Academy of Ancient Music Rejoice! concert 22 and 24 October 2019 by Academy of Ancient Music

Rejoice!

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

19-20

ACADEMY OF ANCIENT MUSIC

Concert Programme

2019-20

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

Bojan Čičić director & violin Rowan Pierce soprano David Blackadder trumpet Tuesday 22 October 2019 7.30pm

West Road Concert Hall, Cambridge The Cambridge concert is kindly sponsored by Mark West

Thursday 24 October 2019 7.30pm

Milton Court Concert Hall, London The London concert will be live-streamed on Facebook

CLARKE

Mr. Shore's Trumpett Tune (unknown)

HANDEL

"Rejoice Greatly, O Daughter of Zion" from Messiah (1741)

CORELLI

Concerto grosso in D major, Op. 6 No.7 (1714)

D. PURCELL

"Sound The Trumpet" from The Masque of Hymen (c.1696)

HANDEL

"Let the Bright Seraphim" from Samson, HWV57 (1743)

HANDEL

TORELLI

Concerto grosso in G major, Op.6 No.1, HWV319 (1739)

HANDEL

J.S. BACH

Concerto for Trumpet in D major (unknown) Gloria in Excelsis Deo (c.1707)

Cantata "Jauchzet Gott in allen Landen", BWV51 (1730)

Rejoice!

Academy of Ancient Music

Rejoice!

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

A warm welcome to the Academy of Ancient Music’s first Milton Court and West Road concert of the 2019-20 season, directed by our leader, Bojan Čičić, and showcasing our Principal Trumpet, David Blackadder alongside soprano Rowan Pierce. Rowan released a beautiful solo album at the start of this year, accompanied by AAM’s Richard Egarr and William Carter, and features in a number of AAM’s music videos (visit youtube.com/acadofancientmusic).

We opened our season on 2 October with a performance of Dussek’s long-lost Messe Solemnelle alongside Beethoven’s Egmont, narrated by Stephen Fry at the Barbican. The Dussek work may not have been heard since 1811, and we are creating a new edition of the music which, as with Handel’s Brockes-Passion, we will make freely available to all. The world premiere recording can pre-ordered at the AAM desk tonight for £15 (released 2020).

At Easter, AAM presented a 300th anniversary performance of Handel’s neglected masterpiece, his Brockes-Passion. It received a tremendous response. I’m proud that we have now recorded this magnificent work, presented across three CDs with a fulsome 220-page guide in a deluxe hard-back package. Thank you to all our near-200 supporters who sponsored arias, recits, roles and more to make this possible. In its first week of release it reached the coveted No.1 spot in the classical chart – the first major Handel work to do so in over a decade. Already receiving glittering five-star reviews (see page 24) it is well worth owning a copy and there is a special low release-price for AAM audience members at just £30 for orders from the AAM desk in the foyer.

This evening’s Rejoice! programme is a feast of brilliant and enjoyable works from some of the finest composers, and I’m delighted that 24 October will be the first in a series of livestreamed concerts across AAM’s 2019-20 season, allowing a wider audience to hear our remarkable performers; do tune in to Facebook afterwards to hear the concert again! I look forward to welcoming you to many more of our concerts this year.

Alexander Van Ingen 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

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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

AAM Quick Pick Each concert Lars Henriksson picks out one key thing to listen out for. This programme highlights the trumpet, historically the instrument with the highest status in the orchestra. The obvious prominence, paired with the demanding nature, earned the leading players certain privileges – they were always highly prized by their patrons. These conditions were similar all over Europe, however the approach to the instrument varied somewhat. The English players were known for their noble sound, instruments crafted accordingly, whereas the German school called for extreme endurance, something we know well from several of Bach’s sacred works, not to mention the Second Brandenburg Concerto. In order to facilitate passages in the upper register the German instruments were generally more lightweight. We rarely get to hear the trumpet in Italian orchestral music from the time, but there are several compositions featuring the trumpet as a solo instrument, in this

programme represented by Giuseppe Torelli’s Concerto in D major. The Italian school is known for its lyrical approach to the instrument. Tonight’s programme offers a tiny glimpse into the differing sound worlds of the English, German and Italian trumpet schools, offering the audience a rare opportunity to compare.

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Programme notes

Jeremiah Clarke (1674-1707) Mr. Shore's Trumpett Tune

Daniel Purcell (1664-1717) “Sound The Trumpet" from The Masque of Hymen

George Frideric Handel (1685-1759) “Rejoice greatly, O daughter of Zion" from Messiah, HWV56

George Frideric Handel “Let the Bright Seraphim" from Samson, HWV57

Arcangelo Corelli (1653-1713) Concerto gross in D major, Op.6 No.7 Vivace – Allegro – Adagio / Allegro / Andante largo / Allegro /Vivace

Giuseppe Torelli (1658–1709) Concerto for Trumpet in D major

George Frideric Handel Concerto grosso in G major, Op.6 No.1, HWV319 Johann Sebastian Bach (1685-1750) Cantata “Jauchzet Gott in allen Landen", BWV51 Aria: Jauchzet Gott in allen Landen / Recitative: Wir beten zu dem Tempel an / Aria: Höchster, mache deine Güte / Choral: Sei Lob und Preis mit Ehren / Aria: Alleluja

Allegro / Adagio – Presto – Adagio / Allegro

George Frideric Handel Gloria in Excelsis Deo

Texts start on page 13

Gloria in excelsis Deo / Et in terra pax / Laudamus te / Domine Deus, Rex coelestis / Qui tollis peccata mundi / Quoniam tu solus sanctus 20-minute interval

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Programme notes continued

There are few more jubilant and uplifting sounds in music than the natural trumpet. With its bright, piercing tone and rich timbre, it has become an emblem of the baroque, signalling occasions of joy, triumph and celebration. Writing around 1700, the renowned critic and amateur musician, Roger North, described the trumpet as a "small, portable, comodious and martiall tube", one that was "glorious and admired". With new advances in instrument technology, this was the golden age of the trumpet and just about every composer across Europe – from Bach to Vivaldi, Handel and Purcell – intended to make the most of this glorious new sound.

March – better known simply as the Trumpet Voluntary – but for many years the work (along with several others) was wrongly attributed to Purcell. Among a handful of other pieces for trumpet in his output is the brisk voluntary Mr. Shore’s Trumpett Tune, composed for the leading English trumpet virtuoso of the day, John Shore. We know that both Purcell and Handel wrote some of their most demanding trumpets parts with Shore in mind, and although Clarke’s voluntary is somewhat modest by comparison, its high tessitura and skilful ornamentation give us a glimpse into Shore’s technical proficiency.

It is a little ironic, then, that the person responsible for composing the best-known piece for baroque trumpet is far from a household name. A successor to Purcell at London’s Chapel Royal and later organist at St. Paul’s Cathedral, Jeremiah Clarke (1674-1707) is now rightfully credited as the composer of the popular wedding voluntary The Prince of Denmark’s

If Clarke was England’s trumpet composer du jour, then Giuseppe Torelli (1658–1709) held the same status in Italy. His catalogue contains more than 35 works for between one and four trumpets, making him by far the most prolific Baroque composer of his kind. The proliferation of music for trumpet owes much to his position in Bologna, then Italy’s most

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important cultural centre, which had at its centre the did so famously in the duet "Sound the Trumpet" vast church of San Petronio. Often used as the site from his ode Come, Ye Sons of Art, leading his son, of celebratory and royal occasions, there could be Daniel Purcell (1664-1717) to follow suit just a few no more fitting setting for the splendour of Torelli’s years later. Daniel Purcell even gave his aria the same trumpet music, as the regal poise and grandeur of name, but "Sound the Trumpet" from The Masque his Concerto for Trumpet in D major of Hymen (c.1696) takes the demonstrates. These were the early allusion a step further, uniting the “A small, portable, days of the concerto and Torelli – and soprano voice with the trumpet comodious and then Vivaldi (whom Torelli is thought itself. He was not the first to do so martiall tube ... to have taught) – was instrumental in – the advent of the "trumpet aria" its development. It has many of the glorious and admired" can be traced back to Monteverdi hallmarks of the mature concerto style, and the "war-like" style of his The trumpet, as described by from the repeated ritornellos to the madrigals – but it was to prove Roger North, 1700 fizzing energy of its melodic writing in a popular and compelling the later movements. pairing that countless other 18th-century composers would replicate. The popularity of trumpet music in the early 18th century also had a knock-on effect on other Few did so more successfully than George Frideric genres, often leading composers to mimic its Handel (1685-1759), for whom the trumpet distinctive, triadic melodicism when writing for aria became something of a party piece. These other instruments, and even for the voice. Purcell were times of significant stylistic change in vocal

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Programme notes continued

music, with the influence of Italian opera creating an appetite for showmanship and virtuosity. For Handel, it presented an opportunity to transform the landscape of musical drama, synthesising elements from the opera house with those from the concert platform to create dazzling new showpieces with a far broader appeal. Oratorios provided the answer. Unlike operas, oratorios were intended for the concert stage rather than the theatre and did not require expensive sets or costumes, meaning they were cheaper to put on and could be performed almost anywhere. They were also more suited to the English language, which allowed Handel to write in a more direct and simple manner that had a far greater public appeal. But if oratorios gave Handel a platform for greater artistic freedom, he had already laid down their foundations much earlier in his career, even as far back as his early sacred works. What we now know to be Handel’s Gloria in Excelsis Deo setting is

thought to have been composed as far back as 1707 when he was just 22 years old. The score and parts were only rediscovered in the library of London’s Royal Academy of Music’s in 2001, and although neither is in Handel’s own hand, its distinctive melodicism and use of dissonance have led scholars to attribute the work to Handel’s early style. This is not a modest, reticent setting of a familiar sacred text but a flamboyant work for coloratura soprano in an operatic style, likely to have been influenced by Handel’s travels to Italy in 1707. There is more than a hint of "Rejoice greatly" from Messiah in the buoyant Laudamus te, while the deeply expressive Qui tollis peccata mundi could just as easily have been lifted from one of his later opera arias. Handel was evidently pleased with the finished score, since numerous parts were later reused in other works, including his Chandos and Coronation anthems. Handel composed his first oratorio, Esther, in 1718 and by the late 1740s, his oratorios had become

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iconic pieces of the repertoire. Messiah premiered of instruments, but in the case of the 12 concertos in 1742 to great adulation, with Semele and Samson that make up Handel’s Op.6 collection, the solo roles opening the next year. Samson contains perhaps the are given to two violins and a cello. Bridging the gap most iconic trumpet aria of them all, "Let the bright between Handel’s vocal and instrumental music, seraphim", in which the soprano soloist summons these concerti grossi were intended to be played celestial hosts of cherubim and seraphim in honour between performances of his dramatic stage works, of the dead hero, Samson. Handel and in many cases they even composed Messiah and Samson in borrow material from his odes parallel and although the ebullient Imagine the congregation's and oratorios too. The Concerto soprano aria, "Rejoice greatly, grosso in G major, Op.6 No.1, startled reaction to the O daughter of Zion" does not HWV319 is a case in point, stratospheric vocal line include the trumpet, its contours having been reworked from an of the closing Alleluia. and cadences nevertheless bring early draft of the overture to his it to mind, as does its triumphant, opera Imeneo (1739). fanfare-like theme. Although Handel’s Op.3 and Op.6 collections While Handel is still best-known for his vocal music, became landmarks of the genre, he learned his he also composed a huge volume of instrumental craft from Arcangelo Corelli (1653-1713). Corelli concertos, including more than 30 concerti grossi was one of the most established and sought– works that feature more than one soloist. The after violinists of his day, but as a composer he concertino (soloists) may comprise any combination produced relatively little. His reputation today rests

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Programme notes continued

on just six published opus numbers and a handful of posthumous publications, comprising 48 trio sonatas, 12 violin and continuo sonatas and 12 concerti grossi – all of which, unsurprisingly, have the violin as their focal instrument. But although Corelli was widely respected by his successors Geminiani, Locatelli and, later, even J.S. Bach as the "go to" violin composer of his day, he explored only a fraction of the instrument’s capabilities. Few of his works take in the violin’s uppermost registers because, so the story goes, Corelli himself was not comfortable playing them. While the writing for both the soloists and full strings in the Concerto grosso in D major, Op.6 No.7 is relatively simple, the overall effect is one of joyful exuberance – largely thanks to Corelli’s frequent oscillations in tempo and character and some vigorous antiphonal writing.

Today’s programme closes with one of the most iconic works that Johann Sebastian Bach (1685-1750) would compose for trumpet – his Brandenburg Concerto No.2 aside.

"Jauchzet Gott in allen Landen", BWV51 is the only cantata in Bach’s extensive catalogue to be written for soprano and trumpet, and it is every bit as showy as its scoring would suggest. On the score, Bach inscribed the words "per ogni tempo" ("for any time"), and although we know that it was later used for the 15th Sunday after Trinity, the virtuosic nature of the two solo parts suggests that Bach had the unusual privilege of writing for two extremely gifted musicians. It is difficult to imagine such a dazzling showpiece featuring in the standard Sunday morning service at Leipzig’s Thomaskirche, a service that began at 7am and lasted until noon, of which the cantata was just one small part. It appears more likely that it was first performed at a private court and later recycled in Leipzig, where one can only imagine the congregation’s startled reaction to the glittering passagework and stratospheric vocal line of the closing Alleluia. Programme notes © Jo Kirkbride

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Texts HANDEL "Rejoice greatly, O daughter of Zion" from Messiah, HWV56 Rejoice greatly, O daughter of Zion, shout, O daughter of Jerusalem, behold, thy King cometh unto thee. He is the righteous Saviour, and he shall speak peace unto the heathen. ZECHARIAH 9.9-10 HANDEL Gloria in Excelsis Deo 1. Gloria in excelsis Deo Gloria in excelsis Deo

Glory to God in the highest.

2. Et in terra pax Et in terra pax hominibus bonae voluntatis.

and peace on earth to men of good will.

3. Laudamus te Laudamus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam

We praise Thee, we adore Thee, we glorify Thee, we give Thee thanks for Thy great glory

4. Domine Deus Domine Deus Rex coelestis, Deus Pater omnipotens.

O Lord God, heavenly King, God the Father Almighty.

Please turn the page quietly

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Texts continued 5. Qui tollis peccata mundi Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram Qui sedes ad dexteram Patris, miserere nobis. 6. Quoniam tu solus sanctus Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe Suscipe deprecationem nostram Cum Sancto Spiritu in gloria dei patris. Amen.

Thou who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us For Thou alone art the Holy One, Thou alone art the Lord, Thou alone art the Most High, Jesus Christ Recieve our prayer. With the Holy Spirit, in the glory of God the Father. Amen.

20-minute interval

D. PURCELL Sound the Trumpet Sound, sound the trumpet; let Love’s subjects know From heaven’s high vault to Erebus below That from this hour their discords all shall cease. Love, love that can only do’t wil give ‘em peace.

HANDEL Let the Bright Seraphim Let the bright seraphim in burning row, Their loud, uplifted angel trumpets blow. Let the cherubic host, in tuneful choirs, Touch their immortal harps with golden wires.

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J.S. BACH Cantata "Jauchzet Gott in allen Landen", BWV51 1. Aria Jauchzet Gott in allen Landen! Was der Himmel und die Welt An Geschöpfen in sich hält, Müssen dessen Ruhm erhöhen, Und wir wollen unserm Gott Gleichfalls itzt ein Opfer bringen, Dass er uns in Kreuz und Not Allezeit hat beigestanden. 2. Recitative Wir beten zu dem Tempel an, Da Gottes Ehre wohnet, Da dessen Treu, So täglich neu, Mit lauter Segen lohnet. Wir preisen, was er an uns hat getan. Muss gleich der schwache Mund von seinen Wundern lallen, So kann ein schlechtes Lob ihm dennoch wohlgefallen.

Shout for joy to God in every land! All the creatures contained in heaven and earth must exalt his glory, and to our God we would now likewise bring an offering since in affliction and distress at all times he has stood by us. We pray at the temple where God's honour dwells, where his faithfulness that is renewed every day Rewards us with unmixed blessing. We praise what he has done for us. Even if our weak mouths have to babble about his wonders, yet imperfect praise can still please him.

Please turn the page quietly

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Texts continued

3. Aria Höchster, mache deine Güte Ferner alle Morgen neu. So soll vor die Vatertreu Auch ein dankbares Gemüte Durch ein frommes Leben weisen, Dass wir deine Kinder heißen.

Most High God, make your goodness new every morning from now on. Then to your fatherly love a thankful spirit in us in turn through a devout life will show that we are called your children.

4. Choral Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, Was er uns aus Gnaden verheißt, Dass wir ihm fest vertrauen, Gänzlich uns lass'n auf ihn. Von Herzen auf ihn bauen, Dass uns'r Herz, Mut und Sinn Ihm festiglich anhangen; Drauf singen wir zur Stund: Amen, wir werdn's erlangen, Glaub'n wir aus Herzensgrund.

May there be praise and glory and honour For God the Father, Son and Holy Spirit! May it be his will to increase in us what he promises us through his grace, so that we firmly trust in him, rely completely on him, from our hearts build on him, so that our heart, spirit and mind depend steadfastly on him; about this we now sing: Amen, we shall achieve this, if we believe from the bottom of our hearts

5. Aria Alleluja!

Alleluja!

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Bojan Čičić director and violin director with the Academy of Ancient Music and the European Union Baroque Orchestra.

Bojan has featured as leader on numerous recordings with the Academy of Ancient Music, Florilegium, La Nuova Musica and the Arcangelo Consort. His recording of J.S. Bach’s Concerto for two violins with Rachel Podger was cited as the best available recording of the work by BBC Music Magazine. Known for his intelligent and virtuosic playing on both the violin and viola d'amore, Bojan Čičić specialises in repertoire ranging from the late 16th century to the violin concertos of Mendelssohn and Beethoven. He has recently appeared as a soloist with the Kioi Hall Chamber Orchestra Tokyo, Instruments of Time and Truth, the Budapest Festival Orchestra and appears regularly as a leader and

This season sees his debut as director and soloist with several ensembles: Het Gelders Orkest, the Netherlands, Singapore Symphony Orchestra and the Washington Bach Consort. Bojan formed his own group, the Illyria Consort, to explore rare repertoire of the 17th and 18th centuries. They have performed at the Utrecht Early Music Festival, the Korkyra Baroque Festival, Festival Laus Polyphoniae, and at the

Festival de Sablé. Their debut recording of Giovanni Stefano Carbonelli’s Sonate da camera Nos. 1-6 received great critical acclaim and was chosen as one of Presto Classical’s “Recordings of the Year” for 2017. The Illyria Consort’s second disc, a world première recording of Giovanni Giornovich’s London Violin Concertos, was released in March 2019. Their third album, the second volume of Carbonelli’s sonatas, was released this summer. In 2016 Bojan was appointed Professor of Baroque Violin at the Royal College of Music, and is passionate about training the next generation of instrumentalists in historically informed playing styles. Having performed regularly with the Academy of Ancient Music he was appointed leader in 2018.

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

Rowan Pierce

David Blackadder

Yorkshire-born Rowan Pierce is a Samling Artist who has performed at the BBC Proms, Wigmore Hall, Sage Gateshead, with ensembles including the Orchestra of the Age of Enlightenment, Florilegium and City of Birmingham Orchestra. Recent and future opera performances include The Fairy Queen with both AAM and the Gabrieli Consort, Belinda (Dido and Aeneas) and Galatea (Acis and Galatea) with AAM, Barbarina (Le nozze di Figaro) for The Grange Festival and Nevill Holt Opera, Quivera and Orazia (The Indian Queen) for the Opéra de Lille under Emmanuelle Haïm, Oberto (Alcina) for the Glyndebourne Festival, Tiny (Paul Bunyan), Barbarina (The Marriage of Figaro) and Papagena (The Magic Flute) for English National Opera where she is a Harewood Artist. Prizes include the Van Someren Godfery Prize, Schubert Society Singer Prize and the President’s Award at the Royal College of Music as well as winning both the song and main prizes at The Grange Festival’s inaugural singing competition. Her debut recording The Cares of Lovers was release by Linn in 2019, and features AAM’s Richard Egarr and William Carter.

trumpet

soprano

Principal Trumpet of the Academy of Ancient Music, David took up the trumpet aged nine, following in the footsteps of his grandfather who was a bandmaster in the North East. He studied at the Royal College of Music with Michael Laird. After a season as guest principal trumpet with Scottish Opera he joined the English Baroque Soloists and Orchestre Revolutionaire et Romantique as principal trumpet under Sir John Eliot Gardiner. In 1993 he formed Blackadder Brass, which became the resident educational ensemble at Symphony Hall in Birmingham. He is also a professor at the Birmingham Conservatoire. He is well-known as a soloist, having performed and recorded with conductors including Sir Simon Rattle, Sir Roger Norrington and Vladimir Jurowski. He also performed at the Royal Wedding of Their Royal Highnesses the Duke and Duchess of Sussex. His recordings of Handel arias with singers including Renée Fleming and Kiri Te Kanawa have received particular critical acclaim, and he has recorded the Brandenburg Concertos with Trevor Pinnock and with AAM.

R E JO I C E !

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

Purcell: The Cares of Lovers

Rowan Pierce, Academy of Ancient Music [Linn, CKD592] – available in the foyer tonight

Bach: Early Cantatas

Kirkby, Chance, Daniels, Harvey, feat. David Blackadder [Chandos, CHAN0742]

Handel: Coronation Anthems

Choir of King’s College Cambridge, Academy of Ancient Music / Cleobury [Warner Classics, 5571402]

J.S. Bach: Cantatas and Arias

Elizabeth Watts, The English Concert / Bickett [Harmonia Mundi, HMU807550]

Torelli: Concertos

Collegium Musicum 90, feat. David Blackadder & Crispian Steele-Perkins [Chandos, CHAN0716] 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.

“Feasting Reconciles Everybody"

Samuel Pepys

Many composers throughout the ages have relied on various substances to aid the flow of creative juices, including nicotine, alcohol or a daily beverage or five of coffee. J.S. Bach was a lover of the addictive bean and even composed a very short comic opera about caffeine addiction, Schwelgt stille, plaudert nicht ("Keep still, stop chattering") or the Coffee Cantata BWV211 composed around 1732, just two years after his Cantata heard this evening. It tells of a daughter's frustration with her father who tries to ban her from drinking coffee. Here are a couple of extracts from this little gem that some of us might relate to: If I couldn't, three times a day, be allowed to drink my little cup of coffee, in my anguish I will turn into a shriveled-up roast goat. Ah! How sweet coffee tastes, more delicious than a thousand kisses, milder than muscatel wine. Coffee, I have to have coffee ...

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

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

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.

R E JO I C E !

Academy of Ancient Music Violin I Bojan Čičić Liz MacCarthy Sijie Chen Violin II James Toll Persephone Gibbs William Thorp

Organ & Harpsichord Stephen Farr Theorbo William Carter Keyboard Technician Malcolm Greenhalgh

Viola Jane Rogers Jordan Bowron Cello Sarah McMahon Imogen Seth-Smith

Double Bass Judith Evans

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

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 (Honorary President)

PR Consultant Orchid Media PR Programme Editor Sarah Breeden

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

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

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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

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• 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

LOVE

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.

Viktoria Mullova

Bach& Haydn

Richard Egarr

director & harpsichord

& James Hall countertenor

Monday 18 November 2019 The Apex, Bury St Edmunds

Wednesday 20 November 2019 Milton Court Concert Hall, London Full programme details at aam.co.uk

Online theapex.co.uk Telephone 01284 758000 In person The Apex Foyer, Charter Square

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

Get involved: @AAMorchestra academyofancientmusic @aamorchestra

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