Milan-born, Londonresident Giuseppe Sammartini may not be a household name, in his day he was lauded as the greatest oboist in Europe. As for the other two, what is there to say about Johann Sebastian Bach and Antonio Vivaldi? Two outstanding composer/performers, who combined their work with their duties as educators, in Leipzig and Venice respectively. And two men who ended up living with sopranos: Bach’s second wife was the Cöthen court’s stellar singer Anna Magdalena Wilcke, while Vivaldi shared his home in some sort of domestic arrangement with the opera diva Anna Girò and her sister Paolina – the fact that he’d taken holy orders apparently presenting no insurmountable problems.
Giuseppe Sammartini was one of the true 18thcentury stars of the oboe world. He started life in Milan, taking his first lessons from his father before joining the orchestra of the Teatro Regio Ducal, the predecessor of La Scala, in 1720. The outstanding German flautist Johann Joachim Quantz who attended a performance there in 1726 said that Sammartini was the only good wind player the orchestra had. Fortune and opportunity came calling; two years later Sammartini moved to London where he settled for the rest of his life, becoming Director of the Chamber Musicians to Frederick, Prince of Wales and the city’s first-call oboist. Georg Friderick Handel wrote Sammartini’s name over the oboe solos in many of his operas and hailed him as “the greatest the world has ever known.” Although Sammartini composed a range of vocal, chamber and orchestral music, this tuneful Recorder Concerto is far and away his best-known work. Like Vivaldi’s concertos, it follows a threemovement format, ending with a dance-like finale.
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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
Johann Sebastian Bach (1685-1750)
“Erbarme dich" from St Matthew Passion (1727) Although it’s tempting to draw a line between Bach's instrumental writing and the music he produced for Lutheran worship, this is not a distinction that he would have made. He – and indeed Antonio Vivaldi – saw no division between the purposes of sacred and secular music; both were intended to glorify God. In Bach’s 200-odd church cantatas and his two great Passions, the instruments are there to express the so-called “Affekt” or underlying emotion of the music, whether it’s in accompanimental figuration or in obbligati of eye-watering beauty. For Yehudi Menuhin, the aria’s lamenting solo for his instrument in the aria "Erbarme dich" from the St Matthew Passion of 1727 was "the most beautiful piece of music ever written for the violin." An unbearably poignant plea for mercy and sympathy, "Erbarme dich", heard tonight in an instrumental realisation, immediately follows one of
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the most striking moments in the Passion narrative. Accused of being a follower of Jesus, the disciple Peter denies it three times. Then a cock crows; Peter remembers that Jesus had foretold this betrayal at the Last Supper; he breaks down and weeps bitter tears of shame and remorse.
LU C I E HO R S C H & R I C H A R D E G A R R
Johann Sebastian Bach
Concerto for Harpsichord No. 3 in D major BWV1054 (1717) [no tempo marking] / Adagio e piano sempre / Allegro
Concerto for Harpsichord No. 7 in G minor BWV1058 (1738) [no tempo marking] / Andante / Allegro assai One of many of Vivaldi’s lasting achievements was to standardise the Baroque concerto into a sequence of three movements, two fast ones encompassing a slow one, combining solo display with instrumental teamwork, and deploying tuneful themes along the way. Eagerly learning from his example was a certain 20-something Johann Sebastian Bach. At the Weimar court in 1713 he was assigned the task of making keyboard versions of a clutch of Italian concertos, including ten by Vivaldi. Rather than making straight transcriptions, Bach adapted and developed the originals, and soon began to write all kinds of Italianate music of his own, whether it be the six orchestral Brandenburgs, the Italian Concerto for solo keyboard, the brilliant vocal motet Singet dem Herrn, or the concertos for one or more harpsichords. Bach probably premiered them in the 1730s during his time as director of Leipzig’s Collegium Musicum, which gave weekly concerts in the convivial
surroundings of Gottfried Zimmermann’s café. Like a pub gig today, entrance was free; patrons just paid for their drinks. All of Bach’s harpsichord concertos seem to be based on earlier models, and this evening's two were first conceived for the violin: the D major Concerto is better known in its original E major version for violin while the G minor Concerto started life as the Violin Concerto in A minor. Both combine North German craftsmanship and motivic development with a certain flair from south of the Alps. As Bach’s first biographer Johann Nikolaus Forkel said, it was Vivaldi who first “taught Bach to think musically.” And isn’t there a touch of Vivaldian brilliance in the three bold chords that get this D major concerto under way?
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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
Antonio Vivaldi (1678-1741)
Concerto for Flautino in C major Op. 4 No. 11 RV443 (arr. in G major for recorder) (1728-29) Allegro / Largo / Allegro molto
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By today’s standards, Antonio Vivaldi’s place of work, the Ospedale della Pietà, was an odd sort of institution: partly an orphanage established to care for some of Venice’s many unwanted female orphans, who otherwise would have been abandoned or, worse still, thrown into the canal; and partly an elite conservatoire which trained up its girls to a high pitch of perfection, attracting admiring visitors from all over Europe who filled the Pietà’s coffers with generous donations and thereby kept everybody happy. Vivaldi joined the team in September 1703 as part of a recruitment drive for in-house instrumental teachers to “increase even further the perfection of the orchestra and to introduce more polish into its performances.” Initially serving as maestro di violino then maestro dei concerti, Vivaldi later negotiated a more flexible deal with the Ospedale so that he could devote more energy to composition. Energy, if not excess
amounts of time: Vivaldi used to boast that he could dash off a new work faster than a copyist could write it out. How else to explain the 94 operas he said he composed, or the near 500 concertos we know he left behind? There are, after all, only so many hours in a day … The Concerto for Flautino in C major RV443 is one of three solo concertos Vivaldi wrote for the flautino, or sopranino recorder, although in this performance we’ll hear it in a less stratospheric version in G major rather than its original C major. The central movement, a lilting Largo, is framed by brisk outer movements which combine strong rhythms with dazzling solo sequences that show off the recorder at its brilliant best. 20-minute interval
LU C I E HO R S C H & R I C H A R D E G A R R
Antonio Vivaldi
Concerto for Flute in C major Op. 10 No. 2, “La Notte" RV104 (1729) Largo / Presto (Fantasmi) / Largo – Andante / Presto / Largo (Il Sonno) / Allegro Paradoxically, one of the things that helped Despite the late date and scoring, these works Vivaldi’s work to reach a broader audience was the are mostly arrangements of earlier works featuring limitations of sheet music production in his native recorder. This Concerto for Flute in G minor Venice. Using moveable type which "La Notte", the second of the set, required a separate block for each Using moveable type for started life in 1710 as a work with semiquaver was never going to cut chamber accompaniment. each semiquaver was it in the modern Baroque era – the And whereas concertos had never going to cut it ... standardised into a threetechnique it involved was little better than making potato prints it was little better than movement format, this one on the kitchen table. Publishers in has a suite-like six movements, making potato prints. Northern Europe were much better of which the swift second is suited to cope with the flamboyant called Fantasmi, or ghosts, sophistication of this brilliantly ornate new music. and the fifth Il Sonno, or sleep, with the following It was a firm in Amsterdam – Estienne Roger’s – that Allegro providing a wide-awake finale. first brought out Vivaldi’s L’estro Armonico in 1711, thereby helping to spread Vivaldi’s name far and (See page 9 for Bach's Harpsichord Concerto No. 7 wide. Roger’s son-in-law Michel-Charles Le Cène in G minor) subsequently took over the business, and it was he who published Vivaldi’s set of flute concertos Op. 10 around 1728.
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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
Johann Sebastian Bach
Concerto for Oboe in D minor BWV1059r (arr. for recorder) (1726) [no tempo marking] / Adagio / Presto Concluding this evening is a recorder version of a Bach oboe concerto reconstructed from fragments from a partially lost work with keyboard as soloist. Two of the seven movements in the cantata BWV35 Geist und Seele wird verwirret, first performed on the 8th September 1726, are purely instrumental sinfonias with plenty of solo writing for keyboard. The clear implication that they come from a preexisting concerto is borne out by the presence of a fragment of that same first sinfonia in an autograph manuscript of a keyboard concerto from Bach’s Collegium Musicum days. The solo instrument that Bach had first thought of though could have well been an oboe – that’s what has emboldened scholars to make a version for oboe of the two cantata’s outer movements. The slow central
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movement draws on an Italian oboe concerto by the Venetian composer Alessandro Marcello that Bach himself had arranged for keyboard as another of his transcribing tasks back in his Weimar days. Programme notes © Sandy Burnett, Hogwood Fellow
LU C I E HO R S C H & R I C H A R D E G A R R
Explore
“Feasting Reconciles Everybody"
If you enjoyed tonight’s concert, you may be interested in the following recordings:
Some of us may have enjoyed a four seasons of the pizza variety but Vivaldi, a true son of the Serenissima (the name given to the Republic of Venice) was rather partial to another Italian carb staple, rice. Risi e bisi (rice with beans) is one of the most famous Venetian dishes, and often served at official banquets, belying its rather humble ingredients. Here is a modern-day recipe:
Baroque Journey
Lucie Horsch, Barbour Condini, Dunford, AAM / Čičić [Decca 4834722]
Lucie Horsch Vivaldi
Lucie Horsch, Amsterdam Vivaldi Players / Thompson [Decca 4830896]
One Byrde in Hande
Richard Egarr [Linn CKD518]
Dynastie: Bach Concertos
Jean Rondeau et al [Erato 9029588846]
Bach Orchestral Suites Nos. 1–4
Samuel Pepys
Pod the peas just before use and gently fry them with pancetta, onion and chopped parsley. Add a couple of ladles of stock and salt. Turn up the heat and let the flavours develop. Then add the rest of the stock and bring back to the boil. Add the rice and let it cook, stirring frequently. When the rice is almost cooked, add the grated cheese and pepper.
AAM / Egarr [AAM Records AAM003] 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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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 012334 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 31 available) £ 60 Chorale (5 3 available) £115 Aria (28 9 available) £200 Arioso (5 available) £225 Chorus (5 3 available) £260 Duet (2 available) £320 New edition – translation (4 available) £320 Sinfonia (1 available) £360 Subtitles (2 available) £400 Trio (1 available) £450 New edition – research (5 available) £475
Chorus – Soprano £ 600 Chorus – Alto £ 600 Chorus – Tenor £ 600 Chorus – Bass £ 600 Pilatus £1,000 Maria £1,100 New edition – printing £1,200 Judas £1,400 "Gläubige Seele" £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)
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
Richard Egarr director and harpsichord
© Patrick Allen
in Minnesota, and will become Music Director Designate of Philharmonia Baroque Orchestra and Chorale in 2020-21 and assume Music Directorship from 2021-22.
Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music-making – whether conducting, directing from the keyboard, giving recitals, playing chamber music, or, indeed talking about music at every opportunity. Music Director of the Academy of Ancient Music since 2006, in September 2019 he adds two new responsibilities: Principal Guest Conductor of the Residentie Orkest in The Hague, Artistic Partner of the St Paul Chamber Orchestra
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Highlights this season include his debut with the Cincinatti Symphony Orchestra and a return to Seattle Symphony, St. Paul Chamber, the Scottish Chamber, and the Seoul Philharmonic orchestras. As a soloist he performs harpsichord recitals at the Wigmore Hall, Tokyo Spring Festival and at the Madrid Auditori. Season highlights with the Academy of Ancient Music at the Barbican Centre include Handel’s rarely performed Brockes-Passion and his first collaboration with the Grange Festival (a staged Le nozze di Figaro). Early in his tenure with AAM Egarr established the Choir of the AAM. Operas and particularly Handel’s oratorios lie at the heart of his repertoire.
He made his Glyndebourne debut in 2007 and has directed Mozart’s La Finta Giardinera, a Monteverdi cycle and Purcell operas with the Academy of Ancient Music at the Barbican, and staged productions of La clemenza di Tito and Rossini’s Il Signor Bruschino at the Netherlands Opera Academy. Richard's extensive discography on Harmonia Mundi includes solo keyboard works by Bach, Handel, Mozart and Couperin. 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. His latest recital disc of Byrd and Sweelinck appeared in May 2018 on Linn Records He has a long-standing teaching position at the Amsterdam Conservatoire and is Visiting Professor at the Juilliard school.
LU C I E HO R S C H & R I C H A R D E G A R R
Lucie Horsch recorder
© DECCA/ Dana van Leeuwen
Orkest and Arnhem Philharmonic, the Staatsorchester Kassel, Holland Baroque, the Orchestra of the Eighteenth Century and Academy of Ancient Music.
19 year-old recorder player Lucie Horsch is one of the most remarkable musical talents of her generation, and already in great demand as a soloist in her native Netherlands and internationally. This season she made her debut with the Hong Kong Philharmonic Orchestra and she will embark on tours with the B’Rock Orchestra to Japan, and the Ensemble Ludwig for concerts in the Netherlands and Germany. Lucie has appeared with the Manitoba and Los Angeles chamber orchestras, the Residentie
Lucie forms a duo with French lute player Thomas Dunford. Another key duo partner is harpsichordist Alexandra Nepomnyashchaya with whom she enjoys a long-standing collaboration. Other partners have included Candida Thompson, Harriet Krijgh, Rolando Villazon and Benjamin Bayl. Festival appearances include Innsbrucker Festwochen der Alten Musik, Grachtenfestival Amsterdam, Festival van Vlaanderen, International Chamber Music Festival Utrecht, Budapest Spring Festival, Hindsgavl Festival, MDR Musiksommer Leipzig, Festspiele Mecklenburg-Vorpommern and the International Bach Festival of Gran Canaria. This year she will also perform at the Festival Oude Muziek in Utrecht.
Lucie records exclusively for Decca Classics. Her debut CD features works by Vivaldi, for which she received the prestigious Edison Klassiek Award 2018. Her second disc, Baroque Journey, recorded with Academy of Ancient Music and Thomas Dunford, features works by Sammartini, Bach and Handel among others and was released in February. She also mastered the premiere recording of Leonard Bernstein’s Variations on an Octagonic Scale with Kian Soltani for Deutsche Grammophon. Lucie began studying the recorder at the age of five. Four years later her televised performance during the Prinsengracht Festival caused a national sensation. In 2014 she represented The Netherlands in the Eurovision Young Musician, Cologne and in 2016 she was awarded the Concertgebouw Young Talent Award. Since 2011 she has been a student with Walter van Hauwe at the Conservatorium van Amsterdam and with Marjes Benoist and Jan Wijn for piano.
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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
Nicolas Altstaedt directs works by Haydn, CPE Bach & Boccherini including: Haydn Symphony No. 14 in A major Haydn Cello Concerto No. 1 in C major
Nicolas Altstaedt plays
Haydn
Wednesday 27 March, 7.30pm West Road Concert Hall, Cambridge cambridgelivetrust.co.uk/tickets
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Thursday 28 March, 7.30pm Milton Court Concert Hall, London barbican.org.uk
LU C I E HO R S C H & R I C H A R D E G A R R
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 Elin White James Toll Davina Clarke
Cello Joseph Crouch Imogen Seth-Smith
Theorbo William Carter Keyboard Technician Malcolm Greenhalgh
Double Bass Judith Evans
© Patrick Allen
Violin II Liz MacCarthy Claudia Norz William Thorp
Viola Jane Rogers Jordan Bowron
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LU C I E HO R S C H & R I C H A R D E G A R R
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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New releases featuring AAM released 22 February 2019 On sale tonight
Baroque Journey
The Cares of Lovers
Featuring Lucie Horsch, Charlotte Barbour-Condini, Thomas Dunford, Academy of Ancient Music
Featuring Rowan Pierce with Richard Egarr and William Carter
Decca Classics
Highlights from the album include works from tonight’s programme, plus Handel’s Arrival of the Queen of Sheba, Bach’s Badinerie, Dido’s Lament by Purcell and the world premiere recording on recorder of a concerto by Jacques-Christophe Naudot.
Linn Records
Including songs such as Sweeter than Roses, If Music be the Food of Love, and the title work The Cares of Lovers, as well as solo works for theorbo and harpsichord. Praise for Rowan Pierce in AAM’s 2018 Dido & Aeneas: “Rowan Pierce sounding crystalline as Belinda” THE GUARDIAN “Rowan Pierce was superb as Belinda, conveying... vivacity, directness and integrity through... her dramatically sensitive phrasing” OPERA TODAY
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
We believe orchestras are for everyone and that live orchestral music has the power to inspire people for a lifetime. We create environments where music and creativity can thrive. We work to ensure communities across the country have access to world-class orchestral experiences.
Find out more about us orchestraslive.org.uk
comms@orchestraslive.org.uk
@orchestraslive
facebook.com/orchestraslive
Š David Allan Photography
The Music Base, Kings Place
90 York Way, London N1 9AG 020 7520 1494
Registered charity number 1117211
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 March, 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
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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