concert programme
Mozart Clarinet Concerto
18-19
JS BACHOrchestral Suites “Exuberant and full of vitality.” BBC Radio 3 “a feast of meaningfully understated musicianship. I loved it.” AAM003
Editor’s Choice, GRAMOPHONE
We have released five critically acclaimed studio recordings on our own in-house record label, AAM Records. You can learn more about these as well as our rich back-catalogue of over 300 recordings on other labels at aam.co.uk/recordings.
JS BACH St John Passion (1724 version)
All the titles here are available to buy tonight or online aam.co.uk/recordings
Sonate Concertate In Stil Moderno, Libro Primo
With an all-star cast including James Gilchrist as Evangelist and Matthew Rose as Jesus. AAM002
DARIO CASTELLO
THE BIRTH OF THE SYMPHONY:
AAM001
AAM005
“AAM’s performances gave virtually unalloyed pleasure” GRAMOPHONE “A striking success” BBC MUSIC MAGAZINE
£10
£25 (3 CD)
£10
ACADEMY OF ANCIENT MUSIC at
“Egarr’s compellingly original vision of this greatest of all musical tombeaus, with its fresh anticipation founded on collective adrenaline and uniformly outstanding lyrical Bach-singing . . . is a triumph.” AAM040
AAM004
(1727 version)
GRAMOPHONE
£20 (2 CD)
Handel to Haydn
“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD
JS BACH St Matthew Passion
£20 (2 CD)
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 2018-19 SEASON
Academy of Ancient Music
Mozart
Clarinet Concerto
Michael Collins conductor soprano
Nicola Boud basset clarinet
SALIERI
Symphony in D major "Sinfonia Veneziana" (1786)
MOZART Friday 23 November 2018, 7.30pm Oxford Town Hall
Sunday 25 November 2018, 7.00pm West Road Concert Hall, Cambridge
Thursday 29 November 2018, 7.30pm
Milton Court Concert Hall, London
Symphony No. 27 in G major, K199 (c1773-75) Ruhe sanft, mein holdes Leben from Zaide (1779) Nehmt meinen Dank, K383 (1782) Aer tranquillo e dÏ sereni from Il rè pastore (1775) 20-minute interval
AMALIA
Overture from Erwin und Elmire (1776)
MOZART Symphony No. 16 in C major, K128 (1772) Clarinet Concerto (1791) Change to original programme: we are grateful to Nicola Boud for stepping in to perform Mozart's Clarinet Concerto and are delighted to welcome Soraya Mafi. Thank you for your understanding.
Mozart Clarinet Concerto
Soraya Mafi
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Welcome Welcome to the Academy of Ancient Music’s concerts with Michael Collins in Oxford, Cambridge and London, featuring Nicola Boud and Soraya Mafi. These mark our first performance as Orchestra-in-Residence for Music at Oxford this year, perhaps making AAM the first ensemble to be simultaneously resident in both Oxford and Cambridge; and also coincides with the start of a joint doctoral research project between AAM and the University of Oxford, through which John Bowcock will be exploring Beethoven and his contemporaries. I have admired Michael Collins’ superb musicianship for many years and there can be no doubt that he has a very special relationship with Mozart. I am delighted that Michael has received the all clear following his cancer treatment, and whilst sorry that he isn’t playing for these concerts I am very happy to welcome clarinettist Nicola Boud and soprano Soraya Mafi to share the stage with Michael.
2
On his European tour, a young Mozart stayed at Bourne Park in Kent, where AAM launched our Strategic Recording Fund last year. Events like these are important for AAM, as we receive no public funding from the Arts Council or elsewhere, and we are very grateful to those who support the work we do. I am thrilled to launch an appeal to record Handel’s Brockes-Passion next year. This little known masterpiece has
its 300th anniversary in 2019; and I warmly invite you to 'sponsor an aria' from this important work; further details are on page 23. Looking back to Mozart’s time, this programme contains a recipe from the mid-1700s; and tonight’s Mystery Music continues the continental journey. I hope you enjoy this evening’s concert, and might join us in December for Handel’s Messiah in London and Cambridge (with soloists from VOCES8 and Apollo5) and a Christmas Oratorio with the BBC Singers at St. Luke’s, Chelsea. This evening's programme also begins AAM’s new long-term project From Her Pen, seeking to unearth and present music written by historic female composers. We are grateful for the support of the Ambache Charitable Trust and the ABO Sirens Fund, and we will be both performing and recording works (such as this evening’s Overture to Erwin und Elmire) throughout this and future seasons.
Alexander Van Ingen Chief Executive Academy of Ancient Music
M O Z A R T C L A R I N E T C ONC E R T O
Support AAM You can live it, love it and get lost in it – and not want to go home! AAM Supporter
than ever. You can support us by joining the AAM Academy or AAM Associates and by doing so, you play an essential role in sustaining excellence in the concert hall, classroom and recording studio, bringing more early music experiences to more people every year.
AAM Academy: with a donation of £1000+ p/a
Our donors make our music happen: affordable concerts, accessible education and high-level research. Over the past 40 years AAM has become a global authority on the performance of baroque and classical music, and is now the most listened-to ensemble of its kind online. As well as a world-class orchestra, we are also a music charity, and as we approach AAM’s 50th Anniversary in 2023 we need to secure our future, fulfilling our mission to explore, preserve and reveal our rich treasure-house of early music.
Your support as an Academy member develops our artistic activity and longevity, bringing our music to millions every year, season after season. As an Academy member you will be at the very heart of the Orchestra. You will have opportunities to meet the musicians, immerse yourself in our music, and explore our work behind the scenes. With the support of our Academy members, our artistic vision and achievements will grow with strength and sustainability.
To succeed, the loyalty and generosity of our supporters is more important now
Academy members have the additional opportunity to make an even greater
difference by sponsoring a specific component of AAM’s work – it could be a concert; the Music Director himself; or the scores from which AAM performs.
AAM Associates: with a donation of £300-£999 p/a
Your support as an Associate will sustain our music-making every season. As an Associate you will be close to the Academy of Ancient Music’s work with opportunities to experience our musicmaking beyond the concert-platform, as well as being the first to hear about news, developments and plans for the future. To discuss sponsorship opportunities or to find out more about how you can help AAM, please contact Ellen Parkes, Development Manager (ellen.parkes@ aam.co.uk | 01223 341097).
3
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Thank you The AAM is indebted to the following trusts, companies and individuals for their support of the orchestra’s work.
MUSIC SPONSORS Principal Viola Elizabeth and Richard de Friend Sub-Principal Viola Nicholas and Judith Goodison Principal Cello Dr Christopher and Lady Juliet Tadgell Sub-Principal Cello Newby Trust Ltd Principal Harpsichord Chris and Alison Rocker Principal Theorbo John and Joyce Reeve Principal Trumpet John and Madeleine Tattersall Audience Communications Dr Julia Ellis Discounted tickets for under 26s Philip Jones
4
AAM SUPPORTERS Lady Alexander of Weedon Carol Atack and Alex van Someren Clive Butler Richard and Elena Bridges John and Gilly Baker Mrs D Broke Jo and Keren Butler Hugh Burkitt Daphne and Alan Clark Kate Donaghy Mr John Everett The Hon Simon Eccles Matthew Ferrey Malcolm and Rosalind Gammie Christopher Hogwood CBE, in memoriam Graham and Amanda Hutton Mark and Liza Loveday David and Linda Lakhdhir Mark and Sophie Lewisohn Mr and Mrs Evan Llewellyn Roger Mayhew Anne Machin Graham Nicholson Alessandro Orsaria Christopher Purvis CBE and Phillida Purvis MBE Mrs Julia Rosier Mark and Elizabeth Ridley Terence and Sian Sinclair Sir Konrad and Lady Schiemann Mrs S Wilson Stephens Christopher Stewart Mr Michael Smith Mr Anthony Travis Stephen Thomas Mark West Julie and Richard Webb Mr Charles Woodward Tony and Jackie Yates-Watson
Dr Aileen Adams CBE Cumming Anderson The Hon Mr and Mrs Philip Havers Angela and Roderick Ashby-Johnson Marianne Aston Elise Badoy Dauby Professor John and Professor Hilary Birks Mrs Stephanie Bourne Adam and Sara Broadbent Elisabeth and Bob Boas George and Kay Brock Charles Bryant David and Elizabeth Challen Lord and Lady Dilhorne Derek and Mary Draper Nikki Edge Christopher and Jill Evans Marshall Field Michael and Michele Foot CBE Tina Fordham Andrew and Wendy Gairdner The Hon William Gibson Miles and Anna Hember Mrs Helen Higgs Heather Jarman Mr and Mrs Charles Jackson Julian and Susie Knott Alison Knocker Richard and Romilly Lyttelton Mr Peter and Mrs Frances Meyer Mrs Marilyn Minchom Goldberg Richard Meade Annie Middlemiss Graham and Sylvia Orpwood Peggy Post Nick and Margaret Parker Chris and Valery Rees Jane Rabagliati and Raymond Cross Michael and Giustina Ryan The Hon Zita Savile Dr Robert Sansom Mr Sarah Shepley and Mr Kevin Feeney
Mr Peter Shawdon Peter Thomson and Alison Carnwath Mrs Janet Unwin Peter and Margaret Wynn Professor Tony Watts OBE Patricia C. Yeiser, USA and other anonymous d  onors
Trusts & Foundations Ambache Charitable Trust Backstage Trust Constance Travis Charitable Trust Dunard Fund Ernest Cook Trust Garfield Weston Foundation Geoffrey C Hughes Charitable Trust John Armitage Charitable Trust Newby Trust Ltd Thistle Trust R K Charitable Trust and other anonymous trusts and foundations
COMPANIES Savills Beaux Arts London
New Light on Handel’s Masterpiece
Messiah 1741 The Messiah from the Perspective of 1741 focusing on the work as first conceived by Handel with a most informative preface and a detailed critical report. Appendices include all re-composed arias for Guadagni and valuable information on performance practice.
Edited by Malcolm Bruno PB 5560 Score
OB 5560 Performance material
EB 8450 Piano vocal score
A Benchmark Critical Edition offering a reconstruction of the early wind parts based on a unique early source reflecting Handel’s continuo writing regarding cello, bass and viola basso parts incorporating all known 18th-century vocal ornamention featuring for the first time J.G. Herder’s German text with Handel’s music
ESSENTIAL BACH RECORDINGS Lars Ul L Ulrik ik M Mortensen t &C Concerto t C Copenhagen h
N EW
The Brandenburg Concertos No. 1–6 »Yet another successful Bach album from the Danish-based international baroque ensemble – 6 out of 6 stars.« Thomas Michelsen, Politiken September 2018 CPO 555 158–2
Mass in B Minor
Maria Keohane, Joanne Lunn Alex Potter, Jan Kobow, Peter Harvey
baroque vo c a l
St Andrews Bach Choral Course 23-28 July 2019 The St Andrews Bach Choral Course welcomes keen singers aged sixteen or above (no upper age limit!) Director: Sam Evans Places for student singers available, as well as up to two conducting apprenticeships. Join us in beautiful, historic St Andrews to immerse yourself in the music of J S Bach and contemporaries. The course concludes with a liturgical performance of a Bach cantata. www.st-andrews.ac.uk/music/perform /shortcourses/choralcourse
»One of the most profoundly captivating interpretations to have emerged recently.« David Vickers, Grammophone March 2016 Chosen for ‘Building a Library’ BBC 3 February 2017 CPO 777 851–2
coco.dk/en/discography/
Photography by Sonia Stevenson. The University of St Andrews is a charity registered in Scotland, No: SC013532.
CE
Introducing the CORO catalogue Get 30% off all recordings, including the latest releases from The Sixteen
MAY 31 – JUNE 16, 2019 IN HALLE (SAALE) GERMANY
SALES START NOVEMBER 15, 2018 handel-festival.com/en More information: festspiele@haendelhaus.de
COR16067
Gala concerts with Vivica Genaux, Carolyn Sampson, Valer Sabadus, Sandrine Piau and much more
COR16063
ALCINA (HWV 34) ATALANTA (HWV 35) MESSIAH (HWV 56)
COR16068
COR16060
in authentic venues in the city of George Frideric Handel’s birrth
COR16066
I EN E X P ER
To buy our CDs and d downlload ds on nline viisiit tthesixteen.com hesiixtteen.ccom and and d click on ‘Sho op’. To claim your disco ount simply select the album and format you require and go to the checkout, enter ‘AAMTS18’ into the discount box and click on ‘App ply’.* *Offer cannot be e used in conjunction with any other offer and runs 01/10/18 8 - 31/07/19.
www. thes ixteen. co m
M O Z A R T C L A R I N E T C ONC E R T O
AAM Quick Pick Each concert Lars Henriksson picks out one key thing to listen out for. The most well known piece of this programme is Mozart’s Clarinet Concerto. However, when you see the instrument Nicola brings on stage you might well wonder: “What is that”? The answer is a basset clarinet, that is, an A clarinet with an extension of a major third down, giving it a rich, velvet sound. Mozart composed this wonderful Concerto for his good friend Anton Stadler, a renowned clarinet virtuoso. He obviously had a particular fondness for this obscure member of the clarinet family, which perhaps explains why Mozart wrote the concerto for such a peculiar and rare instrument. Mozart knew to use the full range of the basset clarinet, and the lowest notes of the Concerto cannot be played on a “normal” clarinet, and it is often performed in a version with the bottom notes transposed. Tonight we hear the Concerto as Mozart intended, allowing particular appreciation of the beautiful sonority of the low register.
“Feasting Reconciles Everybody"
Samuel Pepys
Mozart loved his food, a particular favourite was a typical Viennese hearty meal of liver dumplings with sauerkraut. Meanwhile in England, Hannah Glasse, the Prue Leith of her day, wrote First Catch A Hare: The Art of Cookery Made Plain and Easy (first edition in 1747). Here she explains how to roast the unlucky hare. Mozart would approve of the optional extra. … take a quarter of a pound of sewet, and as much crumbs of bread, a little parsley shred fine, and about as much thyme as will lie on a sixpence … an anchovy shred small, a very little pepper and salt, some nutmeg, two eggs and a little lemon-peel. Mix all these together and put it into the hare. Sew up the belly, spit it, and lay it to the fire, which must be a good one. Your dripping-pan must be very clean and nice. Put in two quarts of milk and half a pound of butter into the pan; keep basting it all the while it is roasting … till the whole is used, and your hare will be enough. You may mix the liver in the pudding, if you like it.
5
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Antonio Salieri (1750-1825)
Symphony in D major “Sinfonia Veneziana" (1786) Allegro Assai / Andantino grazioso – / Presto
The symphony as we know it today was born in the middle decades of the 18th century as an exciting new concert genre derived from the Italian opera overture, which usually consisted of three movements in the sequence fast-slow-fast. Indeed, in these early years not only were the terms "overture" and "symphony" practically interchangeable, so was the music – an overture could be re-used or adapted as a concert symphony. Such is the case in the work by Salieri we hear tonight. Put together in 1786, its busy first movement comes from the overture to his comedy La scuola de’ gelosi ("The school for jealousy"), first produced in Venice in 1778, while the elegant second and jaunty third are taken from La partenza inaspettata ("The unexpected departure"), produced in Rome in 1779. The title "Sinfonia Veneziana’ is not original, by the way, but was added by the musicologist who edited the work for its first modern publication in 1961. Salieri himself was one of the most distinguished musical figures in Vienna during the time Mozart lived and worked there. Born near Verona and trained in Venice,
6
he was taken to Vienna by the court opera composer Florian Gassmann at the age of 16 and quickly made further important friends in the musical establishment there, not least the composer Christoph Willibald Gluck. In 1774 he succeeded Gassmann as court composer and conductor of the Italian opera, and four years after that he was appointed court Kapellmeister, or music director. During the 1780s he enjoyed great success as an opera composer both in Vienna and abroad, particularly in Paris. In addition to his composing, he played an important and generous part in Vienna’s musical administration, and was a sought-after composition teacher, his pupils at various times including Beethoven, Schubert, Hummel and Liszt. While his own success undoubtedly made it difficult for Mozart to make headway in Vienna, he is not known to have borne any enmity towards his younger colleague, and there is no evidence that he had any hand in Mozart's early death.
M O Z A R T C L A R I N E T C ONC E R T O
Wolfgang Amadeus Mozart (1756-91)
Symphony No. 27 in G major, K199 (c.1773-75) Allegro / Andantino grazioso / Presto
The early 1770s was for Mozart a period in which his activities were divided between composing and overseeing productions of operas in Italy, and his duties at home in Salzburg as a member of the Prince-Archbishop’s musical retinue. Between 1769 and 1773, Mozart made three visits to Milan to supervise productions of the operas Mitridate, ré di Ponto, Ascanio in Alba and Lucio Silla respectively, returning after each to Salzburg to resume work as a violinist in the Archbishop’s orchestra and as a composer of music for various court, civic and church occasions. No fewer than 27 symphonies date from the period 1770-74, including some of the earliest to hold a regular place in concert programmes today.
this time, it does not seem to be related to an operatic overture, despite its three-movement format. The first movement is in a high-spirited and well contrasted sonata form bound together by frequently recurring repeated semiquavers. It is followed by a gentle slow movement coloured by flutes (replacing the oboes of the first movement), muted upper strings and pizzicato lower ones; the balmy evening-air atmosphere is several times clouded by passing darkening harmonies. The jig-like finale is in the style of a fugue based on a theme that, while apparently related to the outline of the symphony’s opening theme, cannot fail to remind the modern-day listener of the similar but much more sophisticated finale of the "Jupiter" Symphony of 1788.
The Symphony in G major, K199, is difficult to date precisely, but analysis of the paper it was written on (a useful forensic resource in the dating of many of Mozart’s works) suggests that it was a type used by the composer between springs of 1773 and 1775, which would make the work contempoary with (among other things) his violin concertos. Unlike many of Mozart’s symphonies at
7
Wolfgang Amadeus Mozart (1756-91)
Arias
Soraya Mafi soprano Ruhe sanft, mein holdes Leben from Zaide (1779) Nehmt meinen Dank, K383 (1782) Aer tranquillo e dì sereni from Il rè pastore (1775) Of Mozart’s 20 finished or unfinished operatic works, only two were definitely composed for his native city of Salzburg, hardly surprising in view of the fact that there was no opera house there. Some musical dramas were performed in Salzburg, however, albeit in the private and exclusive surroundings of the Archbishop’s Palace or the local university. Zaide, a two-act singspiel (a German opera with spoken dialogue), was probably begun in 1779 and may have been intended for Salzburg, if perhaps with a keener eye on the National Singspiel that the new Emperor Joseph II was establishing in Vienna. Mozart never finished it, however, and when he actually moved to Vienna in 1781 and soon finding himself bringing a singspiel to the stage, it was with a new one, the enormously successful Die Entführung aus dem Serail.
Both Zaide and Die Entführung are "Turkish" operas, a genre that reflected the fascination the Viennese had had for Ottoman culture ever since they had nearly been overrun by the Sultan’s armies in 1683. The tales of Europeans being rescued from white slavery at the hands of comically pompous pashas may not score highly on political correctness today, but in many cases the happy ending hinged on a moment of enlightened clemency, as is the case in Zaide. Only a handful of numbers survive from the work, of which the most celebrated is undoubtedly the beautiful aria Ruhe sanft, main holdes Leben, sung by the captive Zaide to the sleeping Gomatz who, when he wakes, will fall in love with her portrait she has left in his lap. Mozart’s 50-or-so stand-alone arias for voice and orchestra include many written as concert showpieces for particular singers, often with the added attraction for him of being intended for artists he both liked and admired. In the case of Nehmt meinen Dank, the singer in question was a former object of his love, Aloysia Weber, who, although
M O Z A R T C L A R I N E T C ONC E R T O
she ended up marrying the artist Joseph Lange (who later painted Mozart’s portrait), continued a professional relationship with Mozart that later resulted in her singing the role of Donna Anna in the Viennese premiere of Don Giovanni. Mozart in the meantime ended up happily married to her sister Constanze. The delicately scored aria was composed in April 1782 for a special benefit concert for Aloysia (in other words a concert in which she received the box office takings), and provided a charming opportunity for her to offer musical thanks to her paying public.
a soprano castrato, and in the aria Aer tranquillo e dì sereno he sings of his love for the shepherd’s lot. Although at this point he is unaware of his high birth, the aria’s grandly operatic style may have been intended by Mozart to hint that blood will out in the end. Texts start on page 10 20-minute interval
Il rè pastore was Mozart’s ninth opera, composed when he was still only 19 to honour the visit to Salzburg by Empress Maria Theresia’s son Archduke Maximilian Franz in April 1775. The occasion was thus a formal one, and Mozart’s music too, with its used libretto by the venerable Metastasio, lives more in the world of operatic convention than do his later masterpieces. The story concerns Amyntas, a shepherd who turns out to be the legitimate heir to the kingdom of Sidon. The character was sung by
9
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Mozart Arias texts Ruhe sanft, mein holdes Leben Ruhe sanft, mein holdes Leben, schlafe, bis dein Glück erwacht! da, mein Bild will ich dir geben, schau, wie freundlich es dir lacht: Ihr süßen Träume, wiegt ihn ein, und lasset seinem Wunsch am Ende die wollustreichen Gegenstände zu reifer Wirklichkeit gedeihn.
Rest easily, my charming loved one, sleep, until your fortune wakens. There, I will give you my portrait, see how dearly it smiles on you. Sweet dream, rock him, and in the end make his longing for the object of his desire come fully true.
Johann Andreas Schachtner Nehmt meinen Dank Nehmt meinen Dank, ihr holden Gönner! So feurig, als mein Herz ihn spricht, Euch laut zu sagen, können Männer, Ich, nur ein Weib, vermag es nicht. Doch glaubt, ich werd' in meinem Leben Niemals vergessen eure Huld; Blieb' ich, so wäre mein Bestreben, Sie zu verdienen, doch Geduld!
10
Accept my thanks, kind patrons! Men could speak them aloud to you -With ardour that my heart feels. But I, a mere woman, cannot do so. Yet believe me, never in my life Shall I forget your gracious favour. Were I to stay, my aim would be To merit it, but patience!
M O Z A R T C L A R I N E T C ONC E R T O
Von Anbeginn war stetes Wandern Der Musen und der Künstler Los; Mir geht es so wie allen Andern, Fort aus des Vaterlandes Schoss Seh' ich mich von dem Schicksal leiten. Doch glaubt es mir, in jedem Reich, Wohin ich geh', zu allen Zeiten Bleibt immerdar mein Herz bei Euch.
From the beginning, constant roving has been the lot of the Muses and the artists; with me it is, as will all the others, I see myself led by fate From the bosom of my native land. Yet believe me, in whatever country I may be, for all time My heart will always remain with you.
Anon Aer tranquillo e dì sereni Aer tranquillo e dì sereni, Freschi fonti e verdi prati Sono i voti fortunati Della greggia e del pastor. Che se poi piacesse ai fati Di cambiar gl'offici miei Avran cura allora i Dèi Di cambiarmi e mente e cor.
Tranquil air and serene days, cool streams and green meadows are the happy desires of the flock and the shepherd. And if it should please the Fates to change my duties, then the gods will take care to change my mind and heart.
Metastasio
11
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Duchess Anna Amalia of Brunswick-Wolfenbüttel (1739-1807)
Overture from Erwin und Elmire (1776) Allegro / Andante / Allegro Anna Amalia was the ninth child of the Karl I, Duke of Brunswick-Wolfenbüttel. A niece of Frederick the Great, she was born in Wolfenbüttel in Lower Saxony and married to the Duke of Saxe-Weimar-Eisenach at the age of 16, moving to Weimar as a result. When her husband died two years later she ruled the duchy as regent for her infant son, retiring when he achieved his majority in 1775. Her reign was noted for its administrative prudence, but she also did much to turn Weimar into a centre for modern culture and thinking, a Musenhof, or court of the muses, that was able to attract literary luminaries such as Wieland, Herder and Goethe. She was also a talented musician and composer, with a particular interest in the creation of German opera, and in 1776 she produced a singspiel of her own, a tale of love triumphing over class barriers with a text by Goethe entitled Erwin und Elmire.
12
The cheerful overture is in the up-to-date early classical style known as galant, with its clear-cut phrases and elegant ‘sighing’ melodic figures. The finale (as in tonight’s Mozart’s symphonies) starts out as a jig, but in an unusual turn of events twists the end into a full reprise of the first movement.
The Ambache Charitable Trust is active in raising the profile of women composers.
M O Z A R T C L A R I N E T C ONC E R T O
Wolfgang Amadeus Mozart (1756-91)
Symphony No. 16 in C major, K128 (1772) Allegro maestoso / Andante grazioso / Allegro The C major Symphony, K128, dates from May 1772, a busy month for Mozart which also produced two other symphonies and the motet Regina coeli, K127. Perhaps there was a reason: Salzburg had just gained a new Archbishop, and it is possible that the 16-yearold Mozart – by no means the only composer at court – wanted to attract the attention of his new employer. The first movement opens with a spacious first theme whose predominant triplet rhythms are then contradicted by the more straightforward triple time of
the leaping second theme. The central section does not focus much on these, instead roaming freely in a short space of time through several keys, but the subsequent recapitulation of these themes compensates by taking them on subtle developmental detours. The second movement is for strings only, with something of the intimate conversational texture of a quartet, and the work ends with a rondo in the style of a jig, enhanced by a surprise evocation of the hunt towards the end.
Wolfgang Amadeus Mozart
Clarinet Concerto in A major, K622 (1791) Allegro / Adagio / Rondo: Allegro | Nicola Boud basset clarinet Mozart’s last great instrumental composition owes its existence to the clarinettist Anton Stadler, for whom it was written in the autumn of 1791. In part, it owes its greatness to him as well. Stadler was not only one of the foremost clarinettists of his day, a man whose playing was noted for its softness and voice-like quality, he was also a
good friend of the composer, having already inspired him to create the superb Clarinet Quintet in 1789. Stadler was especially fond of the unearthly sound of the clarinet’s lower register, and had developed a model which gave extra notes at this bottom end. In the event, this variant, now known as the basset clarinet, (the instrument played
13
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
by tonight's soloist, Nicola Boud) did not catch on, but it was at least around long enough for Mozart to compose for it both the Quintet and the Concerto and thereby insure it against total obsolescence.
Perhaps the most impressive thing about the Clarinet Concerto is its apparent simplicity. This is a work with no great surprises or alarms, only music of perfectly pleasing melodic charm and structural ‘rightness’. The first movement is unusually long and expansive, and has What really distinguishes the Concerto, however, is that that relaxed but generous lyricism which characterises it is a culmination of Mozart’s unsurpassed achievements the two piano concertos Mozart had already composed as a master of the concerto form, in the same key. The finale is a suave and an effortless coming-together of all witty rondo with a memorable recurring the elements – structural coherence, It is essential Mozart: theme, but it is the central slow movement appealing tunefulness, virtuosity and deeply moving yet at that brings some of the loveliest music not a talent for melodic characterisation only of this concerto but also of Mozart’s the same time noble carried over from his work in the entire output. The exquisite melody with opera house – with which he himself which it begins and ends – presented and restrained. had moulded the concerto into a delicately by the soloist at first, then warmly mature and sophisticated means of echoed by the orchestra – is essential expression. While it was above all in the great series of Mozart, deeply moving yet at the same time noble piano concertos he composed for himself to play during and restrained. the 1780s that he accomplished this, it was surely in the clarinet – an instrument which combined vocal eloquence Programme notes © Lindsay Kemp with the piano’s ability to be brilliantly virtuosic over an unusually wide compass – that Mozart found the instrument that suited him most perfectly.
14
M O Z A R T C L A R I N E T C ONC E R T O
Michael Collins conductor
© Ben Ealovega
This year he makes his conducting debut with the Academy of Ancient Music and English Chamber Orchestra, and performs with the London Mozart Players. In July 2018 he performed at the BBC Young Musician 40th Anniversary BBC Prom. He also hosted a series of "Michael Collins and Friends" concerts at LSO St Luke’s, recorded for broadcast on BBC Radio 3.
Michael Collins MBE is one of the most complete musicians of his generation. With a continuing, distinguished career as a clarinet soloist, he has in recent years also become highly regarded as a conductor, and from 2010-18 he was the Principal Conductor of the City of London Sinfonia. Recent highlights include performances worldwide with the Minnesota Orchestra and Swedish Chamber Orchestra amongst others, and tours in South Africa, Australia, Japan and Mexico.
Michael Collins has been committed to expanding the repertoire of the clarinet for many years. He has given premieres of works such as John Adams’s Gnarly Buttons and Elliott Carter’s Clarinet Concerto, for which he won a Gramophone award for his recording on Deutsche Grammophon. In great demand as a chamber musician, Michael performs regularly with the Borodin, Heath and Belcea quartets, András Schiff, Joshua Bell and Steven Isserlis. His ensemble, London Winds, celebrates its 30th anniversary this year
and the group receives high calibre engagements such as the BBC Proms, Aldeburgh Festival and Edinburgh Festival. During the 2019-20 season he will be an Artist in Residence at Wigmore Hall, performing with Stephen Hough, the Vienna Piano Trio, Leonard Elschenbroich and Michael McHale. Michael records for Chandos, and in his prolific recording career has covered an extraordinarily wide range of solo repertoire, which also includes releases on Deutsche Grammophon, Decca, EMI and Sony. Recent recordings include a disc of British clarinet concertos with the BBC Symphony Orchestra featuring Michael as soloist and conductor. In 2017 he was awarded a Grammy for his disc Shakespeare Songs with Ian Bostridge and Antonio Pappano, and this season he will record a Richard Strauss disc with the BBC Symphony Orchestra, as conductor and soloist.
15
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Soraya Mafi
Nicola Boud
Soraya Mafi is a graduate of the Royal College of Music and winner of the 2016 Susan Chilcott Award, an award from the Susan Chilcott Scholarship to support a "major young artist with the potential to make an international impact". A Harewood Artist at the English National Opera, her roles for the company have so far included Tytania (A Midsummer Night’s Dream), Mabel (The Pirates of Penzance) and Karolka (Jenůfa). Elsewhere she has sung Nannetta (Falstaff) for Garsington Opera, Cleopatra (Giulio Cesare) for English Touring Opera, Aminta (Il re pastore) at the Chatelet Theatre in Paris, Johanna (Sweeney Todd) for Welsh National Opera, Suor Genoveva (Suor Angelica) for Opera North and Constance (Dialogues des Carmélites) and First Niece (Peter Grimes) for Grange Park Opera.
16
Highlights this season include her US debut as Flora (The Turn of the Screw) for Seattle Opera; Cintia (Giovanni Legrenzi’s La Divisione del Mondo) for the Opéra national du Rhin and the Opera National de Lorraine, and Gretel (Hänsel und Gretel) for Grange Park Opera.
basset clarinet
© Eric Larraydieu
© Raphaelle photograph
soprano
Australian Nicola Boud is one of the most sought-after historical clarinet players of her generation. Based in Europe, she tours and records extensively, and is in demand as principal clarinet with many orchestras and ensembles including l’Orchestre des Champs Elysées, Orchestre Revolutionnaire et Romantique, and Ensemble Pygmalion. An active chamber musician she performs with the pianist Kristian Bezuidenhout, the Cambini Quartet and the Edding Quartet (with whom she recorded the Mozart Clarinet Quintet for the label Etcetera to critical acclaim) and has played at many prestigious festivals and venues such as Edinburgh, Saintes, Concertgebouw Amsterdam and Wigmore Hall. As soloist she has performed in Europe and Asia with the Orchestre des Champs Elysées and Concerto Copenhagen. She performs on a large collection of original and replica clarinets, dating from the early 18th-century chalumeau to early 20th-century French and German clarinets.
M O Z A R T C L A R I N E T C ONC E R T O
Explore If you enjoyed tonight’s concert, you may be interested in the following recordings, including numerous Mozart CDs – symphonies, operas, piano concertos and much more – by the Academy of Ancient Music under our founder, Christopher Hogwood, all of which are worthy of further listening. Of particular note for intrepid Mozart explorers is Decca’s “Mozart 225” project, the most complete set ever assembled, and now available in constituent parts for download.
Mozart Il sogno di Scipione, K126
Skerath, Mafi, Ek, Jackson, Adam, Murray, Classical Opera / Ian Page [Signum SIGCD499]
Mozart Clarinet Quintet & String Quarter No. 15 Nicola Boud, Edding Quartet [Etcetera KTC1401]
Mozart Requiem Realisations
Manahan Thomas, Rice, Gilchrist, Purves, Choir of King’s College Cambridge, Academy of Ancient Music / Stephen Cleobury [Kings College KGS0002]
Mozart Exsultate, Jubilate
Emma Kirkby, Westminster Cathedral Boys Choir, Academy of Ancient Music / Christopher Hogwood [Decca / Eloquence ELQ4767460]
Antonio Salieri – Contemporaries of Mozart London Mozart Players / Matthias Bamert [Chandos, CHAN9877]
Masters of the Goethe Era
Staatskapelle Weimar / Peter Gülke [Capriccio C71128]
Crusell The Three Clarinet Concertos
Michael Collins, Swedish Chamber Orchestra [Chandos, CHSA5187] You can find these and 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.
Mozart Symphonies – Salzburg 1772–73
Academy of Ancient Music / Christopher Hogwood [Decca 4761718, 3 CD set]
17
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Academy of Ancient Music Violin I Bojan Čičić Sijie Chen Iwona Muszynska Henry Tong Elin White
Cello Sarah McMahon Imogen Seth-Smith Jonathan Rees
Double Bass Judith Evans Timothy Amherst
18
Bassoon Ursula Leveaux Joe Qiu Horn Daniele Bolzonella David Bentley
Flute Rachel Brown Guy Williams Oboe Mark Baigent Lars Henriksson
© Patrick Allen
Violin II Liz MacCarthy Rebecca Livermore Pierre Joubert William Thorp
Viola Jane Rogers Clare Barwick Emma Alter
M O Z A R T C L A R I N E T C ONC E R T O
Our Team Music Director Richard Egarr Hogwood Fellow Sandy Burnett Chief Executive Alexander Van Ingen General Manager Anthony Brice
Head of Concerts and Planning ChloĂŤ Wennersten Education and Outreach Manager Sue Pope Concerts and Projects Co-ordinator Alice Pusey
Orchestra Librarian Hannah Godfrey
Development Consultant Programme Editor John Bickley Sarah Breeden
Development Manager Ellen Parkes
Marketing Consultants Bethan Sheppard ChloĂŤ Priest Griffiths
Fundraising and Marketing Assistant Kemper Edwards
PR Consultant Orchid Media PR
Finance Manager Elaine Hendrie
Board of Trustees
Development Board
Council
Paul Baumann CBE Hugh Burkitt Matthew Ferrey Philip Jones (Chair) Ash Khandekar Graham Nicholson John Reeve Terence Sinclair Madeleine Tattersall Janet Unwin Kim Waldock
Elise Badoy Dauby Hugh Burkitt Elizabeth de Friend (Chair) Andrew Gairdner MBE Peter Hullah Philip Jones Agneta Lansing Roger Mayhew Craig Nakan Chris Rocker Terence Sinclair Madeleine Tattersall
Richard Bridges Kate Donaghy Jonathan Freeman-Attwood CBE Tim Harvey-Samuel Nick Heath Lars Henriksson Christopher Lawrence Christopher Purvis CBE
Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell
(Honorary President)
19
A C A D E M Y O F A N C I E N T M U S I C 2018 - 19 S E A S O N
Who we are and what we do The Academy of Ancient Music is an orchestra with a worldwide reputation for excellence in baroque and classical music. It takes inspiration directly from the music’s composers, using historically informed techniques, period-specific instruments and original sources to bring music to life in committed, vibrant performances. The ensemble was founded by Christopher Hogwood in 1973 and remains at the forefront of the worldwide early music scene more than four decades on; Richard Egarr became its Music Director in 2006. The Academy of Ancient Music has always been a pioneer. It was established to make the first British recordings of orchestral works using instruments from the baroque and classical periods and has released more than 300 discs, many of which are still considered definitive
20
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 next generation of audiences and musicians. With this expanding programme, working from pre-school through tertiary education and beyond, AAM ensures its work reaches the widest possible audience and inspires people of all ages, backgrounds and cultural traditions. This season AAM collaborates with Michael Collins, VOCES8, Lucie Horsch, Nicolas Altstaedt, Tenebrae, the BBC Singers, the Choir of King’s College, Cambridge, and the Grange Festival.
Programmes include large-scale vocal masterpieces such as Bach’s St Matthew Passion and Handel’s Israel in Egypt, as well as concert performances of operas including Dido and Aeneas and The Marriage of Figaro. The AAM is based in Cambridge and is Orchestra-in-Residence at the city’s university. Its London home is the Barbican Centre, where it is Associate Ensemble, and it is also Orchestra-inResidence at the Grange Festival, Chiltern Arts Festival, Music at Oxford and the Apex, Bury St Edmunds. Visit www.aam.co.uk to find out more.
BBC RADIO 3 LUNCHTIME CONCERTS
LSO DISCOVERY FREE FRIDAY LUNCHTIME CONCERTS
Selected Fridays at 1pm
Selected Fridays at 12.30pm
Featuring the Nash Ensemble, Ashley Wass, Lucy Crowe, Adam Walker, Carolyn Sampson, Alice Sara Ott, Ray Chen & more
Drop in for 45 minutes of free music performed by LSO and Guildhall School musicians, with introductions from presenter Rachel Leach.
lso.co.uk/lsostlukes 161 Old Street, EC1V 9NG
BAROQUE AT THE EDGE 4 to 6 January 2019 Leading musicians from all backgrounds take the music of the Baroque and see where it leads them.
ACADEMY OF ANCIENT MUSIC Music Director Richard Egarr Hogwood Fellow Sandy Burnett Founder Christopher Hogwood CBE
11b King’s Parade, Cambridge CB2 1SJ +44 (0)1223 301509 info@aam.co.uk | www.aam.co.uk Registered charity number 1085485
Associate Ensemble at the Barbican Centre Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at The Grange Festival Orchestra-in-Residence at Chiltern Arts Orchestra-in-Residence at the Apex, Bury St Edmunds Associate Ensemble at Music at Oxford Partner: Culture Mile
All details correct at time of printing
Visit aam.co.uk to find out more and to watch and listen to us in action
West Road Concert Hall Cambridge Live Tickets Box Office Tel. 01223 357 851 www.cambridgelivetickets.co.uk
@AAMorchestra
academyofancientmusic
Barbican Hall and Milton Court Concert Hall Barbican Advance Box Office, Silk Street Tel. 020 7638 8891 www.barbican.org.uk
Explore We seek to engage with out audiences in numerous ways:
Concerts
• brilliant music, expertly performed • inspirational, engaging performers at the highest level • detailed, informative programmes, free of charge • pre-concert talks and discussions
Online
• past concert programme information • performance and educational video content on YouTube • news and updates through social media • developing playlists for leading streaming services such as Spotify
Recordings
• over 300 albums, creating a substantial resource of historically informed performance practice • our own record label, AAM Records • new Strategic Recording Fund enabling track-by-track recording of lesser-known works
Learning
• dedicated Education & Outreach Manager, curating programmes for schools and communities • working with the next generation of performers and audience members • open rehearsals; opportunities to engage with performers • high-level scholarship and research presented in informative ways
jan‘19 11 26
36 performances 18 locations 1 unique festival For tickets & more information:
vallettabaroquefestival.com.mt
MINISTRY FOR JUSTICE, CULTURE & LOCAL GOVERNMENT
AAM’s Legacy Giving Dame Emma Kirkby © Bibi Basch
“I was so lucky to sing over many years with Christopher Hogwood and his Academy of Ancient Music. Christopher based his work on sound scholarship and was all his life a generous educator. He also looked to AAM’s future, choosing his successors carefully, so that the orchestra remains in excellent hands. When Christopher died in 2014, a grievous loss to us all, his final gift was a generous legacy to AAM. Under Richard Egarr the orchestra and choir continue to flourish, bringing joy and inspiration to new audiences, and especially to young players, singers and listeners through the educational initiative, AAMplify. I salute Christopher for his care and foresight, and also AAM’s loyal Friends who have been with us throughout: thank you for all you have done up to now, and especially for any future bequests!”
Frances Hogwood “I am honoured to support AAM’s Legacy campaign. [My brother] Christopher was able to make such a difference to the musical world, and so much of the way we perform and listen to music now is his legacy to us. He left his beloved orchestra a generous legacy too, that they may continue to flourish and build on his achievements; and I hope that many of us might consider a similar gift in support of this wonderful group to ensure that this powerful, passionate music lives on, changing lives for future generations too.“
Remembering AAM in your Will The Academy of Ancient Music is committed to bringing more early music experiences to more people every year, and we are determined to preserve our music and music-making so that it can be enjoyed by generations to come. Our music moves audiences now just as it did when first written, and the commitment and generosity of our supporters ensure it continues to be powerful and immediate for audiences of the future. If AAM has enriched your life by performing music that you love, please consider remembering AAM in your Will; help us to pass on our extraordinary treasure house of early music to the next generation. There may also be tax benefits* for your estate should you wish to leave a percentage of your estate to charity. Gifts that are left to the Academy of Ancient Music in Wills are one of the most important ways you can support our work. Joining our Legacy Circle will bring you into AAM’s unique and convivial supporting community, and you will be invited to an annual lunch as a thank you for your generosity, so that we can keep you updated with AAM’s work. Your gift today is supporting AAM’s artistic activities of tomorrow. If you would like to find out more about AAM’s Legacy Circle, please contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097. Every gift in every Will makes a difference – however large or small. * as every individual situation is different, we recommend taking professional advice when assessing potential tax benefits.
H A N D E L’ S
Brockes-Passion on the 300th anniversary of its first performance
Richard Egarr Robert Murray Cody Quattlebaum
director & harpsichord
Evangelist
Christus
with Elizabeth Watts, Ruby Hughes, Tim Mead, Gwilym Bowen & Nicky Spence
Good Friday 19 April 2019, 3.00pm Barbican Hall, London Box Office: 020 7638 8891 barbican.org.uk
Handel’s Brockes-Passion: Sponsor an Aria Overtaken by many of Handel’s more famous choral works, the Brockes-Passion is (undeservedly) a lesser-known piece: there are very few performances, and even fewer recordings. But we believe this work merits much greater recognition. Reflecting the story’s anguish in some of Handel’s poignant and beautiful solo vocal writing and a series of endlessly inventive choruses, the setting represents a significant contribution to the choral Passion repertory. AAM aims to produce a definitive recording of this work taken from our concert at the Barbican with the tremendous cast seen opposite. We want to advance knowledge of the work and increase the number of performances it enjoys by making an extraordinary performance more widely available. This recording will feature the scholarship, vivacity and perfection for which AAM is known, but we can only do it with your help.
Recitative (x 47 available) £ 60 Chorale (x 5 available) £115 Aria (x 28 available) £200 Arioso (x 5 available) £225 Chorus (x 5 available) £260 Duet (x 2 available) £320 Sinfonia (x 1 available) £360 Trio (x 1 available) £450 Chorus - Soprano £600 Chorus - Alto £600
Chorus - Tenor £ 600 Chorus - Bass £ 600 Pilatus £1,000 Maria £1,100 Judas £1,400 “Gläubige Seele” £1,800 Petrus £2,000 Jesus £2,500 Evangelist £4,000 “Tochter Zion” £5,000
We invite you to sponsor an aria, or more – we will credit you in the beautifully presented hardback CD booklet, and send you a copy as soon as it is released. You can even choose which specific aria, chorus, duet or recitative you wish to sponsor (first come first served!); or sponsor as a gift for someone else. Achieving support for every musical component of this work – recitatives, arias, choruses and characters – will make this project feasible, and we hope you will join us inthis project – please contact Ellen Parkes, Development Manager on ellen.parkes@aam.co.uk or 01223 341097. Thank you for supporting our exploration, revelation and preservation of Handel’s Brockes-Passion. “It‘s astonishing that there are so few performances and recordings of this profoundly stirring work, unique in Handel’s output. In often almost unbearably close-up focus, the events of the Passion are made vividly physical and emotionally gripping, compelling the listener’s involvement. The raw intensity of Brockes’ text unleashes all Handel’s power to evoke the whole range of human feelings – outrage, remorse, shock, awe, brutality, grief, tenderness, love, rapture and many more, in swift succession and with tremendous cumulative force. Anyone who responds to Handel’s extraordinary expressive potency and ravishing melodic gift must wonder why his Brockes-Passion isn’t better known. I suspect it’s a work that will speak more tellingly to the present century than to any since it was written, and it’s exciting to think that the Academy of Ancient Music’s recording plans will engage new audiences with this masterpiece.”
Dr Ruth Smith (Cambridge): Handel scholar, author of Handel’s Oratorios and Eighteenth Century Thought (CUP)
23
Barnaby Smith conductor
VOCES8 VOCES8 Scholars
Handel’s
M ES SI A H Wednesday 5 December 2018, 7.30pm Trinity College Chapel, Cambridge
By kind permission of the Master and Fellows of Trinity College
Tickets from ÂŁ10 cambridgelivetrust.co.uk/tickets aam.co.uk
Johann Kuhnau
Magnificat The sacred works of the Leipzig St. Thomas Cantor Johann Kuhnau (1660–1722) have so far largely gone unnoticed in terms of research and performance practice. His »Magnificat« is considered Kuhnau’s most ambitious and best known vocal work.
Magnificat in C major with Insertion Movements for Performances over Christmas edited by David Erler
First Urtext edition, edited from authentic manuscript sources Detailed text sections, facsimiles as well as critical report Available for sale, complete
PB 32108 Score OB 32108 Performance material EB 32108 Piano vocal score by Andreas Köhs
18-19
concert programme
Tuesday 2 October 2018, Barbican Hall (semi-staged)
BBC Singers: Rameau & Lully
Friday 19 October 2018, Milton Court Concert Hall Sunday 21 October 2018, West Road Concert Hall
Wednesday 27 March 2019, West Road Concert Hall Thursday 28 March 2019, Milton Court Concert Hall Saturday 30 March 2019, Eindhoven, Netherlands
Bach’s St Matthew Passion
Mozart’s Requiem
Saturday 14 November 2018, King’s College Chapel, Cambridge
Monday 15 April 2019, King’s College Chapel, Cambridge Tuesday 16 April 2019, King’s College Chapel, Cambridge Wednesday 17 April 2019, Cadogan Hall, London
Michael Collins & Mozart
Handel’s Brockes-Passion
Friday 23 November 2018, Oxford Town Hall Sunday 25 November 2018, West Road Concert Hall Thursday 29 November 2018, Milton Court Concert Hall
Handel’s Messiah
2018-19 Season at a glance:
Nicolas Altstaedt plays Haydn
Saturday 17 November 2018, Antwerp, Belgium Monday 3 December 2018, Gresham Centre, London Wednesday 5 December 2018, Trinity College Chapel, Cambridge Sunday 9 December 2018, Fribourg, Switzerland
Vivaldi’s Four Seasons
Design by AproposCover photo: Patrick Allen
Purcell’s Dido & Aeneas
Good Friday 19 April 2019, Barbican Hall
Handel’s Israel in Egypt
Friday 10 May 2019, Milton Court Concert Hall Monday 13 May 2019, St James’ Church, Chipping Campden
Barbican Weekend: Sound Unbound
Saturday 18 - Sunday 19 May 2019, Barbican Centre
Handel’s Messiah
Saturday 1 December 2018, Vic, Spain Sunday 2 December 2018, Granada, Spain
Saturday 15 June 2019, Halle, Germany
Bach’s Christmas Oratorio
Thursday 6 June, Saturday 8 June, Friday 14 June, Wednesday 19 June, Sunday 23 June, Thursday 27 June, Tuesday 2 July, Sunday 7 July, Grange Festival, Hampshire Thursday 4 July 2019, Barbican Hall (concert performance)
Saturday 22 December 2018, St Luke’s, Chelsea (parts I, II & III) Friday 11 January 2019, St Luke’s, Chelsea (parts IV, V & VI)
Bach’s B minor Mass
Friday 1 February 2019, Oxford Town Hall
Lucie Horsch & Richard Egarr
Sunday 24 February 2019, Milton Court Concert Hall Monday 25 February 2019, Apex, Bury St Edmunds Tuesday 26 February 2019, West Road Concert Hall Thursday 28 February 2019, Groningen, Netherlands Friday 1 March 2019, Heerlen, Netherlands Saturday 2 March 2019, Rotterdam, Netherlands Sunday 3 March 2019, Amsterdam, Netherlands
Mozart’s Le nozze di Figaro
Musick for the Royal Fireworks Friday 21 June 2019, Katowice, Poland
Partner, Culture Mile Network