AAM - Prodigious minds by Academy of Ancient Music

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Prodigious minds Giuliano Carmignola directs early masterpieces by Schubert and Mendelssohn Giuliano Carmignola director & violin 21 February 22 February 24 February

West Road Concert Hall, Cambridge, UK Wigmore Hall, London, UK Barber Institute, Birmingham, UK

Welcome to this evening’s concert of music by two remarkable prodigious minds. The young Mendelssohn and Schubert lived personal lives which were poles apart. The former played regular concerts in the drawing rooms of his family’s friends, and was encouraged in his musical studies by his doting parents. Schubert, on the other hand, fell in with the wrong crowd during his teenage years, beginning his association with the profligate Franz von Schober and discovering the lifestyle which ultimately led to syphilis and his untimely death. A comparison of two pictures of the composers says it most eloquently: Mendelssohn (page 6) upright, studious, innocently juvenile; Schubert (page 3) the dashing Byronic hero. But, as Stephen Rose reminds us (pages 4-6), both received sound and conventional musical educations. Tonight’s music will provide an intriguing insight into the perennial question of whether “musical aptitude is an innate gift or something learned from one’s environment”, as Rose puts it. At the time of writing, the orchestra are gearing up for Music Director Richard Egarr’s first performance of a Beethoven piano concerto with the AAM. After concentrating on the seventeenth- and eighteenth-century works of anniversary composers Handel and Purcell

during 2009, the orchestra will spend more time on classical and early romantic repertoire in 2010. Indeed, for the final concert in our 200910 London and Cambridge seasons — The English School — we will be joined by tenor James Gilchrist for a rare, broad overview of English music, reaching back to the seventeenth century and the recentlydiscovered work of Christopher Gibbons, and stretching forward to the twentieth century and the work of Finzi and Britten. Turn to page 14 for details of our London and Cambridge concerts. Our forays into later repertoire will be anchored in reminders of the foundations of European baroque music. In April we recall the early seventeenth-century Venetian golden age with a giant of the early baroque, Claudio Monteverdi, and his fellow wind player at San Marco, the virtually unknown Dario Castello, before we embark on a summer tour through France performing Monteverdi’s seminal Vespers with the Choir of King’s College, Cambridge. In the autumn attention switches to another iconic figure and his family in The Bach Dynasty, an exciting series of concerts which will form the core of our 2010–11 London and Cambridge seasons. We hope you enjoy tonight’s concert — the beginning of this year’s fascinating musical journey with the AAM.

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Programme Felix Mendelssohn-Bartholdy (1809–1847) Sinfonia No.10 in B minor for strings (1823) Adagio—Allegro Concerto in D minor for violin (1822) Allegro Andante Allegro Interval of 20 minutes Please check that your mobile phone is turned off if you used it during the interval.

Franz Schubert (1797–1828) Rondo in A major for violin D438 (1816) Adagio—Allegro giusto

Felix Mendelssohn-Bartholdy Sinfonia No.9 in C major for strings (1823) Grave—Allegro Andante Scherzo—Trio più lento Allegro vivace—Presto Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off.

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THE YOUNG FRANZ SCHUBERT, BY LEOPOLD KUPELWEISER (1796-1862)

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Stephen Rose contemplates the nature of the prodigious mind Since ancient times, youthful prodigies in music have been an object of popular fascination. Young virtuosos not only excite admiration for their abilities; they also can provoke us to contemplate the nature of musical talent. Is musical aptitude an innate gift or something learned from one’s early environment? Do the achievements of musical prodigies stem from countless hours of practice, or do such attainments come effortlessly to those who are sufficiently talented? Felix Mendelssohn-Bartholdy (1809–1847) was unquestionably a child prodigy. By the age of fifteen his output of compositions included twelve sinfonias for strings, four music dramas, four concertos, assorted pieces for solo violin or solo piano, plus several vocal works. In addition he was an accomplished violinist and pianist, who as a teenager was already accustomed to playing with professional performers from the Berlin court ensemble and opera house. His mother, describing Felix’s demeanour at a concert of his music on his twelfth birthday (3 February 1821), noted how “his eyes [are] always enlivened by the music, radiant and flashing with uncommon energy”.

Unlike many musical prodigies in previous centuries (such as Wolfgang Amadeus Mozart), Mendelssohn did not come from a family of professional musicians. His grandfather was the philosopher Moses Mendelssohn and his father Abraham was one of Berlin’s most successful bankers; his mother Lea, however, was a gifted amateur pianist. Mendelssohn’s parents hired private tutors to give Felix and his sister Fanny an exceptionally rigorous education at home. At the age of twelve, he was studying Latin for six hours a week; taking lessons in maths, history, geography and German conversation; having two violin lessons and two lessons in composition a week; and attending the Berlin choral society known as the Singakademie. With this packed programme of lessons for their children, Abraham and Lea Mendelssohn

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evidently did not see music as the only career option for their son. Yet the sheer intensity of Mendelssohn’s education certainly stimulated many of his teenage achievements and also endowed him with a compulsive work ethic. As his friend Eduard Devrient said, “The habit of constant occupation, instilled by his mother, made rest intolerable to him.” Mendelssohn’s composition teacher was the Berlin conductor and educationalist Carl Friedrich Zelter, who used pedagogical exercises similar to those advocated almost a century earlier by Johann Sebastian Bach. At the age of ten, Mendelssohn was studying figured bass; at the age of eleven, he was harmonising chorales, and learning how to write invertible counterpoint, canon and fugue. The emphasis on counterpoint is evident in his teenage compositions, some of which can be imagined as the young composer’s response to a contrapuntal challenge laid down by his teacher. Chief among Mendelssohn’s early compositions are his twelve string sinfonias, written between 1821 and 1823. In effect these are miniature symphonies, written for strings only so they could be performed at the musical gatherings that the Mendelssohns held at their house on Sunday afternoons. (Felix led performances from the piano, as a kind of continuo accompaniment.) The exclusion of brass and wind instruments gave these sinfonias an archaic feel, harking back to the simple scorings of symphonies of the mideighteenth century. Yet the use of a strings-only texture was also an excellent discipline for Mendelssohn’s compositional apprenticeship, requiring him to find musical interest in melody and counterpoint rather than in grand scoring or instrumental colour. The Sinfonia No.10 in B minor for strings was written by Mendelssohn at the age of fourteen. Consisting of an Adagio introduction and an ensuing Allegro, it is probably the first movement of a larger work that does not survive. Here the

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young composer experiments with the harmonic colour and tension possible in a minor key. In the introduction, the minor-key harmonies slowly shift above a static bass until a bright chord of D major is attained, and are then reinforced by a rapidly rising scale. The Allegro features a first theme with swirling motifs and a calmer second theme; both are underpinned by scurrying parts for the second violins and violas, a characteristic of Mendelssohn’s later works. The Sinfonia No.9 in C for strings, also written by Mendelssohn at the age of fourteen, is a fourmovement work that demonstrates his absorption of eighteenth-century styles. The first movement starts, like some of the late works of Haydn or Mozart, with a minor-key introduction; and then the Allegro has the balanced phrases and vivacious string-writing characteristic of the late eighteenth century. In the Andante, Mendelssohn offered a clever solution to the restricted colours available in the string orchestra, splitting the movement into sections for fourpart divisi violins and for lower strings. The violins have a winsome melody that anticipates some of Mendelssohn’s later slow movements, whereas the lower strings provide an edgier, contrapuntal episode in the middle of the movement. A fiery scherzo frames a trio that incorporates yodelling calls, an aural souvenir of a trip Mendelssohn made to Switzerland the previous year. Then, in the finale, Mendelssohn’s debt to Bach is evident, with a series of fugal sections punctuated by unison passages. Mendelssohn wrote his Concerto in D minor for violin at the age of thirteen, in 1822. Although he was an accomplished violinist himself, the piece was intended for his friend Eduard Rietz (1802–32). Rietz was only seven years older than Mendelssohn but acted as his violin teacher; he also helped Mendelssohn revise the work after its first performance. As with the sinfonias, the scoring excludes wind and brass, reflecting the limited forces available for performances at the Mendelssohns’ home.

The first movement has a nervous energy similar to that found in the works of an eighteenthcentury Berlin composer, Carl Philipp Emanuel Bach. The opening theme is a jagged, unison melody leaping across almost two octaves. This unison writing is quickly contrasted with fully harmonised sounds, and Mendelssohn also juxtaposes cantabile dialogues alongside passages with drumming semiquavers in the inner parts. Above all these agitated discontinuities in the orchestra, the soloist sweeps in with long-breathed phrases, sometimes cantabile and sometimes with fast figuration. The second movement starts as a lush melody in D major; but when the soloist enters, Mendelssohn moves to the minor key and then takes the music on a harmonic adventure of great sophistication for a thirteen-year-old, travelling through minor and flat keys before resolving back to D major. Harmonic changes are also prevalent in the finale, but here they are implemented with a skittish smile. There are also numerous contrasts between solo reveries and rapid figuration, giving an accomplished mingling of light and shade in the movement. Another prodigiously gifted young musician was Franz Schubert (1797–1828). Like Mendelssohn, as a teenager he composed an astonishing number of works. In 1815, at the age of eighteen, he finished his Symphonies no.2 and no.3, two Masses, four operas, plus many songs. It has been calculated in this year he was writing an average of 65 bars of new music a day, much of it for orchestra! At the time Schubert was working as an assistant schoolteacher in the suburbs of Vienna. Contrasted with the hothouse environment in which Mendelssohn was raised, Schubert’s mundane surroundings might give the impression that his teenage achievements stemmed from a natural and untutored talent, from inspiration rather than perspiration. But it would be misleading to draw this conclusion. In fact, at the age of seven Schubert was a chorister in the imperial Viennese chapel, and he attended the imperial city college, where he received a

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musical education as rigorous as that encountered by Mendelssohn in his homeschooling. Schubert continued to have composition lessons with the imperial Kapellmeister, Antonio Salieri, until the age of at least thirteen.

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Schubert wrote his Rondo in A major for violin and strings in 1816, at the age of nineteen. Other compositions from that year include his Fourth and Fifth Symphonies, a string quartet, an opera, plus over a hundred songs. The Rondo is a concerto movement in all but name: it consists of a slow introduction, followed by an Allegro dominated by figuration for the soloist. The piece was written for Franz’s violin-playing brother Ferdinand, and it was probably performed in the small-scale musical gatherings in the Viennese suburbs that were the main outlet for Franz’s compositions at that stage of his life. Stephen Rose ©2009 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London.

THE YOUNG FELIX MENDELSSOHN-BARTHOLDY PLAYING THE PIANO, BY WILHELM HENSEL (1794-1861)

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Giuliano Carmignola director & violin © Felix Broede/DG

The 2008–2009 season included a tour to Japan, Korea and the United States with the Venice Baroque Orchestra; performances of the Schumann concerto in Duisburg and of Vivaldi concertos with Frankfurt Radio Orchestra under Christopher Hogwood; a tour with the Orchestre des Champs-Élysées playing Mozart concertos; and a recital with Robert Levin at the Salzburg Mozartwoche. He also gave a series of duo recitals with violinist Viktoria Mullova in Turin, Milan, Bologna, Florence, and Rome, performing on both original and modern instruments in works ranging from duo sonatas of CPE Bach and Haydn to Bartók and Prokofiev.

Equally accomplished on modern and baroque violin, Giuliano Carmignola is highly regarded for his broad repertoire, encompassing baroque, romantic, classical, and 20th-century works. A native of Treviso, Italy, Giuliano began his studies with his father and graduated from the Conservatorio Benedetto Marcello in Venice where he studied with Luigi Ferro. He is professor of violin at the Lucerne Hochschule as well as at Siena’s Accademia Musicale Chigiana. Giuliano’s career began with awards at the “Premio Città di Vittorio Veneto” in 1971 and the Paganini Competition in Genoa in 1973. Such acclaim led to performances with Claudio Abbado, Eliahu Inbal, Peter Maag and Giuseppe Sinopoli, at venues including the Royal Albert Hall, La Scala, Musikverein, the Berlin Philharmonie and Tchaikovsky Hall. This season he performs concertos with Claudio Abbado and Orchestra Mozart in Italy and South America; with Paul McCreesh and the Basel Chamber Orchestra in France and Germany; and with the Venice Baroque Orchestra in the United States.

In recent seasons he has worked also with Bernard Labadie and Ton Koopman, and has led the Mahler Chamber Orchestra and Kammerakademie Potsdam. His festival appearances have included Aldeburgh, Ambronay, Dortmund, Dresden, Istanbul, Ludwigsburg, Lucerne, Salzburg, Vienna, the Boston Early Music Festival, the Mostly Mozart Festival, the Festival Mozart in Coruña, and the Proms. Giuliano’s extensive discography includes two albums of previously unrecorded Vivaldi concertos; The Four Seasons; a collection of Locatelli violin concertos with the Venice Baroque Orchestra; and the complete Bach sonatas for violin and harpsichord with Andrea Marcon, all recorded for Sony. His recordings for Deutsche Grammophon include a collection of concertos by Tartini, Locatelli, and Vivaldi; a disc of previously unrecorded Vivaldi concertos that was awarded both the Diapason D’Or and Choc du Monde de la Musique; Vivaldi concertos for two violins with Viktoria Mullova and the VBO; and the complete Mozart concertos with Claudio Abbado and Orchestra Mozart. Giuliano plays a 1732 Stradivari on permanent loan from the Fondazione Cassa di Risparmio in Bologna.

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Academy of Ancient Music Recently hailed as “a superb period instrument band” by the New York Times, the Academy of Ancient Music is a household name renowned worldwide for its energized, passionate performances of baroque and classical music. Since it was founded by Christopher Hogwood in 1973 the AAM has reached music lovers on a global stage with over 250 recordings and live performances on every continent except Antarctica.

contrasting the Pergolesi and Vivaldi settings of the Stabat Mater; Stephen Cleobury, who conducts a major European tour of Monteverdi’s Vespers with the Choir of King’s College, Cambridge; Paul Goodwin, who conducts Haydn symphonies at Esterháza Palace, the historic seat of the composer’s patrons; and Stephen Layton, who conducts the AAM’s traditional Good Friday performance of JS Bach’s St John Passion with Polyphony.

The AAM specialises in performing on instruments and in styles dating from the time when the music was composed. Under Hogwood’s stewardship it established itself as a leading authority on how music was originally performed. This pioneering work had a transformative impact on the world of classical music, and lies at the heart of the AAM’s reputation for musical excellence.

The AAM’s pioneering recordings under Hogwood for Decca’s L’Oiseau-Lyre label cover much of the baroque and classical orchestral canon. They include the first recordings on period instruments of Mozart’s complete symphonies and Beethoven’s piano concertos, and prize-winning opera recordings starring Cecilia Bartoli, Emma Kirkby and Joan Sutherland. Further projects have resulted in recordings for EMI, Chandos, Erato and Harmonia Mundi, and the orchestra has released award-winning recordings with the choirs of King’s College, Cambridge, Trinity College, Cambridge and New College, Oxford.

In 2006, Hogwood passed leadership of the AAM on to Richard Egarr. In his first three years as Music Director, Egarr has led tours to four continents, released CDs which have already won Gramophone, MIDEM and Edison awards, and founded the award-winning Choir of the AAM.

“The peerless Academy of Ancient Music” Concerts with Egarr in 2009–10 see the orchestra performing music ranging from Monteverdi to Britten around the world. Highlights include a tour of music by anniversary composers Purcell and Haydn to Africa and the Far East, a Christmas tour of Handel’s Messiah around Europe, and a fascinating programme showcasing the music of Monteverdi’s little-known contemporary Dario Castello. The vitality of the AAM’s music making continues to be fostered by a range of guest directors. In addition to this month’s collaboration with Giuliano Carmignola, this season the orchestra works with Pavlo Beznosiuk, who directs a programme

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With Richard Egarr, the orchestra has recently completed a landmark new cycle of Handel’s complete instrumental music published as Opp.1-7. Other recent releases include JS Bach’s complete Brandenburg Concertos with Egarr, Purcell and Handel discs with Stephen Layton and the Choir of Trinity College, Cambridge on Hyperion, and, for EMI, Handel’s Messiah with Stephen Cleobury and the Choir of King’s College, Cambridge. The AAM is Orchestra-in-Residence at the University of Cambridge.

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Director & violin Giuliano Carmignola

Cello Catherine Jones Poppy Walshaw

Double bass Judith Evans

Violin 1 Rodolfo Richter Bojan Čičić Rebecca Livermore Liz MacCarthy

Leader Mr and Mrs George Magan Principal cello Dr Christopher and Lady Juliet Tadgell Principal flute Christopher and Phillida Purvis

Violin 2 William Thorp Pierre Joubert Joanna Lawrence Sijie Chen

Sub-principal viola Sir Nicholas and Lady Goodison

Viola Rachel Byrt Marina Ascherson

Board of Directors Adam Broadbent Kay Brock LVO DL John Everett Matthew Ferrey John Grieves Christopher Hogwood CBE Heather Jarman Christopher Purvis CBE (Chairman) Dr Christopher Tadgell Sarah Miles Williams

*Sponsored chairs

Sub-principal cello Newby Trust Ltd

Development Board Adam Broadbent Kay Brock LVO DL Delia Broke John Everett Matthew Ferrey John Grieves Madelaine Gunders Elizabeth Hartley-Brewer Annie Norton Christopher Purvis CBE Chris Rocker Dr Christopher Tadgell Madeleine Tattersall Sarah Miles Williams Alison Wisbeach

Music Director Richard Egarr Emeritus Director Christopher Hogwood CBE Chief Executive Peter Ansell Orchestra Manager Andrew Moore Marketing & Development Manager Simon Fairclough

Concerts & Tours Manager Kate Caro Assistant Marketing & Development Manager Toby Chadd Finance Manager Elaine Hendrie Intern Samantha Fryer

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The AAM Society The Academy of Ancient Music has been a byword for musical excellence for over 30 years. The orchestra has enriched the lives of millions of music lovers with its ground-breaking performances and recordings of baroque and classical music on period instruments; and it has attained an important position as one of Britain’s most active cultural institutions on the global stage. Today over 50,000 people attend AAM performances annually; and the orchestra reaches hundreds of thousands more through its recordings and broadcasts. As its 40th anniversary approaches, the AAM is seeking to build upon and develop its distinctive traditions of excellence and innovation for the music lovers of the future — but year by year the cost of sustaining these traditions is increasing. Only a modest proportion of the cost of staging concerts like tonight’s is covered by ticket income, and the AAM receives no regular public funding. This year, the AAM needs to raise £250,000 to make its plans possible. One way in which you can help the Academy of Ancient Music to transform its ambitious vision into reality is to join the AAM Society. The Society is the orchestra’s closest group of regular supporters. It was established ten years ago by a committed group of founder members who appreciated the orchestra’s

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superb artistry and wanted to secure its future. Membership ranges from £250 to £10,000+ per annum, and members’ annual contributions provide the vital core funding required if the orchestra is to continue to perform. Society members enjoy a very close involvement with the life of the AAM. After performances in London, members dine with the director, soloists and AAM musicians. Members have the chance to become a part of orchestral life behind the scenes by sitting in on rehearsals for concerts and recordings, and from time to time by accompanying the orchestra on international tours. Those at the Principal Benefactor level and above receive invitations to special events in London; those at the Principal Patron level and above have the opportunity to sponsor a specific position in the orchestra; and those at the Hogwood Circle level have the opportunity to support a specific concert each season. If you want to get closer to the AAM’s music making while helping to secure the orchestra’s future, do be in touch with me. Simon Fairclough Development Manager 01223 301509 s.fairclough@aam.co.uk

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AAM Funders & Supporters The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work during the 2009–2010 season: AAM Business Club Cambridge University Press Kleinwort Benson RBC Wealth Management SVG Capital John Ellerman Foundation The Idlewild Trust Goldsmiths’ Company Charity Michael Marks Charitable Trust Arts Council England through the Sustain programme Orchestras Live Cambridge City Council

The AAM Society The Hogwood Circle (Donations £10,000 and above per annum) Matthew Ferrey Mr and Mrs George Magan Christopher and Phillida Purvis * Mrs Julia Rosier Dr Christopher and Lady Juliet Tadgell Principal Patrons (Donations £5,000 – £9,999 per annum) Sir Nicholas and Lady Goodison * Christopher Hogwood CBE * Newby Trust Ltd * and other anonymous Principal Patrons Patrons (Donations £2,500 – £4,999 per annum) Adam and Sara Broadbent Mr and Mrs JE Everett John and Ann Grieves Christopher Rocker and Alison Wisbeach Sarah and Andrew Williams SVG Capital and other anonymous Patrons Principal Benefactors (Donations £1,000 – £2,499 per annum) Lady Alexander of Weedon Richard Bridges and Elena Vorotko George and Kay Brock Mrs D Broke Mr and Mrs Graham Brown Clive and Helena Butler Sir Charles Chadwyck-Healey Bt Kate Donaghy Elizabeth Hartley-Brewer Elma Hawkins and Charles Richter Lord Hindlip Donald and Libby Insall John McFadden and Lisa Kabnick * Mark and Liza Loveday Mr and Mrs C Norton Lionel and Lynn Persey Nigel and Hilary Pye * Mr and Mrs Charles Rawlinson

Joyce and John Reeve Michael and Sophia Robinson Sir Konrad and Lady Schiemann * Sir David and Lady Scholey JG Stanford Marcellus and Katharine Taylor-Jones Mrs R Wilson Stephens and other anonymous Principal Benefactors Benefactors (Donations £500 – £999) Dr Aileen Adams CBE Bill and Sue Blyth Elisabeth and Bob Boas * Claire Brisby and John Brisby QC * Jo and Keren Butler Mr and Mrs Edward Davies-Gilbert Charles Dumas The Hon Simon Eccles Mr and Mrs Jean-Marie Eveillard Marshall Field Andrew and Wendy Gairdner William Gibson The Hon Mr and Mrs Philip Havers Professor Sean Hilton Heather Jarman * Michael and Nicola Keane Susan Latham Tessa Mayhew Mrs Sheila Mitchell Mr and Mrs Hideto Nakahara Rodney and Kusum Nelson-Jones Nick and Margaret Parker Timothy and Maren Robinson Bruno Schroder and Family John and Madeleine Tattersall Peter Thomson Charles Woodward Peter & Margaret Wynn and other anonymous Benefactors Donors (Donations £250 – £499) Maureen Acland OBE * Angela and Roderick Ashby-Johnson

Mrs Nicky Brown Dr and Mrs S Challah David and Elizabeth Challen The Cottisford Trust Derek and Mary Draper Charles Goldie Steven and Madelaine Gunders Mr David Gye Gemma and Lewis Morris Hall Mrs Helen Higgs Mr and Mrs G and W Hoffman Lord and Lady Jenkin of Roding Richard Lockwood Robin and Jane Raw Annabel and Martin Randall Arthur L Rebell and Susan B Cohen Michael and Giustina Ryan Miss E M Schlossmann Tom Siebens and Mimi Parsons Rt Hon Sir Murray Stuart-Smith * Robin Vousden Paul F. Wilkinson and Associates Inc. and other anonymous Donors * denotes founder member Members of the AAM Recording Club Jo and Keren Butler John S Cohen Foundation Sir Nicholas and Lady Goodison Anne and Phillip Greenwood Mike and Jan Hewins Heather Jarman David and Linda Lakhdhir Lowell and Rowena Libson Michael Marks Charitable Trust Christopher and Phillida Purvis Nigel and Hilary Pye Stephen Thomas Mrs R Wilson Stephens Jack and Margaret Vousden Charles Woodward Peter and Margaret Wynn

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Join the AAM Society I would like to help secure the Academy of Ancient Music’s future by joining the AAM Society. Personal details Name ............................................................................................................................................. Address ......................................................................................................................................... ............................................................................................................................................................ Tel .....................................................................................................................................................

Giftaid declaration Please complete this section only if you pay Income Tax and/or Capital Gains Tax at least equal to the tax that the AAM will reclaim on your donations in the appropriate tax year. Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations. Signed ...........................................................................................................................................

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AAM Bach Patrons At the heart of the AAM’s London and Cambridge seasons in 2010–11 will be The Bach Dynasty — a groundbreaking concert series celebrating the output of history’s most important musical family.

For more information, please contact Simon Fairclough, AAM Development Manager, on 01223 301509 or s.fairclough@aam.co.uk. © Lebrecht Arts & Music

Johann Sebastian was just one of a great lineage of distinguished composers active in seventeenth- and eighteenth-century Germany. In modern times, the outstanding music of his relatives has been neglected. The Bach Dynasty will breathe new life into works by Heinrich, Johann Christoph, Johann Michael, Johann Christian, Johann Christoph Friedrich, Carl Philipp Emanuel and Wilhelm Friedemann Bach — as well as including music by JS Bach himself. Guest soloists will include the world-famous cellist Steven Isserlis and four AAM Young Artists.

Funding of £70,000 is needed if this landmark project is to go ahead. Those supporting the series with gifts of £500 or more will become members of the AAM Bach Patrons — an inner circle of supporters whose special association with the series will include the exclusive opportunity to sit in on rehearsals for concerts, the chance to join musicians for dinner after performances and an invitation to The Bach Dynasty launch party. Patrons may choose to make a general gift of any amount over £500, or to target their contribution towards one or more of the areas listed below which are in particular need of support.

WOODCUT OF JS BACH, AT THE CLAVICHORD, WITH HIS FAMILY. ONE SON PLAYS THE VIOLIN WHILE ANOTHER SINGS.

Support towards Steven Isserlis’ appearances in the series Support towards the Choir of the AAM’s appearances in the series Support towards Richard Egarr’s appearances in the series Support of the AAM Young Artists Provision of sheet music for the series Provision of free programme booklets, each including a newly-commissioned scholarly essay Provision of harpsichords and chamber organs appropriate to the repertoire being performed Concert sponsorship

£4,000 per concert

£8,000 for 2 concerts

£2,500 per concert

£12,500 for 5 concerts

£2,000 per concert £1,400 per Young Artist

£16,000 for 8 concerts £5,600 for four Young Artists

£1,400 £1,000 per concert

£8,000 for the series

£750 per concert £6,000 for the series By negotiation

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Wigmore Hall and West Road Concert Hall 2009–2010 Season

Academy of Ancient Music

WEST ROAD CONCERT

WIGMORE HALL,

HALL, CAMBRIDGE

LONDON

Baroque in high definition Concertos used in film

24 September

25 September

The virtuoso voice Carolyn Sampson sings arias by Handel and Purcell

21 November

22 November

Prodigious minds Giuliano Carmignola directs early masterpieces by Schubert and Mendelssohn

21 February

22 February

‘In Stil Moderno’ Music by composers from seventeenth-century Venice

26 April

28 April

The English school Four centuries of music by English composers

17 June

18 June

Booking information WEST ROAD CONCERT HALL, CAMBRIDGE

WIGMORE HALL, LONDON

Ways to book • General booking is now open through the Arts Theatre box office on 01223 503333.

Ways to book • In person: 7 days a week; 10am – 8.30pm. Days without an evening concert, 10am –5pm. No advance booking in the half hour prior to a concert. • Telephone: 020 7935 2141, 7 days a week; 10am – 5pm. Days without an evening concert, 10am 5pm. • Online: www.wigmore-hall.org.uk, 7 days a week, 24 hours a day.

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Forthcoming concerts For details of concerts in the 2009-10 London and Cambridge seasons, please refer to facing page. March 2010

Vivaldi Wassenaer Vivaldi Pergolesi

Stabat Mater RV621 Concerto Armonico No.2 in B flat major Salve Regina RV617 Stabat Mater Carolyn Sampson soprano, Daniel Taylor counter-tenor Pavlo Beznosiuk director & violin

16 March, 7pm 19 March, 8pm

Philharmonic Hall, Warsaw, Poland De Bijloke, Ghent, Belgium

JS Bach

St Matthew Passion Klara Ek soprano, Marina de Liso mezzo-soprano, Bernard Loonen Evangelist Juan Sancho tenor, Christopher Purves bass, Jesús Maria García Aréjula Christ Choir of the AAM Richard Egarr director & harpsichord

28 March, 7.30pm

Palau de la Música, Valencia, Spain

JS Bach

St Matthew Passion Katharine Fuge soprano, Clare McCaldin mezzo-soprano, Simon Wall Evangelist, Thomas Hobbs tenor, Mark Rowlinson Christ, Jonathan Sells bass, Richard Lloyd Morgan Pilate Choir of King’s College, Cambridge Stephen Cleobury conductor

31 March, 6.30pm

King’s College Chapel, Cambridge

April 2010

JS Bach

St John Passion Julia Doyle soprano, Clint van der Linde counter-tenor, John Mark Ainsley Evangelist, Nathan Vale tenor, Neal Davies Christ, David Stout bass, Thomas Guthrie Pilate Polyphony Stephen Layton conductor

2 April, 2.30pm

St John, Smith’s Square, London

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Join the AAM mailing list If you would like to hear about future AAM performances, please complete this form and either: • return it to the AAM staff at the CD sales desk after this evening’s performance; • fax it to 01223 323202; • or send it to: AAM, 32 Newnham Road, Cambridge CB3 9EY

Your name: .......................................................................................................................................................................................................................................................... I would like to be kept informed about the activities of the AAM in: London Cambridge

Please send me information by: Email Email address:

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Postal mail Address:

The AAM will not share your details with third-party organisations.

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Handel Opp.1–7 recording cycle

Solo Sonatas Op.1

“The AAM’s delightful playing is warmly recommended” G R A M O P H O N E AWA R D S I S S U E 2 0 0 9

“The soloists slide easily from austerity to opulence, and Brown’s dewy-toned recorder is enchanting” I N D E P E N D E N T O N S U N DAY, J U N E 2 0 0 9

Trio Sonatas Opp.2 & 5

“the subtleties and nuances of the playing, coupled with the sheer variety of Handel’s fertile imagination, never pales over two hours of continuous listening... These are outstanding accounts” B B C M U S I C MAG A Z I N E , D E C E M B E R 2 0 0 9

Concerti Grossi Op.3; Sonata à 5 W I N N E R O F 2 0 0 7 G R A M O P H O N E AWA R D F O R B A R O Q U E I N S T R U M E N TA L M U S I C

“The Academy of Ancient Music is in world-beating form” GRAMOPHONE, APRIL 2007

Organ Concertos Op.4 W I N N E R O F 2 0 0 9 E D I S O N AWA R D W I N N E R O F 2 0 0 9 M I D E M AWA R D S H O R T L I S T E D F O R 2 0 0 8 G R A M O P H O N E AWA R D F O R I N S T R U M E N TA L M U S I C

Concerti Grossi Op.6

“The AAM are on sparkling form...an issue of joyous vitality” G R A M O P H O N E AWA R D S I S S U E 1 9 9 8

“It is impossible not to admire the precision of these spit-and-polish performances” E A R LY M U S I C A M E R I C A , 1 9 9 8 - 9

Organ Concertos Op.7

“a valuable addition to the Handel discography” G R A M O P H O N E , O C TO B E R 2 0 0 9

“an outstanding achievement” A N D R E W MACG R E G O R , B B C R A D I O 3 , AU G U S T 2 0 0 9

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AAM Concerts

King’s at

Wednesday 31 March 2010 6.30pm

Friday 9 July 2010 7.30pm

Bach

Monteverdi

King’s College Chapel

Simon Wall Evangelist Mark Rowlinson Christ Richard Lloyd Morgan Pilate Katharine Fuge soprano Clare McCaldin mezzo soprano Thomas Hobbs tenor Jonathan Sells bass

Catherine Bott soprano Nicki Kennedy soprano John McMunn tenor Ben Alden tenor

St Matthew Passion

King’s College Choir Choristers of Jesus and St Catharine’s College Choirs Academy of Ancient Music

Vespers 1610

King’s College Choir Academy of Ancient Music Stephen Cleobury conductor Tickets: £40, £30, £22 (unsighted seats £7, student standby £5)

Stephen Cleobury conductor Tickets: £60, £48, £35, £25 (unsighted seats £10) CHOIR OF KING’S COLLEGE (Gerald Place)

SIMON WALL (Donald Beltvelsen)

KING’S COLLEGE

NICKI KENNEDY (Hanya Chlala)

Tickets from the Cambridge Corn Exchange Box Office: 01223 357851 For a full list of concerts at King’s visit www.kings.cam.ac.uk/events A C A D E M Y O F A N C I E N T M U S I C , 2 0 0 9 - 2 01 0 S E A S O N 19

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Britten Sinfonia at Lunch The sound of the oboe is explored in the third of Britten Sinfonia’s lunchtime concert series.

Performed by one of the finest musicians in the UK, Nicholas Daniel, Mozart’s Oboe Quartet is in effect a chamber concerto for the oboe, full of singable melodies and charm. This is set alongside a new work |by German composer, Ulrich Kreppein, Schubert’s String Trio and Mozart’s Adagio. The programme is completed by Colin Matthews’ beautiful arrangement of Schumann’s haunting lament to the moon.

Cambridge West Road Concert Hall Tuesday 2 March 2010, 1pm Box Office: 01223 357851 Tickets: £7 (£3 students and under 18s)

London Wigmore Hall Wednesday 3 March 2010, 1pm Box Office: 020 7935 2141 Tickets: £12 (£10 conc) For further info log on to www.brittensinfonia.com

Wigmore Hall Bach St John Passion conducted by Ralph Woodward with Simon Wall Edward Grint Eleanor Cramer David Clegg Julian Forbes Adam Green and The Parley of Instruments

Saturday, March 20th, 7.30pm St John’s College Chapel, Cambridge Tickets £22/£16/£10 available from Cambridge Corn Exchange Box Office, 01223 357851

36 Wigmore Street London W1U 2BP Director: John Gilhooly The Wigmore Hall Trust Registered Charity No.1024838 Wigmore Hall is a no-smoking venue. No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management. Wigmore Hall is equipped with a ’Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ’T’. In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions. Facilities for Disabled People:

www.fairhavensingers.org.uk

Please contact House Management for full details.

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