Academy of Ancient Music Viktoria Mullova concert 16, 18 and 19 November by Academy of Ancient Music

Cambridge, London, UK and International performances

AC A D E M Y O F A N C I E N T M U S I C

2019-20 Viktoria Mullova: Bach & Haydn

19-20

ACADEMY OF ANCIENT MUSIC

Concert Programme

Brockes-Passion

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

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

Artists:

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

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

ACADEMY OF ANCIENT MUSIC 2018-19 SEASON

Viktoria Mullova Bach & Haydn

Richard Egarr director & harpsichord Viktoria Mullova violin James Hall countertenor

GRIMANI

Sinfonia from Pallade e Marte (1713)

C.P.E. BACH

Symphony No.4 in A major, H660 (1773)

Saturday 16 November 2019 7.45pm

J.S. BACH

Monday 18 November 2019 7.30pm

J.S. BACH

Tuesday 19 November 2019 7.30pm

J.S. BACH

Malvern Theatres, Malvern

The Apex, Bury St. Edmunds

Milton Court Concert Hall, London

Cantata "Bekennen will ich seinen Namen", BWV200 (c.1742) Concerto for Violin No.1 in A minor, BWV1041 (between 1717-23 or 1730) "Erbarme Dich, mein Gott" from St. Matthew Passion BWV244 (1727) 20-minute interval

HAYDN

Symphony No. 4 in D major, HobI:4 (between 1747â&#x20AC;&#x201C;1761)

HAYDN

"Fac me vere tecum flere" from Stabat Mater, HobXXa:1 (1767)

HAYDN

Concerto for Violin in G major, HobVIIa:4 (c.1760s)

Viktoria Mullova: Bach & Haydn

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 2019 - 20 S E A S O N

Welcome from Chief Executive, Academy of Ancient Music Welcome to what promises to be a highlight of the Academy of Ancient Music’s 19-20 season, as we collaborate with exceptional violinist Viktoria Mullova for the first time. Vika has a proud history of period performance, I am thrilled to welcome her to the stage with us for a series of concerts which take us to Germany and Holland, as well as AAM’s debut in Malvern Theatre.

first major Handel work to do so in over a decade. There is a special release-price for AAM audience members at just £30 for orders from the AAM desk in the foyer this evening.

Last month AAM became the first period-instrument ensemble in the world to surpass one million monthly listeners on the biggest streaming service, Spotify, significantly ahead of all other similar ensembles. We know We are also delighted that countertenor James Hall joins us that this is an important way of getting our music to vast alongside our music director, Richard Egarr. You can hear numbers of listeners, many of whom do not have easy him perform a bigger programme with an intimate chamber access to live music-making. It also gives us confidence in ensemble from AAM next summer – a rare opportunity to the future – 60% of those million+ listeners each month hear a concert in the beautiful setting of the Upper Library are under 34 – and this programme, along with several at Christ Church, Oxford. others this season, will be live-streamed to Facebook to allow international listeners to discover the joy of Bach and At Easter, AAM presented a 300th anniversary performance Haydn with us in the concert hall. I hope you enjoy tonight’s of Handel’s neglected masterpiece, his Brockes-Passion. Our concert, and look forward to welcoming you to more AAM recording of this magnificent work, presented across three events this season. CDs with a fulsome 220-page guide in a deluxe hard-back package, is now available, and has been receiving rave reviews across the board, including 5* in The Times, and Editor’s Choice in this month’s Gramophone magazine, and Alexander Van Ingen it reached the coveted No.1 spot in the classical chart – the Chief Executive Academy of Ancient Music

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

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

N EW

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

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

coco.dk/en/discography/

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

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

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

V I KT O R I A M U L L OVA : B A C H & H AY DN

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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 2019 - 20 S E A S O N

Thank you

Programme Notes Dr Julia P 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

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Remembering AAM in your Will The Academy of Ancient Music is committed to bringing more early music experiences to more people every year, and we are determined to preserve our music and music-making so that it can be enjoyed by generations to come. Our music moves audiences now just as it did when first written, and the commitment and generosity of our supporters ensure it continues to be powerful and immediate for audiences of the future. If AAM has enriched your life by performing music that you love, please consider remembering AAM in your Will; help us to pass on our extraordinary treasure house of early music to the next generation. There may also be tax benefits* for your estate should you wish to leave a percentage of your estate to charity. Gifts that are left to the Academy of Ancient Music in Wills are one of the most important ways you can support our work. Joining our Legacy Circle will bring you into AAM’s unique and convivial supporting community, and you will be invited to an annual lunch as a thank you for your generosity, so that we can keep you updated with AAM’s work. Your gift today is supporting AAM’s artistic activities of tomorrow. If you would like to find out more about AAM’s Legacy Circle, please contact Liz Brinsdon (liz.brinsdon@aam.co.uk). Every gift in every Will makes a difference – however large or small. * as every individual situation is different, we recommend taking professional advice when assessing potential tax benefits.

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

“Feasting Reconciles Everybody" Samuel Pepys

Haydn’s was not a happy childhood. His vocal talent was heard at an early age and he went to join St. Stephen’s Cathedral, Vienna as a chorister aged just five. Little choristers, it seems, had a similar fate to that of Oliver Twist, as he was often starved of a decent meal. When he was older he used his vocal talents to get as many gigs as possible at artistocrats’ parties where there was a chance of getting a full belly. He may very well have been one of the first to try the archetypal Wiener Schnitzel which became popular with 18th-century Viennese bourgeoisie. Tenderise the veal cutlets. Prepare three plates, one with flour, one with two eggs lightly beaten with a little milk and a pinch of salt, and one with bread crumbs. Lightly coat the cutlets in flour on both sides, then pull them through the eggs, and cover them with breadcrumbs. Fry the cutlets immediately in a pan with pork fat. Add sufficient fat or oil to make the cutlets swim, and heat it. If the oil foams, the temperature is right. Keep moving the cutlets to generate an even goldbrown colour. Turn them at least once until they are golden brown on both sides. Serve with a wedge of lemon, and with warm or cold potato salad.

AAM Quick Pick Each concert Lars Henriksson picks out one key thing to listen out for. In tonight's concert we get to hear the alto aria “Fac me vere tecum flere” from Haydn’s Stabat Mater, composed in 1767 and scored for four soloists, choir and orchestra. This remarkable composition is unknown to many of today’s concert-goers but was praised by Haydn’s contemporaries. He tentatively sent the score to Johann Adolf Hasse, hoping to receive advice, but instead the work was “honoured with inexpressible praise” by the great master, and subsequently became one of Haydn’s most popular sacred compositions. It is a thoughtful, delicate, dramatic and at times joyful work, full of the compositional depth we associate with Haydn. Listen to the wonderful “Fac me vere tecum flere” and you may wonder why Haydn’s Stabat Mater dwells in relative obscurity. I certainly do, and after 35 years as a professional musician I’ve never had the pleasure of performing it.

V I KT O R I A M U L L OVA : B A C H & H AY DN

Maria Margherita Grimani (fl early 18th century)

Sinfonia from Pallade E Marte (1713) 1. Allegro / 2. Largo / 3. Presto Maria Margherita Grimani was one of a number of Italian female composers of oratorios active in Vienna in the early 1700s. Little is known of her life, but it is thought that she could have been a canoness, and may have been a member of great family of Venetian patricians who supplied several doges and cardinals. It may or may not be a coincidence that one of them, Pietro Grimani, played a part as an ambassador to the Imperial court in the negotiations between the Emperor Charles VI and the Turks in 1713, the same year that Maria Margherita wrote Pallade e Marte ("Pallas and Mars"), a companimento dramatico (as she called it) for Charlesâ&#x20AC;&#x2122;s nameday. Premiered in the court theatre on 4 November, it was the first opera by a woman ever to be performed there. Like many Italian operas and oratorios of the day, it has a short, simple and bright three-movement overture of the type associated with Alessandro Scarlatti, and which would go on to have a role in the creation of the Classical symphony.

This performance is made possible with funding from the ABO Trustâ&#x20AC;&#x2122;s Sirens programme, a ten-year initiative to support the performance and promotion of music by historical women composers. We would also like to thank the Ambache Charitable Trust for their support.

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

Carl Philipp Emanuel Bach (1714-88)

Symphony No.4 in A major, H660 (1773) 1. Allegro, ma non troppo â&#x20AC;&#x201C; / 2. Largo ed innocentemente / 3. Allegro assai In 1773 Carl Philipp Emanuel Bach, second and most talented son of Johann Sebastian, was recalling his long years as court harpsichordist to Frederick the Great in Berlin, before he had risen to the more prestigious and independent post of music director to the city of Hamburg. "Because I have had to compose most of my works for specific individuals and for the public", he wrote, "I have always been more restrained in them than in the few pieces that I have written mainly for myself." How delighted he must have been, then, when that same year he received a commission from Baron Gottfried Van Swieten, the music-loving Austrian Ambassador to Berlin, for a set of six new symphonies in which he was urged to give his imagination free reign "without regard to the difficulties of execution". Van Swieten would have known that the result would be symphonies in the urgently emotional north German style known as Empfindsamkeit

(roughly translating as "ultra-sensitive"), of which Bach had already shown notable mastery in his keyboard works. But even he must have been amazed by the vivid originality of the response. Here are the nervy extremes of expression â&#x20AC;&#x201C; thrust at us in affecting melodies, angular lines, jarring keychanges and febrile dynamic contrasts â&#x20AC;&#x201C; that mark Bach out as a composer of striking individuality. The fourth of these symphonies opens with a dramatic descent from quietly chattering high violins to a sonorous full orchestral texture, and goes on to make that contrast a feature of the entire first movement, adding the occasional emotional twist of a short sighing violin figure. Strong dynamic contrasts likewise help shape the dark and restless middle movement, but the finale offers a brighter prospect, suddenly jubilant and celebratory in tone.

V I KT O R I A M U L L OVA : B A C H & H AY DN

Johann Sebastian Bach (1685-1750)

Cantata “Bekennen will ich seinen Namen", BWV200 (c.1742) Bach’s 200 church cantatas are a treasure trove of enormous variety. How could they not be, indeed, when they were responding not just to the liturgical demands of the church calendar, but the availability at different times of certain singers and players? The latter in particular enabled the composer over time to paint with a wide range of expressive colours, with almost every instrument in use in his day making an appearance somewhere, many of them prominently featured as obbligato partners to the solo singers. From Bach’s basic orchestra of strings, oboes and basso continuo, however, the violin emerges as a soloist with notable frequency. Bach himself was a player, and had been a chorister as a boy, so we can imagine that he felt the strength of the relationship between singer and violin keenly.

The aria "Bekennen will ich deinen Namen", perhaps a fragment of a lost cantata, is an arrangement, possibly dating from around 1742, of an aria from a Passion-oratorio by Gottfried Heinrich Stölzel (1690-1749), in which it had stood as a hymn to the Holy Cross. Bach’s re-versioning reduces Stölzel’s orchestral scoring to two violins and basso continuo, and fits it out with new words that seem to link it to the "Nunc dimittis" (or "Song of Simeon") section of St. Luke’s Gospel, suggesting that it might have been used for at a service for the Feast for the Purification of the Virgin. The subject matter, the contented readiness for death experienced by the aged Simeon on recognising the infant Jesus as the Redeemer, is well conveyed in the music’s gently comforting tread.

Bekennen will ich seinen Namen, Er ist der Herr, er ist der Christ, In welchem aller Völker Samen Gesegnet und erlöset ist. Kein Tod raubt mir die Zuversicht: Der Herr ist meines Lebens Licht.

I will acknowledge His name, He is the Lord, He is the Christ, in whom the seed of all nations is blessed and redeemed. No death will rob me of this confidence: the Lord is the light of my life.

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Johann Sebastian Bach

Concerto for Violin No.1 in A minor, BWV1041 (between 1717-23 or c.1730) 1. [Allegro] / 2. Andante / 3. Allegro assai It is usually assumed that Bach composed his three surviving violin concertos, like most of his orchestral music, during his years as Kapellmeister to Prince Leopold of Anhalt-Cöthen between 1717 and 1723, a happy period for him during which he enjoyed the luxury of regularly directing a small but highly proficient orchestra. After Bach left Cöthen for Leipzig, opportunities to compose and perform concertos were fewer, until in 1729 he took up the directorship of a concert society known as the Collegium Musicum, in which musicians from city and university came together once a week to perform in concert. For these gatherings Bach revised much of his earlier orchestral music and arranged some of his existing concertos for harpsichord, the violin concertos among them. Yet it is not impossible that some of his violin concertos were actually composed at this time, since the earliest surviving sources for them are parts copied out in the 1730s.

Bach’s concertos follow the formal example set for the solo concerto by the Venetian composers of the day, above all Vivaldi. Bach had studied Vivaldi’s concertos even before his time in Cöthen and become an adherent of their three-movement format, but whereas Vivaldi’s habit was to ensure that soloists and orchestra had clearly differentiated melodic material, Bach preferred to blur this distinction, using motivic fragments from the main themes to provide a wealth of accompanimental and contrapuntal detail. Such is the case in the assertive first movement of the A minor Concerto, whose opening four-note motif is regularly heard accompanying the solo passages. The slow movement is a noble soliloquy for the soloist, floating in a near constant stream of triplets over a sternly repetitive bass. The same rhythmic feature then dominates the finale, a cheerful gigue of stealthily gathering momentum.

V I KT O R I A M U L L OVA : B A C H & H AY DN

Johann Sebastian Bach

Aria “Erbarme dich, mein Gott" from St. Matthew Passion, BWV244 (1727) Bach’s single most famous alto aria comes not from his cantatas, but from the great St. Matthew Passion of 1727, the longest and most profound of the three large-scale settings he made of the Gospel narrative of Christ’s betrayal, arrest, trial and crucifixion. One of its most dramatically powerful moments is the depiction of Peter’s threefold denial of Christ when confronted by a suspicious crowd, following which, as Christ had predicted, the cock crows to remind Peter that he had promised never to betray him. This

episode is told in recitative, but it is followed by an aria, "Erbarme dich, mein Gott", in which an onlooker (representing us) makes a heartbreaking plea for pity and forgiveness. Once again the violin is there with the singer, offering support and sharing the pain at every step.

Erbarme dich, mein Gott, Um meiner Zähren Willen! Schaue hier, Herz und Auge Weint vor dir bitterlich. Erbarme dich, erbarme dich!

Have mercy, my God, for the sake of my tears! Look here, heart and eyes weep bitterly before You. Have mercy, have mercy!

20-minute interval

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

Joseph Haydn (1732-1809)

Symphony No.4 in D major, Hob.I/4 (between 1747–1761) 1. Presto / 2. Andante / 3. Finale: Tempo di Menuetto Although he did not invent the genre, Haydn was the symphony’s earliest master and has justly been called its "father" for his achievement in transforming it from light court music into the definitive orchestral genre and acknowledged public statement of a composer’s skill and seriousness. His earliest examples – composed in the late 1750s for his first employer, the Bohemian Count Morzin – are modest and polite, but already show a high level of craftsmanship and a musical mind ready to avoid the obvious. Symphony No.4 has a bright and breezy first movement, rather like the Italian opera overtures of the time, though one brilliantly extended by a

sinuously attractive second theme and some expert handling of form. The second movement, with its muted strings, has a misty, Vivaldian half-light to it, its serene but melancholy melody gently rocked by restless syncopations in the second violins. The symphony ends with a finale in the style of a minuet that makes effective use of some very quiet pianissimos.

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Joseph Haydn

“Fac me vere tecum flere" from Stabat Mater, HobXXa/1 (1767) It may come as a surprise that Haydn’s most frequently performed work during his lifetime was not The Creation, nor any of his symphonies, but his setting of the Stabat Mater, the Latin poem that channels the pain of Mary, mother of God at the foot of the Cross. Composed in 1767, it was probably first performed on Good Friday that year at the Eisenstadt residence of his long-term employers the Esterházy princes, but within a year it was being presented in Vienna, and by the end of the century had been published in London, Paris and Leipzig, and manuscript copies were reaching as far as Holland, Spain, Portugal and Spanish-speaking America. The 35-year-old Haydn, who up till now

had only written smaller-scale sacred pieces, was so pleased with this 70-minute work that he sent a copy to the most eminent composer of the day, Johann Adolf Hasse, whose warm words of praise Haydn treasured until his dying day.

Fac me vere tecum flere crucifixo condolere, donec ego vixero. Juxta crucem tecum stare, et me tibi sociare in planctu desidero.

Let me truly weep with you, and show compassion for the crucified as long as I live. I wish to stand with you next to the Cross and to be your companion in lamentation.

The obvious model for the work would have been the famous Stabat mater of 1736 by Giovanni Battista Pergolesi, and Haydn’s setting, though for larger forces than Pergolesi’s, strikes a similar tone of solemn anguish. The ninth of its 14 movements is a stricken solo for alto, with a solo oboe to lead the orchestral weeping.

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Joseph Haydn

Concerto for Violin in G major, Hob.VIIa/4 (c.1750s) 1. Allegro moderato / 2. Adagio / 3. Allegro Haydn’s concertos do not occupy the central position in his output that his symphonies and string quartets do. Those were nothing less than central to Haydn’s artistic development and, by extension, to that of Western music itself, whereas his small output of concertos remained essentially conservative, the genre’s status as the most popular instrumental form of the previous 50 years perhaps proving something of a burden. They are, however, far from lacking in attractiveness and charm. The authorship of the G major Violin Concerto is not fully certain, but while there are no copies of it in Haydn’s hand, experts seem happy to accept it as genuine. Most of Haydn’s violin concertos date from the early years of his employment by the Esterházy family, which is to say the 1760s, but in this case the writing for the soloist shows fewer of the technical demands presented by two other concertos clearly associated with the leader of the Eszterházy

orchestra, Luigi Tomasini. This G major Concerto, it is reasoned, is more likely a work from the 1750s, written for a violinist at the Morzin court. It is conventional in construction, adopting the Vivaldian formal model that still dominated solo concerto-writing at this time, in which an opening orchestral statement containing much of the movement’s significant melodic material reappears in variously altered and shortened forms to frame more freely composed solo passages. This method is at its most clearly defined and unquestioning in the first movement, though the strong character and sure hand of Haydn are certainly present. His warm spirit then emerges further in the effortlessly decorated lyricism of the Adagio, in which the soloist is more dominant, before bursting unmistakably into life in the beguiling dash and élan of the finale. Programme notes © Lindsay Kemp

V I KT O R I A M U L L OVA : B A C H & H AY DN

Richard Egarr

director and harpsichord

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 added two new responsibilities: Principal Guest Conductor of the Residentie Orkest in The Hague and

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

Finta Giardinera, a Monteverdi cycle and Purcell operas with the Academy of Ancient Music at the Barbican as well as Le nozze di Figaro, repeated from their staged production together last summer at The Grange Festival.

Plans with AAM this season include Castello and Monteverdi with soprano Lucie Chartin having premiered Dussek’s Mass in G at the start of the season. Guesting in 2019-20 includes debuts with the St. Louis Symphony and with Klangverwaltung Munich at the Gasteig, and return visits to the City of Birmingham Symphony, Antwerp Symphony, Orchestre Philharmonique de Luxembourg, Orquesta Sinfonica de Galicia, Mostly Mozart Festival at the Lincoln Center and to the Kioi Sinfonietta.

Richard's extensive discography on Harmonia Mundi includes solo keyboard works by Bach, Handel, Mozart and Couperin, and latterly discs for Linn Records of Byrd and (due for imminent release) Sweelinck. His long list of recordings with AAM includes seven Handel discs (2007 Gramophone Award, 2009 MIDEM and Edison awards), and J.S. Bach's St. John and St. Matthew Passions on the AAM's own label. He features as director on their recording of Handel's Brockes-Passion, released this October, in a new edition of the music for which he was an integral contributor.

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

Richard is Visiting Professor at the Juilliard school.

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

Viktoria Mullova violin

An authentic approach to performance has led to collaborations with period instrument ensembles such as the Academy of Ancient Music, Orchestra of the Age of Enlightenment, Il Giardino Armonico, and Orchestre Révolutionaire et Romantique. Viktoria has a great affinity with Bach and his work makes up a large part of her recording catalogue.

Viktoria Mullova studied at the Central Music School of Moscow and the Moscow Conservatoire. Her extraordinary talent captured international attention when she won first prize at the 1980 Sibelius Competition in Helsinki. She has since appeared with most of the world’s greatest orchestras and conductors and at the major international festivals. She is now known the world over as a violinist of exceptional versatility and musical integrity.

Her ventures into creative contemporary music started in 2000 with her album Through the Looking Glass in which she played world, jazz and pop music arranged for her by Matthew Barley. This exploration continued with her second album The Peasant Girl which she has toured around the world with the Matthew Barley Ensemble. Her most recent project, Stradivarius in Rio is inspired by her love of Brazilian songs. This season, Viktoria performs Classical and Romantic repertoire with several major orchestras and conductors. Highlights include performances with

the Melbourne Symphony Orchestra and Auckland Philharmonic; Orchestra National de France and Baltimore Symphony Orchestra and a tour with the Academy of Ancient Music playing Bach and Haydn concertos. Her chamber music projects include Music we Love; a duo with double bassist Misha Mullov-Abbado, and duo with Alasdair Beatson on fortepiano, playing Beethoven recitals. Viktoria's extensive discography for Philips Classics and Onyx Classics has attracted many prestigious awards. September 2018 saw the release of her new CD of the complete works for violin and orchestra by Arvo Pärt with the Estonian National Symphony Orchestra and Paavo Järvi for the Onyx label. Viktoria Mullova either plays on her "Jules Falk" 1723 Stradivarius or a Guadagnini violin.

V I KT O R I A M U L L OVA : B A C H & H AY DN

Explore

James Hall

countertenor

Countertenor James Hall enjoys great success in baroque and contemporary repertoire, and regularly appears with some of the world’s leading ensembles and opera companies. This season he makes his first appearance with the Scottish Chamber Orchestra, has his house debut at Deutsche Oper Berlin as Oberon (A Midsummer Night’s Dream), performs for the Venice Biennale as The Boy (Written on Skin), and sings Goffredo in Glyndebourne on Tour’s Rinaldo. Last season James made his Glyndebourne Festival debut for the revival production of Rinaldo, and made his house and role debut at the Opéra National de Montpellier. Other recent highlights include concerts of Purcell and Blow duets with countertenor Iestyn Davies at Wigmore Hall and the Palace of Versailles, Guildenstern (Hamlet) for Glyndebourne on Tour, and the role of Farinelli alongside Oscar-winning actor Mark Rylance in the Olivier and Tony Award nominated play Farinelli and the King at the Belasco Theater on Broadway, New York City.

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

J.S. Bach: Concertos

Viktoria Mullova, Accademia Bizzantina / Dantone [Onyz, ONYX4114]

Haydn: Violin Concerto in G

Aislinn Nosky, Handel & Haydn Society / Christophers [Coro, COR16113]

Elegy: Countertenor Duets

James Hall, Iestyn Davies, The King’s Consort / King [Vivat, VIVAT118]

Haydn: Symphonies Vol.1

Academy of Ancient Music / Hogwood [Decca / L’Oiseau-Lyre, 4364282]

The Birth of the Symphony

Academy of Ancient Music / Egarr [AAM Records, AAM001] 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.

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

SACRED CANTATAS

Benjamin Appl â&#x20AC;&#x201C; Photo: Lars Borges / Sony Classical

Bach&

Masato Suzuki

director, harpsichord & organ

Benjamin Appl baritone

the Divine Wednesday 15 January 2020 West Road Concert Hall, Cambridge

Leo Duarte oboe

Sunday 19 January 2020 Milton Court Concert Hall, London Full programme details at aam.co.uk

Concerts in Cambridge Online cambridgelivetrust.co.uk/tickets Telephone 01223 357851 In person Cambridge Live Box Office, Wheeler Street

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

Get involved: @AAMorchestra academyofancientmusic @aamorchestra

V I KT O R I A M U L L OVA : B A C H & H AY DN

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

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

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

Milton Abbey International Music Festival and Loughborough Festival Opera. Programmes include large-scale vocal masterpieces such as Bach’s St. John Passion and Handel’s Israel in Egypt, as well the ground-breaking modern premiere of Jan Ladislav Dussek’s Mass in G Minor; a piece which hasn’t seen the light of day since 1811. The AAM is based in Cambridge and is Orchestra-in-Residence at the city’s university. Its London home is the Barbican Centre, where it is Associate Ensemble, and it is also Orchestra-inResidence at the Grange Festival, Music at Oxford, the Apex, Bury St. Edmunds and VOCES8 Milton Abbey International Summer Music Festival. Visit www.aam.co.uk to find out more.

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

Academy of Ancient Music Violin I Bojan Čičić Elin White Davina Clarke Sijie Chen Violin II Persephone Gibbs Liz MacCarthy Stephen Pedder William Thorp Viola Jane Rogers Ricardo Cuende Isuskiza

Oboe Leo Duarte Lars Henriksson Bassoon Zoe Shevlin Horn Richard Bayliss David Bentley Keyboard Technician Malcolm Greenhalgh

Cello Sarah McMahon Imogen Seth-Smith

Double Bass Judith Evans

V I KT O R I A M U L L OVA : B A C H & H AY DN

Music Director Richard Egarr

Head of Finance Julie Weaver

Hogwood Fellow Emma Safe

Head of Concerts and Planning Fiona McDonnell

Chief Executive Alexander Van Ingen

Head of Development Liz Brinsdon

Education and Outreach Manager Sue Pope

Concerts and Projects Co-ordinator Alice Pusey

Development and Media Co-ordinator Kemper Edwards

Librarian Emilia Benjamin

Board of Trustees

Development Board

Council

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

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

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

PR Consultant Orchid Media PR Programme Editor Sarah Breeden

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

(Honorary President)

Bach & Burgundy Stannary St. Wine Co. Jason Haynes

Director & Burgundy Buyer

Burgundy – perhaps the most fascinating and intriguing wine-producing region of France. Just two grape varieties, Pinot Noir and Chardonnay, suggest simplicity, yet the multitude of expressions created by location, small local micro-climates, methods of viniculture and more lead to wines that can be astonishingly complicated and amongst the most sought-after in the world. Pinot Noir - hauntingly perfumed, silky, complex – creates some of the most sublime wines known to man, and we explore this king of grapes alongside one of the greatest composers to have lived: J.S. Bach. Bach’s exceptional composition, and in particular his notable skills as a fuguewriter, pay homage to the creation of great Burgundy. Both begin with simple ingredients and a straightforward set of rules – for growing and cultivating; for harmony and counterpoint – yet the mastery of Bach and skill of the top wine-makers can produce something far above the ordinary. Led by “Mr. Burgundy” Jason Haynes of Stannary St. Wines (Burgundy experts, winning IWC’s ‘Burgundy Specialist of the Year), and one of today’s leading Bach interpreters, harpsichordist Jean Rondeau, we’ll sample four wines before our concert, and a further four over dinner afterwards in the company of performers. Great Burgundy, like Bach’s music, has a serious structure, complex interplay of melody and harmony, and once created continues to evolve as we explore it for years to come.

“…one of the most exciting burgundy dealers around.”

THE DAILY TELEGRAPH

Tickets £150 to include a top-price concert ticket and post-concert dinner Wednesday 20 November 2019, 7.30pm | Milton Court Concert Hall, London Free pre-concert talk at 6.30pm | barbican.org.uk for ticket information

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

oae.co.uk

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

11b Kingâ&#x20AC;&#x2122;s Parade, Cambridge CB2 1SJ +44 (0)1223 301509 info@aam.co.uk | www.aam.co.uk Registered charity number 1085485

All details correct at time of printing

aam.co.uk @AAMorchestra academyofancientmusic

@aamorchestra

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

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

Concerts

• brilliant music, expertly performed • inspirational, engaging performers at the highest level • detailed, informative programmes, free of charge • pre-concert talks and discussions • digital programmes and playlists sent in advance • post-concert listening and reading suggestions

Online

• past concert programme information • news and updates through social media • developing playlists for leading streaming services such as Spotify

Recordings

• over 300 albums, creating a substantial resource of historically informed

performance practice • our own record label, AAM Records • new Strategic Recording Fund enabling track-by-track recording of lesser-known works • making some of the finest performances available worldwide

Learning

• dedicated Education & Outreach Manager, curating programmes

for schools and communities • working with the next generation of performers and audience members • open rehearsals and opportunities to engage with performers and directors • high-level scholarship and research presented in informative ways • new baroque performance summer school in 2020

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CLASSICAL

MUSIC ?

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

royalphilharmonicsociety.org.uk

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

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

Featuring on:

4,530,746 fans (28m listens)

Soprano Mary Bevan during filming. Photo: Alexander Van Ingen

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

AAM tops the Charts!

Handel: Brockes-Passion We are delighted to announce that our recent release of Handel's Brockes-Passion made it to No.1 in the UK’s Specialist Classical Chart, and is already garnering some excellent reviews: “It’s the most astonishing piece… so humane, so dramatic, it really borders on the operatic… it’s a beautifully made recording… and this is just a beautiful set to hold, to look through – it sets the context perfectly and you seriously get value for money with this entire recording… I’d listen to this again and again.“ Andrew McGregor and Elin Manahan-Thoms, BBC Radio 3 CD Review, 12 October 2019 “superb recording… combines serious musicological and historical scholarship with vibrant musicianship and artistry… The AAM Chorus are in fine voice… AAM’s recording offers a Passion for all times and all places.” Claire Seymour, Opera Today, October 2019 “Please welcome this exciting Brockes-Passion, in such a vibrant and luxurious recording.” Geoff Brown, The Times 5* review 4 October 2019 “In Egarr’s hands, this neglected work is revealed as a lost masterpiece… this tercentenary recording restores it magnificently to the canon… the solo singing is outstanding.” The Sunday Times, Album of the Week, 22 September 2019

There have been interviews on BBC Radio 4 Sunday (29 September), BBC Radio Cambridgeshire Classical Cambridgeshire (26 September) and Radio Scotland (13 October) that can be found on the BBC Sounds app. See the inside front cover for further details of this outstanding 3-CD deluxe package or visit aam.co.uk/listen.

J.S. BACHOrchestral Suites

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

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

HANDEL Brockes-Passion

(1724 version)

£40 (3 CD, deluxe)

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

DARIO CASTELLO

£20 (2 CD)

Sonate Concertate In Stil Moderno, Libro Primo

BIRTH OF THE SYMPHONY:

Handel to Haydn

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

£12

J.S. BACH

St. Matthew Passion

AAM001

AAM005

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

(1727 version)

GRAMOPHONE

£25 (3 CD)

£12

ACADEMY OF ANCIENT MUSIC at

“Egarr’s compellingly original vision of this greatest of all musical tombeaus, with its fresh anticipation founded on collective adrenaline and uniformly outstanding lyrical Bach-singing … is a triumph.” AAM040

AAM004

£20 (2 CD)

J.S. BACH St. John Passion

AAM002

AAM007

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

AAM003

Editor’s Choice, GRAMOPHONE

This two-disc compilation of core baroque and classical repertoire gives a taste of our unrivalled award-winning catalogue of over 300 recordings.

£20 (2 CD)

Get involved: @AAMorchestra academyofancientmusic @aamorchestra Watch season trailers: acadofancientmusic

Associate Ensemble at the Barbican Centre Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at The Grange Festival Orchestra-in-Residence at the Apex, Bury St Edmunds Orchestra-in-Residence for VOCES8 Milton Abbey International Summer Music Festival Associate Ensemble, Teatro San Cassiano Research Partner: University of Oxford Partner: Culture Mile Network Music Director: Richard Egarr Hogwood Fellow: Emma Safe Founder: Christopher Hogwood CBE 11b Kingâ&#x20AC;&#x2122;s Parade, Cambridge CB2 1SJ +44 (0) 1223 301509 info@aam.co.uk www.aam.co.uk Registered charity number 1085485 All details correct at time of printing

Design by Apropos Cover Photo: Patrick Allen

Full programme details at aam.co.uk