2017-18 concert programme
2017-18
Richard Egarr’s 10th anniversary season as Music Director of the Academy of Ancient Music
concert programme
Handel’s Messiah
ACADEMY ACADEMY OF OF ANCIENT ANCIENT MUSIC MUSIC
JS BACHOrchestral Suites “Exuberant and full of vitality.” BBC Radio 3 “a feast of meaningfully understated musicianship. I loved it.”
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. All the titles here are available to buy tonight or online aam.co.uk/recordings
Editor’s Choice, GRAMOPHONE
£20 (2 CD)
JS BACH St John Passion (1724 version)
With an all-star cast including James Gilchrist as Evangelist and Matthew Rose as Jesus.
DARIO CASTELLO
£20 (2 CD)
“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD
ACADEMY OF ANCIENT MUSIC at
Sonate Concertate In Stil Moderno, Libro Primo
£10
JS BACH St Matthew Passion (1727 version)
“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.” GRAMOPHONE
£25 (3 CD)
40
This two-disc compilation of core baroque and classical repertoire gives a taste of our unrivalled award-winning catalogue of over 300 recordings.
£20 (2 CD)
ACADEMY OF ANCIENT MUSIC 2017-18 SEASON
Wednesday 20 December 2017 7.00pm Barbican Hall, London
Richard Egarr director & harpsichord Mary Bevan soprano Reginald Mobley countertenor Thomas Hobbs tenor Christopher Purves baritone Choir of AAM
preceded by HANNAH CONWAY A Young Known Voice (2017, world premiere)
Handel’s Messiah
Academy of Ancient Music
Handel’s Messiah
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Welcome Welcome to tonight’s performance of Handel’s masterpiece, Messiah. Compelling choruses and impressive, highly melodic solo arias have made this one of the most enduring choral works of all time, and certainly one which the British public love dearly, with performances in this country every year since 1745. Indeed, at the work’s premiere (1742), ladies were urged to wear dresses “without Hoops” in order to “make room for more Company”: a record audience at Dublin’s Musick Hall were there for Handel’s superstar fame, and also perhaps because the much admired contralto, Susannah Cibber, was embroiled in a scandalous divorce. (The Rev. Patrick Dalany, on hearing Cibber’s moving “He was despised and rejected” cried out “Woman, for this be all thy sins forgiven!”) While tonight is not the first performance of Messiah, I am very excited to hear the premiere of a new work which will precede it, A Young Known Voice. This work is the outcome of the project "Messiah: Who?", which has seen AAM musicians working alongside composer Hannah Conway with children from across London. Working in conjunction with schools in London boroughs, we have been asking the project participants to examine what the Messiah story
means to them, introducing them to the music of Handel, and asking them to collaborate on a new work in response to Handel’s original. This new work, brilliantly curated by Hannah Conway, is presented here for the first time, giving the participants an opportunity to perform on stage at the Barbican with the Academy of Ancient Music. I am very pleased to welcome both the schoolchildren and their staff; I have found the creative process behind this new work to be inspiring, and I hope you will find the performance just as impressive. Creative learning opportunities of this calibre are expensive to put together and we are very grateful to those who help make projects like this possible. Handel’s Messiah has been recorded many times since the first set on 78s issued in 1928, and AAM has been at the heart of four great recordings. While it can be interesting to go back to accounts from the likes of Karl Richter, I find the the litheness that the late Christopher Hogwood brought to this work hugely appealing; and indeed his interpretation set the scene for many more recent recordings by others. The baritone of Christopher Purves has become synonymous with the role on record, featuring on albums under the direction of Christophers, Haïm, Rutter
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and Budday, and I’m delighted that he joins us on stage this evening. Although AAM has yet to record Messiah with Richard Egarr, the launch of our Strategic Recording Fund earlier in the season enabled us to record both "Rejoice!" (with Mary Bevan) and "The Trumpet Shall Sound" (with Christopher Purves and David Blackadder) a few months ago, the fruits of which you can hear and see online – both are certainly worth watching. Meanwhile, you’ll find AAM recordings of Messiah, along with other albums worthy of exploration, listed later in this programme. Thank you for your positive feedback on the new programme designs, and particular thanks to those who have completed our post-concert surveys: your feedback is very important to us, and we enjoy reading your comments! If you would like to receive the programme in advance, along with customised playlists and more, please do let us know your email address (email support@aam.co.uk). Looking ahead to next year, I am very pleased that AAM Society members can take advantage of advance booking for The Grange Festival in June, where AAM will perform Handel’s Agrippina (please contact
leonore.hibou@aam.co.uk for more information). General booking for TGF opens in early February and I would strongly advise booking early. If you are able to come on the opening night (8 June) do let Leonore know – you will be warmly welcome at a special AAM reception. I hope to see you at an AAM concert in 2018 – there are many to look forward to – and in the meantime, my very best wishes for a Merry Christmas, and a Happy New Year.
Alexander Van Ingen Chief Executive Academy of Ancient Music
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Surveying the Past Robert Levin, inaugural Hogwood Fellow, places tonight's music in context Premiered at Dublin in two performances on 13 April and 3 June 1742 after a public rehearsal on 9 April, Handel’s Messiah occupies a unique position in the English-speaking world. Its origin owes much to Handel’s shift away from composing operas, due primarily to financial strictures in the London theatres, whereas concert choral works could be mounted for considerably less cost. From 1738 onwards Handel was motivated to compose an extraordinary series of oratorios that played a decisive role in cementing his reputation as the leading composer in the British Isles. Charles Jennens’s libretto skilfully outlines the principal passages from the Old Testament that presage Jesus Christ as the Messiah. The deification of Messiah was not immediate; there was controversy in London concerning the appropriateness of presenting a libretto based on the Scriptures in a secular venue. These reservations were not of long duration, and during Handel’s lifetime annual performances became the rule. By the Victorian era titanic performances of Messiah, featuring a chorus ranging from the hundreds to even the thousands, became a defining element in British culture.
That tradition has endured throughout the 20th century and into the 21st, although the pioneering efforts of Sir Colin Davis to slim down the forces to more historically justified ones, together with the advent of the historic performance movement, have enabled audiences to experience the work within the musical and acoustical context of its origin. It is not without significance that the most enduring and popular oratorios in British culture are the product of Germanic composers; in addition to Handel’s magnificent output one should mention Haydn’s The Creation and The Seasons, and Mendelssohn’s Elijah. That the name of the first professional orchestra and chorus formed in the New World is Boston’s Handel and Haydn Society (1815) is a reflection of a tradition that persists to the present day.
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May 25 – June 10, 2018 in Halle (Saale), Germany Berenice (HWV 38), Messiah (HWV 56), Parnasso in festa (HWV 73), Gala concerts with Joyce DiDonato, Max Emanuel Cencic, Magdalena Kožená, Julia Lezhneva and much more Sales start November 24, 2017 www.handel-festival.com/en More information: festspiele@haendelhaus.de
2017–18 concerts:
Visions, Illusions and Delusions
Handel’s Semele
Bach’s St Matthew Passion
A sensuous evocation of the illusions and delusions of love.
Featuring an all-star line-up of singers, led by Mark Padmore.
18 October 2017
26 March 2018
Be careful what you wish for.
Royal Festival Hall, Southbank Centre
A powerful depiction of the Easter story.
Royal Festival Hall, Southbank Centre
oae.co.uk
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Messiah, Who? A Young Known Voice
Composer Hannah Conway introduces this evening’s special commission In September 2017 I was delighted to be asked by AAM Together we tore apart the libretto and reordered to create a new work with young people in London the most engaging lyrical ideas. We debated gender in response to Handel’s Messiah. I was fascinated to inequality, gender discrimination, racial discrimination, discover how this cornerstone of choral music would social exclusion and communities rejected by society. resonate with an eclectic group of teenagers aged We reflected upon the idea of hope, exploring why and between 11-15 years. How would young how generations have used various people from different parts of London and metaphors, images and stories to diverse backgrounds, of multiple faiths With a freedom of speech, galvanise “coming together” with and heritages relate to the classical work? strength and direction. We attempted A young known voice Most importantly, was it relevant? Could to untangle why “nations rage furiously A baby takes a breath ... they relate to the themes, the music and together”. We discussed examples the narrative, to Handel’s artistry? How of people who had turned about libretto extract from can we ensure that such works remain their lives as a result of negative or A Young Known Voice contemporary for young audiences today? traumatic personal experiences. We wrestled with the vanity of current The project Messiah Who? launched in late October international leadership, the shotgun digital news media 2017 with 50 students from schools in Lambeth, Tower and asked why so little trust seems to be placed in the Hamlets, Kensington and Chelsea, Hammersmith and instinctive younger generation? When you have had the Fulham, and City of Westminster. Pupils participated in courage to speak out, why is there such pressure and creative workshops, working together with AAM players expectations placed on each of us? What are the fears of and singers to create their own original texts, songs and our society? music in response to Handel’s score.
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Hannah Conway composer & artistic director Rich material, engaging and articulate discussions. This was a group that was determined to relate to Handel’s Messiah! After the devising workshops ended in early November, my task was then to take this musical material and weave it together with Handel’s score. The new work, A Young Known Voice, emerged, scored for the young people, and the choir and orchestra of AAM as a prelude to tonight’s performance of Messiah here at the Barbican. I hope the piece offers a new and true reflection upon Handel’s work and empowers these young people to perform music about real issues that matter, offering them the opportunity to expresse their views and music on a stage with world class musicians. I hope it might also give us all a fresh insight into Handel’s masterpiece. The libretto starts on page 10
Internationally recognised for her work with some of the world’s leading opera houses and orchestras, Hannah has led projects in 18 different countries, as a composer, presenter and music director. At the heart of her work is intense collaboration and musical input from young people. She has composed operas in 12 different languages, presented and devised BBC Proms and received commissions from leading UK orchestras, Glyndebourne and Royal Opera House. The Freedom Game opera (2015) was premiered at the Royal Albert Hall for 1200 performers and Beautiful World (2016) won the Education Middle East Performing Arts Award at the National Theatre, Abu Dhabi. She has directed opera residencies in Serbia, France and Sweden, and been engaged as a consultant in creative educational practice and audience engagement by the Royal Danish Opera, Amsterdam Sinfonietta and Songbound, India, amongst others. Current projects include Towards Another World, a promenade opera for the English National Opera and V&A museum, adjudicating BBC Young Musician and moderation for the EU Cultural Forum 2017, Milan.
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Messiah, Who? A Young Known Voice Project Team Hannah Conway Composer & Artistic Director Ilan Lazarus Accompanist Richard Mallett Producer AAM Edmund Hastings tenor Philippa Hyde soprano Chloe Morgan soprano George Ross cello Matthew Sandy tenor James Toll violin La Retraite RC School (Clapham Park) Dominic Malins Headteacher Richard Owens Director of Music Rebecca Whitmarsh Assistant Director of Music Students Esther Adetunji Maame Appau Monique Arowojolu Erica Azevedo Nanette Brobbey Stacey Carbin
Faith Cole Klotilda Dervhisi Theresa Enemua Martha Legesse Leah Murphy Keisha Noble Vanessa Rojas-Estrada Dilys Sedjroson Zarah Vermeulen St Paul’s Way Trust School Grahame Price Executive Headteacher Debra Brown Director of Music Jonathan Hoyle Music Teacher Tom Granville Music Teacher Students Chelsea Banks Noelia Banuelos-Jechiu Taslima Begum Eli Bissessar Safiyaa Elmoumaine Cayden Harrigan Rezwana Hussein Delilah Jamal May May Law Omikia Meade Martin Millings Inas Naseer Namih Rahman
Willow Stewart-Smith Ruby Wilkinson Tri-Borough Music Hub Stuart Whatmore Head Jane Da Costa Deputy Head Ilan Lazarus Accompanist Sara Feldmann Brummer Vocal Provision Manager Maya Levy Chamber Choir Director Students Jessica Careless Valentina Cervesi Ananya Govindarajan Danna Hegazy Marika Karatepeli Mahek Sharma Damia Yacef Elissa Yazbeck Westminster City School Seema Solani Acting Headmistress Sarah Mole Creative Arts Faculty Leader Luis Valles Music Teacher Katy Waters Student Teacher
Students Cyril Afram Daniel Ajijola Bishr Amitu Daviel Bah Oumar Balde Fuad Batula Anthony Decesare Stephen Enoyoze Roshawn Hewitt Mayowa Jolaoso Daniel King David Lahai-Musa Sadiq Lewis Abiola Mosuro Kaiyin Odutayo Joshua Oware Terrance Peters White Daniel Pohecoula Ange Savagne Adrian Sow Justice Thomas McTear Chaperones Joan Cuffy Geoffrey Okol
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A Young Known Voice Libretto Spoken: I saw blue skies, yellow sun and bright vibrant flowers I ran through green grass, enjoying the last days of summer as if they were my last. I stand now, unseeing at the rain streaming down the window pane. The thundering clouds, the grey skies. The murmur of the TV runs throughout my discoloured room. The man on TV giving me no room to fight off their control, their expectations. Sung: A chest of memories traps my race, a past I can’t forget. They wouldn’t accept my face, from head to toe a disgrace. Accept my skin, accept my soul. Accept the way I feel, I speak, I am. A chest of memories, etc Behold the Lamb of God Whispered: Behold I tell you a mystery.
Sung: In the twinkling of an eye, we shall not sleep. Their sound has gone out, their sound has gone out. A weight off their chest. It’s gone viral. Every valley shall be exalted. It’s gone viral into all lands It shall not be unheard It’s a shotgun in a flash, it will reverb. Their words will be spread across the world. It shall be heard. It’s gone viral. Spoken: People have free will, but their choices effect our whole nation. We chose to leave the EU. They elected Trump. One man’s trash is another man’s treasure. Behold I tell you a mystery.
Sung: It’s gone viral into all lands It shall not be unheard. In the twinkling of an eye. And Lo the angel of the Lord came upon them And the glory of the Lord shone round about them. Far from the land of death there’s a feeling of joy A baby takes a breath. With a freedom of speech, a young known voice A baby takes a breath. But as we grow old together Death weighs upon our shoulder Until nothing is left The trumpet shall sound and the dead shall be raised incorruptible. Since by man came death.
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Discrimination, persecution, judgement! Broken by the power to unite. No matter who you are. No matter where your origins lie. Standing alone and away from the crowd. A cynical audience with cynical stares. Glares, views, dreams and beliefs An unjust system breeding frustration Are people scared of the truth? Why do the nations rage furiously together? Scared of attacks Scared of a God Scared of having regrets, of losing family, of death Scared of being alone. Spoken: People are willing to lose something permanent in order to keep something temporary. They don’t realise how much they have until it is gone.
Sung: I yearn to be accepted but was shunned by the fearful ignorant. Everyone needs to feel safe. But shouts of: Faggot and: Queer Only fed my fear. I walked through the door but was kicked out with a shout. You’re not my child anymore. Surely? You’re not my child Though shalt break her With a rod
He gave his back to the smiters And his cheeks to them That plucked off the hair.
Spoken: You are eight times more likely to be stopped and searched if you’re black. A boy came up to me and said ‘You are quite pretty for a dark skinned girl’ We have more in common that what separates us - we’re the same species. I’m not an object or a product in a shop. Don’t label me.
Shake the heavens, etc. Hallelujah!
Sung: Discrimination, persecution, judgement! Broken by the power to unite.
We are the future The newer generation. We are inspiration We will lead.
Shake the heavens, they shoot out their lips We do not fit in. We do not fit in the mould. We are seen as different. That’s what we are told Lift your eyes let your blind eyes be opened You’re an outcast from society.
You’re not my child. Not my child. When love shines through the darkness It mends a hole in me. Wonderful Counsellor, King of kings.
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George Frideric Handel (1685–1759)
Messiah HWV 56 (1741) Part One
Part Two
1. Symphony Grave – Allegro moderato 2. Air (tenor): Comfort ye 3. Accompagnato (tenor): Every valley 4. Chorus: And the Glory 5. Accompagnato (baritone): Thus saith the Lord 6. Air (countertenor): But who may abide 7. Chorus: And he shall purify Recitative (countertenor): Behold a Virgin shall conceive 8. Air (countertenor) and Chorus: O thou that tellest 9. Accompagnato (baritone): For behold, darkness 10. Air (baritone): The people that dwelleth 11. Chorus: For unto us a child is born 12. Recitative (soprano): There were shepherds 13. Accompagnato (soprano): And lo Recitative (soprano): And the Angel 14. Accompagnato (soprano) And suddenly 15. Chorus: Glory to God 16. Air (soprano): Rejoice greatly Recitative (countertenor): Then shall the eyes of the blind 17. Duet (soprano and countertenor): He shall feed His flock 18. Chorus: His yolk is easy
19. Chorus: Behold the Lamb of God 20. Air (countertenor): He was despised 21. Chorus: Surely 22. Chorus: And with His stripes 23. Chorus: All we like sheep 24. Accompagnato (tenor): All they that see Him 25. Chorus: He trusted in God 26. Accompagnato (tenor): Thy rebuke 27. Arioso (tenor): Behold and see 28. Accompagnato (tenor): He was cut off 29. Air (tenor): But Thou didst not see 30. Chorus: Lift up your heads Recitative (tenor): Unto which of the angels 31. Chorus: Let all the angels 32. Air (countertenor): Thou art gone up 33. Chorus: The Lord gave the Word 34a. Air (soprano): How beautiful 36. Air (baritone): Why do the nations 37. Chorus: Let us break their bonds asunder Recitative (tenor): He that dwelleth 38. Air (tenor): Thou shalt break them 39. Choir: Hallelujah
20-minute interval
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AAM Quick Pick Part Three 40. 41. 42. 43. 44. 45. 46. 47.
Air (soprano): I know that my Redeemer Chorus: Since by Man Accompagnato (baritone): Behold, I tell you Air (baritone): The trumpet shall sound Recitative (countertenor): Then shall be brought to pass Duet (countertenor and tenor): O death Choir: But thanks be to God Air (soprano): If God be for us Chorus: Worthy is the Lamb; Amen
Each concert Lars Henriksson picks out one key thing to listen out for. Messiah is by far the most famous of Handel’s oratorios, and indeed one of the most famous pieces of music of the baroque era. But looking at the score it’s not particularly grand or lavish compared with most of Handel’s other oratorios. In AAM’s version only three wind players are employed (one bassoon and two trumpets) compared with Judas Maccabaeus with its 13 wind players, and 11 for Israel in Egypt. Looking at Messiah, the only aria with a wind player is ”The Trumpet shall sound” (not counting the bassoon’s participation in the basso continuo). Despite the constraints of orchestration, Handel’s score is every bit as varied as his other oratorios.
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Stephen Rose introduces Handel’s masterpiece The circumstances of the premiere of Messiah, in Dublin in April 1742, are well known. Handel was at a crux in his career. Having spent the previous 30 years mainly dedicated to the composition, promotion and performance of Italian-texted operas in London, he was increasingly preoccupied with English-texted oratorios on religious topics. Suffering from dwindling audiences for his music in London, he embarked in November 1741 on a nine-month residence in Dublin. Here he could present his music to new and enthusiastic audiences, as well as contemplate the future direction of his career in England. Handel’s concerts in Dublin mostly included oratorios such as Esther and Alexander’s Feast, but also a performance of his last Italian opera Imeneo, and the premiere of Messiah. In recruiting a choir for these performances, Handel faced considerable opposition from Jonathan Swift, Dean of St Patrick’s Cathedral, who disapproved of the members of his cathedral choir participating in “a club of fiddlers”. In the case of Messiah, however, Swift withdrew his opposition
because of the charitable aims of the performance, to raise money for a host of worthy causes in Dublin. In the end, the first performances received a warm reception. As The Dublin Journal reported: “Words are wanting to express the exquisite Delight it afforded to the admiring crouded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear.” The enthusiastic reception of Messiah in Dublin must have encouraged Handel to change tack in his London career, and thereafter compose and promote oratorios rather than opera. Yet the first London performance of Messiah (in March 1743, at Covent Garden theatre) was overshadowed by controversy about the performance of religious works in a theatre. As a writer to the Universal Spectator complained: “An Oratorio either is an Act of Religion, or it is not; if it is, I ask if the Playhouse is a fit Temple to perform it in,
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or a Company of Players fit Ministers of God’s Word...?” Slowly, however, the oratorio gained respectability, particularly after it was performed at the Foundling Hospital Chapel in May 1750. The Foundling Hospital was dedicated to the “Maintenance and Education of Exposed and Deserted Young Children”, and was acutely short of funds in the mid-18th century. As with the Dublin premiere of Messiah, the charitable aims of the Foundling Hospital performance dispelled concerns about the work’s combination of a religious text and theatrical arias. Interesting though the series of early performances of Messiah might be, it is also fascinating to ask how the oratorio achieved its fame and ubiquity after Handel’s death. Regular performances at the Foundling Hospital continued into the 1760s, directed by Handel’s erstwhile assistant, John Christopher Smith the younger. In addition, the oratorio soon became a favourite in the repertory of provincial music societies as far afield as Derby, Liverpool and Newcastle, as well as in East Anglia and the West Midlands.
Messiah was performed not merely in concerts, but in events that called themselves festivals, and which often had charitable purposes and a strong sense of social ritual. For instance, in 1757 Messiah made its first appearance at the Three Choirs’ Festival, the annual event that rotated between the cathedrals of Gloucester, Worcester and Hereford. The Festival (that still exists today) was partly intended to raise funds for the families of clergy and cathedral singing-men; but it was also a key date in the social calendar of local gentry, and was attended by councillors, members of parliament and other local worthies. With its religious texts and stirring music, Messiah rapidly became a staple part of these important local events. Also significant were the two performances of Messiah at the 1784 Commemoration of Handel in Westminster Abbey. Celebrating what was then thought to be the centenary of Handel’s birth, the Commemoration showed how completely Messiah had been accepted by the English political establishment. The concerts were attended by the royal family and were financially
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Programme Note continued
underwritten by members of both political parties (the Tories and Whigs). Using large performing forces – a total of about 500 performers – the 1784 concerts paved the way for the large-scale performances of Messiah staged in Victorian England. By the middle of the 19th century, Messiah retained its popularity with the country’s elite, but was also being sung by the increasing numbers of amateur choirs found in industrial cities. In 1857 an incredible number of performances of the Oratorio took place across England, some of which were intended as dry runs for concerts planned for 1859 to celebrate the centenary of the composer’s death. The highlight of the 1857 performances was the Great Handel Festival at the Crystal Palace, London, on 15 June. It included a choir of about 2,000 voices, drawn from amateur musical societies across England, and an orchestra of 300 strings and 90 wind and brass players. The performance was a celebration not simply of Handel’s Oratorio, but also of English industrial ingenuity in bringing together
such an immense ensemble. Newspaper reviews paid almost as much attention to the special trains organised to bring the performers to London, as to Handel’s music or Charles Jennens’s libretto. As The Musical World proudly commented in its review of the concert: “When Englishmen once make up their mind to do a thing – whether it be the repeal of the Corn Laws, the erection of a Menai railway bridge, the laying down of a transatlantic telegraph wire, or any other apparently impracticable task – the chances are a million to one that the scheme will be triumphantly carried out. Like Napoleon, Englishmen do not appear to recognize the right of the word ‘impossible’ to appear in the dictionary of their language.” Yet the huge appeal of Messiah cannot be explained purely in terms of the political and social institutions with which it was associated. Nor can it be attributed solely
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to the patriotism seen in the 1857 Great Handel Festival. Handel’s music for Messiah offers a synthesis of styles Equally important factors in the success of the Oratorio and textures that has appealed greatly to audiences are its text and music. Charles Jennens’s libretto narrates ever since its premiere. There are relatively few the birth of Christ and his Passion, death and resurrection recitatives, but instead numerous sharply-characterised by quoting and paraphrasing numerous passages choruses and arias. Handel’s experience as an opera scattered throughout the Bible. It is no simple description composer is evident in the Oratorio’s arias, which of Christ’s life, but an account rendered each evoke an emotional state via in large part through the allusions carefully selected instrumental and The Great Handel of Old Testament prophecies. As vocal gestures. Some arias draw on the Festival at Crystal such the libretto incorporates such a stereotyped forms of Italian opera, such Palace in 1857 included wide selection of Biblical texts that it as the rage aria (“Why do all the nations resonates with Christians from a variety so furiously rage together”) or the a choir of 2,000 voices, of persuasions and historical periods. an orchestra of 300 strings bravura display piece (“Rejoice greatly, Moreover, unlike operas and many O daughter of Zion”). As in his operas, and 90 wind and brass. other oratorios, there is no attempt Handel sometimes includes pictorial to represent actual characters. There gestures that instantly convey a message is little dialogue or reported speech; to the listeners, such as the angry dotted instead, the texts are sung in the third person, avoiding rhythms on the words “He gave his back to the smiters” any crude attempt at literal portrayal of Biblical events, in “He was despised”. Yet despite this use of operatic and thereby gaining a sense of universality. elements, the arias also have a tuneful appeal that reflects Handel’s training in both Italian melody and
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Programme Note continued
German counterpoint. The smooth and melodious lines of “He was despised” and “I know that my redeemer liveth” partly draw on the lyricism of opera around 1700, but are also supported by a firm sense of harmonic structure that Handel gained from his German upbringing. Messiah is set apart from Handel’s operas by its many choral movements. Italianate opera mainly consisted of arias and recitatives, and rarely made use of a chorus. Handel’s oratorios, by contrast, drew on the English tradition of grand choral movements in church anthems and secular odes. Some of the choruses are exercises in homophony, such as “Since by man came death” with its contrasts between minor-key Grave sections and major-key Allegro passages. Other choruses show Handel’s skill, again gained from his German upbringing, in writing fugues. But most characteristic are those choruses that juxtapose homophonic and fugal sections. Thus “For unto us a child is born” starts as a fugue – albeit
with a transparent texture rarely heard in the works of German composers – and culminates in the chordal interjections on “Wonderful Counsellor”. Another powerful juxtaposition of homophony and fugue is found in the “Hallelujah” Chorus. Such choral writing is one of the main reasons why Messiah has appealed to generations of performers and listeners, from the 18th century right up to the present day. Programme note © Stephen Rose
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Richard Egarr director & harpsichord
© Patrick Allen
2017. He guests with major symphonic orchestras such as London Symphony, Royal Concertgebouw and Philadelphia orchestras, and regularly gives solo harpsichord recitals at the Wigmore Hall, Carnegie Hall and elsewhere.
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, Egarr was recently appointed Principal Guest Conductor of the Residentie Orkest in The Hague from 2019, and was Associate Artist of the Scottish Chamber Orchestra 2011-
Richard’s diverse musicianship is reflected in his projects for 2017-18 that include Purcell’s King Arthur (semi-staged) at the Barbican with AAM, St Matthew Passion with the Rotterdam Philharmonic, and Beethoven’s “Eroica” with both the Luxembourg Philharmonic and Antwerp Symphony. He makes several trips to the US, returning to the Dallas Symphony, and tours the East Coast with cellist Steven Isserlis. Early in his tenure with AAM, Egarr established the Choir of AAM. Operas and oratorios lie at the heart of his repertoire: he made his Glyndebourne debut in 2007 conducting a staged version of St Matthew Passion and staged productions at the Netherlands Opera
Academy including Mozart’s La clemenza di Tito, and Le nozze di Figaro. Egarr has recorded many discs for Harmonia Mundi, notably Handel, Mozart and Louis Couperin, with JS Bach’s Partitas released in February 2017. His long list of recordings with AAM includes seven Handel discs (2007 Gramophone Award, 2009 MIDEM and Edison awards), and JS Bach’s St John and St Matthew Passions on AAM’s own label, AAM Records. He has a long-standing teaching position at the Amsterdam Conservatoire and is Visiting Professor at the Juilliard School. Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.
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Mary Bevan
Reginald Mobley
In the 2017/18 season, Mary Bevan debuts at the Teatro Real in Madrid as Rose Maurrant in Weill’s Street Scene, and sings the title role in Turnage’s new opera Coraline for the Royal Opera at the Barbican. In concert, Bevan will sing JS Bach’s Christmas Oratorio on tour in Australia with the Australian Chamber Orchestra. Mary Bevan recently garnered praise for her return to the English National Opera as Zerlina in Mozart’s Don Giovanni, as well as for her debut as Merab in Handel’s Saul for the Adelaide Festival. For the Royal Opera House she created the role of Lila in David Bruce’s The Firework-Maker’s Daughter, sang Barbarina in Mozart’s Le nozze di Figaro on the main stage, and the title role in Rossi’s Orpheus at the Sam Wanamaker Playhouse. On the concert platform, she made her Carnegie Hall debut with the ensemble as Dalinda in Handel’s Ariodante as part of a tour of the United States and Europe.
countertenor
© Liz Linder
© Victoria Cadisch
soprano
Countertenor Reginald Mobley is highly sought after for baroque, classical and modern repertoire. Past performances of note include the premiere of Eric Banks’ Aluta continua: the passion of David Kato Kisule with Coro Allegro, concerts of Bach’s Easter Oratorio and Lully’s Te Deum with Bach Collegium San Diego, and an extensive tour of 16 concerts performing Bach’s St Matthew Passion with the Monteverdi Choir and English Baroque Soloists led by Sir John Eliot Gardiner. With the latter he also made an acclaimed debut at the BBC Proms in August 2017, and releases an anticipated recording of JS Bach’s Magnificat this autumn. This autumn he returned to Academy of Ancient Music for Purcell’s King Arthur at the Barbican in London, ahead of Handel’s Messiah with the Royal Scotland’s National Orchestra and an extensive tour across Europe, again with Sir John Eliot Gardiner and the Monteverdi Choir and Orchestra. Alongside, Reginald tours next summer with pianist Henry Lebedinsky, presenting “Every time I feel the Spirit: 200 Years of Music by Black Composers”.
H A N DE L’ S M E S S I A H
Thomas Hobbs
Christopher Purves
Thomas Hobbs is in demand with many leading baroque and early music ensembles. Highlights of the 2017-18 season include Haydn’s Creation with Mirga Gražinytė-Tyla and the City of Birmingham Symphony Orchestra, Schumann’s Requiem with Richard Egarr and the Scottish Chamber Orchestra and the Evangelist in JS Bach’s St Matthew Passion on tour with the Netherlands Bach Society. He will also sing JS Bach cantatas with the Milan Symphony Orchestra, Violons du Roy, and the Danish National Symphony, and will travel to Australia to sing Bach’s Christmas Oratorio with the Choir of London and Australian Chamber Orchestra.
Christopher Purves is one of the leading British baritones of his generation. Operatic highlights of the 2017-18 season include Golaud in Pelléas et Mélisande in Hong Kong and at Glyndebourne in Stefan Herheim’s new production with Robin Ticciati, and Trinity Moses in Weill’s The Rise and Fall of the City of Mahagonny for Opernhaus Zurich and Fabio Luisi. In concert he will sing Balstrode in Britten’s Peter Grimes at the Edinburgh Festival with Edward Gardner and Bergen Philharmonic, Peasant in Schoenberg’s Gurrelieder with Sir Simon Rattle and London Symphony Orchestra at the BBC Proms, Creon in Enescu’s Oedipe with Vladimir Jurowski and London Philharmonic Orchestra at the Royal Festival Hall and Enescu Festival, and Berlioz’s L’enfance du Christ with Robin Ticciati and the Deutsches Symphonie-Orchester Berlin.
Thomas Hobbs will return to Israel to sing JS Bach and Britten with the Israel Camerata, and will perform Handel’s Alexander’s Feast with Tafelmusik Baroque Orchestra, as well as JS Bach programmes with Gli Angeli Geneve, La Chapelle Harmonique, Dunedin Consort at Wigmore Hall, and with the Milan Symphony Orchestra.
baritone
© Chis Gloag
© Benjamin Ealovega
tenor
On the concert platform recent highlights include a critically acclaimed Alberich in Wagner’s Das Rheingold with the New York Philharmonic and Alan Gilbert, JS Bach’s St John Passion at the Concertgebouw Amsterdam, and Elgar’s The Kingdom at the First Night of the BBC Proms with Sir Andrew Davies and the BBC Symphony.
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Academy of Ancient Music Violin I Bojan Čičić Sijie Chen Iona Davies Pierre Joubert Magdalena Loth-Hill Violin II James Toll Marianna Szücs Joanna Lawrence Henry Tong
Viola Jane Rogers Clare Barwick Cello Joseph Crouch George Ross Double Bass Judith Evans Bassoon Ursula Leveaux
Organ Alastair Ross Trumpets David Blackadder Phillip Bainbridge Timpani Benedict Hoffnung Keyboard Technician Malcolm Greenhalgh
Sponsored Chairs Principal Viola Richard and Elizabeth de Friend Sub-Principal Viola Nicholas and Judith Goodison Principal Cello Dr Christopher and Lady Juliet Tadgell Sub-Principal Cello The Newby Trust
© Patrick Harrison
Principal Theorbo John and Joyce Reeve
H A N DE L’ S M E S S I A H
Choir of AAM Soprano Nina Bennet Helen Groves Philippa Hyde Dani May Chloe Morgan Alto Cathy Bell Judy Brown Lucy Goddard Susanna Spicer Tenor Ben Alden James Geer Edmund Hastings Matthew Sandy Bass Richard Bannan Adrian Horsewood Richard Latham Jonathan Stainsby
Explore If you enjoyed tonight’s concert, you may be interested in the following recordings:
Handel Messiah: Nelson, Kirkby, Watkinson, Elliot, Thomas, Choir of Christ Church Cathedral Oxford, AAM / Hogwood [Decca / L'Oiseau Lyre 4788160, remastered 2014] Nelson, Kirkby, Watkinson, Elliot, Thomas, Westminster Cathedral Choir, AAM / Hogwood [DVD: Warner Classics / Warner Vision, 0630178342] Choir of King’s College, Cambridge, AAM / Cleobury [CD: Warner Classics, 2681562; also available as DVD] Jenkinson, Jones, Brooks, Davies, Spence, Dougan, Choir of New College Oxford, AAM / Higginbottom [Decca / L’Oiseau Lyre, 4119492]
Doyle, Davies, Clayton, Foster-Williams Polyphony, Britten Sinfonia / Layton [Hyperion, CDA67800]
Our Cambridge-based colleagues show just how much influence the period performance movement has had: Doyle, Davies, Clayton, Foster-Williams Polyphony, Britten Sinfonia / Layton [Hyperion, CDA67800]
Christmas Concertos
AAM / Hogwood [Decca / L'Oiseau Lyre 4101792]
Christopher Hogwood: Handel Recordings Kirkby, Te Kanawa, Bartoli, Sutherland, Fink, Daniels, Jones, Bowman, et al, AAM / Hogwood [Decca / L'Oiseau Lyre 482810]
Hogwood conducts Handel Oratorios Sutherland, Kirkby, Kwella, Nelson, Watkinson, Jones, Bowman, et al AAM / Hogwood [Decca E4756731]
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Meet the singer: Matthew Sandy tenor When I was 15, my singing teacher suggested I join a church choir and a few years later I was accepted for a choral scholarship at King’s College Cambridge, where I studied music. That is also where I first encountered AAM through their partnership with King’s College Choir, and got to know some of the players on a wonderful tour of France, performing Monteverdi's Vespers, in 2010.
What's your musical background? When my reception class teacher noticed that, aged four, I could sing in tune (apparently not every four year old can!) I sang my first solo "Tiger, Tiger, Orange and Black" in a school assembly and it all went from there. I went on to learn piano, organ and flute (after a brief fling with the cello), but I was always sang in choirs at school and beyond.
Do you just sing early music? Oh no! I sing everything from Purcell to Puccini, though I have a particular love of English song. Earlier this year I was delighted to be invited to give a lecture and recital at the The Red House (Britten's home) in Aldeburgh, exploring Benjamin Britten’s musical and personal relationship with Peter Pears, as part of Aldeburgh Festival's
"Queer Talk" season to mark the 50th anniversary of the decriminalisation of homosexuality in England and Wales. I also sing with various other choirs and consorts as well as Choir of AAM, and I’m a choirman of the Temple Church in London.
Is there such a thing as a baroque singing style and if so what is it? I suppose it's a question of context and character, even between baroque composers. If there is such a thing as "baroque singing style", I think it is a focus on clarity, and the awareness of how the voice, or voices, interlock(s) with the other lines and instruments, mirroring each other in the counterpoint and colours. That said, I suppose that could be true of all performance!
H A N DE L’ S M E S S I A H
facing in some aspects of our society You were involved in “Messiah, and culture, but also the hope and Who?", the fruits of which we hear this evening. Tell us about the project. determination to engage their own voices with that same society that doesn’t always listen to them. The project was to engage young The discussions with them and the people with baroque music in snippets of the work that I have heard a stimulating and creative way, so far are very thought-provoking, so exposing them to a style of music I am really looking forward to hearing they may not have been aware of the finished work and how it speaks to before, and to create new music in response, reflecting their own musical our audience at the Barbican. experiences and the heritage given What's been your Choir of AAM by the baroque tradition. It was highlight to date? challenging, funny and fascinating to work with the youth choirs and I have to highlight two, as I can’t pupils from around London, and it decide between them! One is my was inspiring to see Hannah Conway first project with Choir of AAM and at work! with Richard Egarr, performing The students have created poetry and and recording JS Bach’s St Matthew Passion. I remember the energy of the music that reflects not only the bleak performances and recording sessions realities of the present (and future) being completely captivating and that young people find themselves
really sensing the dramatic release of the Passion narrative in an exciting way.
Some part of Handel's Messiah will make us say “THAT! That's what I'm going through right now." The other is also Bach, this time performing Passiontide Cantatas. In contrast to the St Matthew Passion project, I loved the intimacy of the smaller forces, and being led from the orchestra by Pavlo Besnosiuk. It also contained my first "step-out" solos with the group, singing "Jesu, lass durch Wohl und Weh" from continued ...
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Himmelskönig, sei willkommen BWV 182. I don’t think I’ve ever before or since managed such speedy or skillful semiquavers! (Perhaps not an admission to make just before a performance of Messiah...!)
What do you think is the key to Messiah's enduring popularity? I suppose apart from the nostalgic and familiar relationship we have with the piece, I think it is because at it’s core, Messiah is about human experience. There is something for everyone to relate to in its passages, whether it’s joy ("Hallelujah"), rejection ("He was despised"), new life ("For unto us a child is born"), betrayal ("He trusted in God that he would deliver him"), hope ("I know that my Redeemer liveth"), and so much more besides. Whatever
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For me, it’s a reminder that there is is on our minds concerning our own lives when sitting down to hear always peace to be found in kind and Handel’s music, some part of this work friendly words, and in beautiful music. will make us say "THAT! That’s what I’m going through right now", and that will never diminish, as long as we think and feel the way all humans do.
What's your favourite movement of Messiah and why? This is going to sound egotistically "tenor-y", but it’s the opening tenor aria, "Comfort Ye". After the frantic bustle of the Overture, and before an emotional rollercoaster of semiquavers begins for the next two hours or so, the serenity of the strings and the calm consolation of Handel’s setting of the text makes for a very special opening to the work. I love listening to it, and I love singing it.
SHOSTAKOVICH PLUS October & November 2017 DEBUSSY & PIZZETTI February & March 2018 MICHAEL COLLINS & FRIENDS February, March & April 2018 ACADEMY OF ANCIENT MUSIC RESIDENCY May & June 2018 Fridays at 1pm LSO St Luke’s, 161 Old Street London EC1V 9NG lso.co.uk/lunchtimeconcerts
ACADEMY OF ANCIENT MUSIC 2017-18 SEASON
Support AAM Each year AAM gives around 40 concerts in the UK and internationally, enriching the lives of tens of thousands of people with our fresh approach to baroque and classical music. AAM’s recordings and broadcasts are heard by wide and varied audiences around the world on the radio and online. Our AAMplify scheme nurtures the next generation of artists and audiences, providing opportunities for talented young musicians to develop their skills and for all young people to experience the thrill of live performance with low-cost concert tickets and introductory workshops. AAM is a registered charity. This year we need to raise over £500,000 to sustain and develop the orchestra’s work promoting the very best music, and to expand our AAMplify programme. We do not currently receive any public funding towards our core costs, so the generosity of our valued family of supporters has never been more important.
AAM Friends Membership of AAM Friends starts from just £2.50 a month or £30 a year. In return, Friends receive:
• an annual drinks party • invitations to open rehearsals • regular news and updates Last year, donations from AAM Friends allowed us to:
• provide a day of coaching from AAM players for talented young musicians through AAMplify • fund speakers for free pre-concert talks for all our audience members • support the cost of providing parts for the players in our own-promotion concerts For more information about AAM Friends, please get in touch with Alice Pusey, Projects & Fundraising Coordinator, on 01223 301509 or support@aam.co.uk.
AAM Society The AAM Society is at the core of the AAM family. Society members’ annual gifts of between £250 and £20,000 form our financial backbone, allowing us to evolve and excel in the concert hall, in recordings, and in the AAMplify scheme. To show our appreciation, we offer Society members:
• dinners with the director, soloists and musicians after performances in London • regular invitations to open rehearsals • invitations to private recitals in fellow members’ homes and other special events • complimentary drinks receptions at own promotion concerts in London and Cambridge • regular news and updates • priority booking for all AAM own promotion concerts in London and Cambridge through the AAM office.
Last season, support from AAM Society members facilitated the orchestra’s travel to countries near and far, our work with Jordi Savall, a staging of Purcell’s Fairy Queen, and to celebrate Music Director Richard Egarr’s 10th anniversary with AAM in a glorious concert broadcast by ClassicFM, reaching several million people. The generosity of individuals helped to fund our highly acclaimed performances of Monteverdi’s Vespers in London and Gloucester, where we showcased instruments and music to primary school children; to develop exciting recording projects; and to broaden our reach online. Society donations also enabled us to evolve our partnerships with the Guildhall School of Music & Drama, Royal Welsh College of Music & Drama, and the Royal Northern College of Music, giving support and advice to young professionals in rehearsals and workshops.
If you would like to join the AAM Society or receive more information about ways to support the orchestra, please get in touch with Alice Pusey, Projects & Fundraising Coordinator on 01223 301509 or support@aam.co.uk.
ACADEMY OF ANCIENT MUSIC Music Director Richard Egarr Founder Christopher Hogwood CBE Hogwood Fellow Robert Levin Associate Ensemble at the Barbican Centre Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at The Grange Festival 11b King’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 Visit aam.co.uk to find out more and to watch and listen to us in action @AAMorchestra academyofancientmusic
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
H A N DE L’ S M E S S I A H
Our Team Music Director Richard Egarr Hogwood Fellow Robert Levin
Head of Concerts and Planning Chloë Wennersten
Chief Executive Alexander Van Ingen
Projects and Fundraising Co-ordinator Alice Pusey
General Manager Anthony Brice
Librarian Hannah Godfrey
Development Manager Ellen Parkes
Artistic Consultant Lars Henriksson
Programme Editor Sarah Breeden
Fundraising Assistant Leonore Hibou
Development Consultant John Bickley
PR Consultant WildKat PR
Finance Marianna Lauckner Palieskova
Marketing Consultants Bethan Sheppard Chloë Priest Griffiths
Board of Trustees
Development Board
Hugh Burkitt Matthew Ferrey Philip Jones (chair) Graham Nicholson John Reeve Terence Sinclair Madeleine Tattersall Janet Unwin
Delia Broke Hugh Burkitt Elizabeth de Friend (chair) Andrew Gairdner MBE Peter Hullah Philip Jones Roger Mayhew Annie Middlemiss Craig Nakan John Reeve
Honorary President: Christopher Purvis CBE
Council Chris Rocker Terence Sinclair Madeleine Tattersall Janet Unwin
Richard Bridges Adam Broadbent Kate Donaghy Jonathan Freeman-Attwood Carol Grigor Tim Harvey-Samuel Nick Heath Lars Henriksson Christopher Lawrence Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell
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Who we are and what we do Music
The Academy of Ancient Music is an orchestra and choir that perform music from the baroque and classical era in the way it was first intended.This means taking inspiration from the composers themselves; through careful research and using first edition scores as often as possible. Our historically informed approach was ground-breaking when the orchestra was founded in 1973 by scholar-conductor Christopher Hogwood and AAM remains at the forefront of the early music scene today, under the leadership of Music Director Richard Egarr.
Recordings
Originally established as a recording orchestra AAM has an incredible catalogue of more than 300 CDs which have won numerous accolades, including Brit, Gramophone, Edison and MIDEM awards. On its own in-house
label, AAM Records, the orchestra has released five critically acclaimed recordings. The most recent release, a stunning selection of instrumental works by Dario Castello, a Venetian composer from the early baroque period, was launched in October 2016.
Education
Since 2010 AAM has run its AAMplify education scheme, with the aim of nurturing the next generation of young artists and audiences. Working with partners around the country, AAM delivers workshops, masterclasses and other special projects for children and people of all ages.
2017-18 Season
The 2017-18 season began with a semistaged performance of King Arthur, the second instalment of AAM’s three-year Purcell opera cycle. Also this season the Choir of AAM takes centre stage at the
Barbican for performances of Handel’s Messiah and Bach’s St John Passion, joined by first class soloists; and Nicola Benedetti performs virtuosic Vivaldi and Telemann concerti on gut strings. In West Road and Milton Court concert halls, soloists from AAM feature in programmes exploring the musical impact of cross-European migration, and the "reversed fortunes" of Telemann and Bach. Soprano Carolyn Sampson celebrates English song from Dowland to Arne; and a programme of secular and sacred vocal music showcases the pairing of soprano Keri Fuge and countertenor Tim Mead. AAM is Associate Ensemble at London’s Barbican Centre and Orchestra in Residence at the University of Cambridge, at the Grange Festival and at Chiltern Arts. Visit aam.co.uk to find out more.
H A N DE L’ S M E S S I A H
Thank you The AAM is indebted to the following trusts, companies and individuals for their support of the orchestra’s work.
TRUSTS & FOUNDATIONS The Backstage Trust Constance Travis Charitable Trust Dunard Fund Garfield Weston Foundation Geoffrey C Hughes Charitable Trust The Goldsmiths' Company Charity John Armitage Charitable Trust Newby Trust Ltd The Nicholas John Trust The Polonsky Foundation and other anonymous trusts and foundations
AAM SOCIETY The Hogwood Circle Matthew Ferrey Mark and Liza Loveday Christopher and Phillida Purvis * Mrs Julia Rosier Terence and Sian Sinclair Dr Christopher and Lady Juliet Tadgell Principal Patrons Christopher Hogwood CBE, in memoriam * John and Madeleine Tattersall and other anonymous Principal Patrons Patrons Lady Alexander of Weedon Richard and Elena Bridges Clive and Helena Butler Alan J Clark Richard and Elizabeth de Friend Mr John Everett Malcolm and Rosalind Gammie Nicholas and Judith Goodison * Graham and Amanda Hutton Philip Jones David and Linda Lakhdhir Roger Mayhew Graham Nicholson John and Joyce Reeve Chris and Ali Rocker Mr Anthony Travis Mark West and other anonymous Patrons Principal Benefactors Carol Atack and Alex van Someren John and Gilly Baker Mrs D Broke Jo and Keren Butler Kate Donaghy
The Hon Simon Eccles Dr Julia Ellis Ed Hossack and Ben Harvey Mark and Sophie Lewisohn Mr and Mrs C Norton Mark and Elizabeth Ridley Sir Konrad and Lady Schiemann * Julian and Anne Stanford Stephen Thomas Paul and Michi Warren Julie and Richard Webb Mr Andrew Williams Mrs R Wilson Stephens Christopher Stewart Charles Woodward and other anonymous Principal B enefactors Benefactors Dr Aileen Adams CBE Cumming Anderson Elise Badoy Dauby Professor John and Professor Hilary Birks Mrs Stephanie Bourne Mr and Mrs John Brisby * Adam and Sara Broadbent Hugh Burkitt Marshall Field Michael and Michele Foot CBE Andrew and Wendy Gairdner The Hon William Gibson Mrs Noel Harwerth and Mr Seth Melhado The Hon Mr and Mrs Philip Havers Professor Sean Hilton Ralph Hullah, in memoriam Heather Jarman Julian and Susie Knott Mr Peter and Mrs Frances Meyer Herschel and Peggy Post Chris and Valery Rees The Hon Zita Savile Dr Robert Sansom Ms Sarah Shepley and Mr Kevin Feeney Reg and Patricia Singh
Mr Michael Smith Peter Thomson and Alison Carnwath Mrs Janet Unwin Peter and Margaret Wynn and other anonymous B enefactors Donors Angela and Roderick Ashby-Johnson Marianne Aston Elisabeth and Bob Boas * Charles Bryant David and Elizabeth Challen Lord and Lady Dilhorne Derek and Mary Draper Nikki Edge Christopher and Jill Evans Tina Fordham Mrs Marilyn Minchom Goldberg Miles and Anna Hember Mrs Helen Higgs Mr and Mrs Charles Jackson Alison Knocker Mr and Mrs Evan Llewellyn Richard and Romilly Lyttelton Richard Meade Annie Middlemiss Professor Graham Orpwood Nick and Margaret Parker Mr Edward Powell Jane Rabagliati and Raymond Cross Jane and Robin Raw Mr and Mrs Charles Rawlinson Michael and Giustina Ryan Dr Alison Salt Mr Peter Shawdon Professor Tony Watts Tony and Jackie Yates-Watson and other anonymous D onors * denotes founder m ember
A C A D E M Y O F A N C I E N T M U S I C 2017 - 18 S E A S O N
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includes Pergolesi Stabat Mater, Cantatas by Handel and Corelli Concerto Grosso in D major
MORTAL VOICES Christian Keri Tim Curnyn Fuge Mead director & harpsichord
soprano
counter-tenor
Thursday 15 February 2018, 7.30pm Milton Court Concert Hall, London Box Office: 020 7638 8891 barbican.org.uk
Friday 16 February 2018, 7.30pm West Road Concert Hall, Cambridge Box Office: 01223 357851 cambridgelivetrust.co.uk/tickets
CONCERT SEASON 2017/2018
Book now at thebachchoir.org.uk Music Director | David Hill
CAROLS AT CADOGAN
Haydn
Johann Sebastian Bach
Prokofiev
NELSON MASS
FRI 22ND DEC 2017 | 7.30pm
TUE 6TH MAR 2018 | 7.30pm
ST MATTHEW PASSION
ALEXANDER NEVSKY
CADOGAN HALL
ROYAL FESTIVAL HALL
SUN 18 MAR 2018 | 11am
THU 3 MAY 2018 | 7.30pm RD
ROYAL FESTIVAL HALL
ROYAL FESTIVAL HALL
David Hill, Carolyn Sampson
Florilegium, David Hill,
Philharmonia Orchestra,
and more
Philip Scriven, Ed Lyon
David Hill, Hilary Summers,
and more
Simon Ponsford
London City Brass,
Philharmonia Orchestra,
David Hill, Philip Scriven, Matthew Green, Nigel Bates
TICKETS £13.50–£32 020 7127 9114
TH
TICKETS £10–£50 020 3879 9555
TICKETS £12–£55 020 3879 9555
TICKETS £10–£50 020 3879 9555
COME & SING St Matthew Passion A training day for choral singers | Led by David Hill SAT 5TH MAY 2018 | 10.30am ST SEPULCHREWITHOUT-NEWGATE, HOLBORN, LONDON
TICKETS £20 (Students £5) 020 7127 9114
ACADEMY OF ANCIENT MUSIC
LONDON & CAMBRIDGE 2017-18 Purcell’s King Arthur (semi-staged)
Tuesday 3 October 2017, Barbican Hall, London
Italy in England – when Handel met Corelli Thursday 19 October 2017, Milton Court, London Friday 20 October 2017, West Road, Cambridge
Bless’d Isle – with Carolyn Sampson
Wednesday 1 November 2017, West Road, Cambridge Thursday 2 November 2017, Milton Court, London
Bach and Telemann – Reversed Fortunes Thursday 7 December 2017, Milton Court, London Tuesday 12 December 2017, West Road, Cambridge
Handel’s Messiah
For more than 40 years the Academy of Ancient Music has enriched the lives of thousands the world over with high calibre historically-informed performances of baroque and classical music. Under the direction of Richard Egarr the AAM enjoys a global reputation, building its critically acclaimed record label and investing in an everexpanding programme.
Wednesday 20 December 2017, Barbican Hall, London
Mortal Voices – music by Pergolesi, Corelli and Handel Thursday 15 February 2018, Milton Court, London Friday 16 February 2018, West Road, Cambridge
Bach St John Passion
Friday 30 March 2018, Barbican Hall, London
1790s London: Saint & Sinner – music by Haydn & Dussek Nicola Benedetti – music by Vivaldi and Telemann Thursday 31 May 2018, Barbican Hall, London
HERALD SCOTLAND
“...the Academy’s informed musicianship – as vibrant in its fanfares as it was sensitive in its pianissimos“ INDEPENDENT
“A joy for ear and spirit“ GRAMOPHONE
Design by Apropos-
Thursday 12 April 2018, West Road, Cambridhe Friday 13 April 2018, Milton Court, London
“Hearing Bach’s joyous music performed by AAM of a sunny morning must count as a great, life-affirming pleasure.”