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Handel Messiah 1 December 4 December 12 December 14 & 15 December 19 December
Concertgebouw, Brugge, Belgium Vredenburg Leidsche Rijn, Utrecht, The Netherlands Auditorium de Palma de Mallorca, Spain Palau de la Música, Barcelona, Spain Cadogan Hall, London, UK
Richard Egarr director & harpsichord Elizabeth Watts soprano Michael Chance counter-tenor Andrew Tortise tenor Christopher Purves bass Choir of the AAM
Tonight’s performance crowns a spectacular year for the AAM. In the last twelve months, our live concerts have taken us from Macau to Los Angeles; we have celebrated the Purcell, Handel and Haydn anniversaries in concert, on the radio, in the cinema and on CD and DVD; and our recent recordings have won the MIDEM and Edison awards. 2010 promises to be equally exciting. In February, Richard Egarr directs his first AAM performance of a Beethoven piano concerto. March sees Carolyn Sampson and Daniel Taylor joining forces for an intriguing programme contrasting the Pergolesi and Vivaldi settings of the Stabat Mater; and in April the Choir of the AAM gives its first performance of Mozart’s Requiem. Later in the summer we team up with the Choir of King’s College, Cambridge to perform Monteverdi’s Vespers; and in September we launch The Bach Dynasty — a series which will showcase the works of history’s most important musical family.
We have an exciting vision for the years up to and beyond our 40th anniversary in 2013 — but in order to achieve and surpass our ambitions we need your support. If you would like to find out how you can help us as we enrich the lives of music lovers around the world, please turn to page 16. We hope you will enjoy this evening’s concert. It is our pleasure to wish you a very happy Christmas.
Bartalozzi after Cipriani, printed in Charles Burney’s account of the 1784 Commemoration
The annual pilgrimage to hear Handel’s masterpiece is a seasonal highlight for many of us. It is remarkable to think that a work which was initially greeted so coldly by the authorities in Dublin and London should have attained a position of such ubiquity over the ensuing centuries. Messiah’s steady rise to popularity is the subject of Dr Stephen Rose’s fascinating programme note (pages 3–5).
Engraving entitled “Handel composing Sacred Music; the Genius of Harmony crowning him, and a Seraph wafting his name to heaven’ 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 1
© Joanne Harris / Lebrecht Music & Arts
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Monument to George Frideric Handel (1685–1759) at Westminster Abbey sculpted by Louis Francois Roubiliac. To Handel’s left lies an open score of Messiah, with the musical score of ‘I know that my Redeemer liveth’ directly in front of him.
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Stephen Rose traces Messiah’s enduring legacy The circumstances of the premiere of Messiah, in Dublin in April 1742, are well known. Handel was at a crux in his career. Having spent the previous thirty years mainly dedicated to the composition, promotion and performance of Italian-texted operas in London, he was increasingly preoccupied with English-texted oratorios on religious topics. Suffering from dwindling audiences for his music in London, he embarked in November 1741 on a nine-month residence in Dublin. Here he could present his music to new and enthusiastic audiences, as well as contemplate the future direction of his career in England. Handel’s concerts in Dublin mostly included oratorios such as Esther and Alexander’s Feast, but also a performance of his last Italian opera Imeneo, and the premiere of Messiah. In recruiting a choir for these performances, Handel faced considerable opposition from Jonathan Swift, Dean of St Patrick’s Cathedral, who disapproved of the members of his cathedral choir participating in ‘a club of fiddlers’. In the case of Messiah, however, Swift withdrew his opposition because of the charitable aims of the performance, to raise money for a host of worthy causes in Dublin. In the end, the first performances received a warm reception. As The Dublin Journal reported: “Words are wanting to express the exquisite Delight it afforded to the admiring crouded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear.” The enthusiastic reception of Messiah in Dublin must have encouraged Handel to change tack in his London career, and thereafter compose and promote oratorios rather than opera. Yet the first London performance of Messiah (in March 1743, at Covent Garden theatre) was overshadowed by controversy about the performance of religious works in a theatre. As a writer to the Universal Spectator complained: “An Oratorio either is an
Act of Religion, or it is not; if it is, I ask if the Playhouse is a fit Temple to perform it in, or a Company of Players fit Ministers of God’s Word...?” Slowly, however, the oratorio gained respectability, particularly after it was performed at the Foundling Hospital chapel in May 1750. The Foundling Hospital was dedicated to the ‘Maintenance and Education of Exposed and Deserted Young Children’, and was acutely short of funds in the mid-eighteenth century. As with the Dublin premiere of Messiah, the charitable aims of the Foundling Hospital performance dispelled concerns about the work’s combination of a religious text and theatrical arias. During the 1740s, Handel repeatedly modified Messiah to suit the singers and orchestras available at different occasions. Ever the pragmatist, he would transpose arias or create new movements to suit the range or technique of particular vocalists. Tonight’s performance incorporates movements from the 1750 London performances that featured the alto castrato Gaetano Guadagni. Handel adapted two arias for Guadagni’s register, ‘But who may abide’ and ‘Thou art gone up on high’. Interesting though the series of early performances of Messiah might be, it is also fascinating to ask how the oratorio achieved its fame and ubiquity after Handel’s death. Regular performances at the Foundling Hospital continued into the 1760s, directed by Handel’s erstwhile assistant, John Christopher Smith the younger. In addition, the oratorio soon became a favourite in the repertory of provincial music societies as far afield as Derby, Liverpool and Newcastle, as well as in East Anglia and the West Midlands. Messiah was performed not merely in concerts, but in events that called themselves festivals, and which often had charitable purposes and a strong sense of social ritual. For instance, in 1757 Messiah made its first appearance at the Three Choirs’ Festival, the annual event that rotated between the
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cathedrals of Gloucester, Worcester and Hereford. The Festival was partly intended to raise funds for the families of clergy and cathedral singing-men; but it was also a key date in the social calendar of local gentry, and was attended by councillors, members of parliament and other local worthies. With its religious texts and stirring music, Messiah rapidly became a staple part of these important local events. Also significant were the two performances of Messiah at the 1784 commemoration of Handel in Westminster Abbey. Celebrating what was then thought to be the centenary of Handel’s birth, the commemoration showed how completely Messiah had been accepted by the English political establishment. The concerts were attended by the royal family and were financially underwritten by members of both political parties (the Tories and Whigs). Using large performing forces—a total of about 500 performers—the 1784 concerts paved the way for the large-scale performances of Messiah staged in Victorian England. By the middle of the nineteenth century, Messiah retained its popularity with the country’s elite, but was also being sung by the increasing numbers of amateur choirs found in industrial cities. In 1857 an incredible number of performances of the oratorio took place across England, some of which were intended as dry runs for concerts planned for 1859 to celebrate the centenary of the composer’s death. The highlight of the 1857 performances was the Great Handel Festival at the Crystal Palace, London, on 15th June. It included a choir of about 2,000 voices, drawn from amateur musical societies across England, and an orchestra of 300 strings and 90 wind and brass players. The performance was a celebration not simply of Handel’s oratorio, but also of English industrial ingenuity in bringing together such an immense ensemble. Newspaper reviews paid almost as much attention to the special trains organised to bring the performers to London, as to Handel’s
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music or Charles Jennens’s libretto. As The Musical World proudly commented in its review of the concert: “When Englishmen once make up their mind to do a thing—whether it be the repeal of the Corn Laws, the erection of a Menai railway bridge, the laying down of a transatlantic telegraph wire, or any other apparently impracticable task—the chances are a million to one that the scheme will be triumphantly carried out. Like Napoleon, Englishmen do not appear to recognize the right of the word “impossible” to appear in the dictionary of their language.” Yet the huge appeal of Messiah cannot be explained purely in terms of the political and social institutions with which it was associated. Nor can it be attributed solely to the patriotism seen in the 1857 Great Handel Festival. Equally important factors in the success of the oratorio are its text and music. Charles Jennens’s libretto narrates the birth of Christ and his Passion, death and resurrection by quoting and paraphrasing numerous passages scattered throughout the Bible. It is no simple description of Christ’s life, but an account rendered in large part through the allusions of Old Testament prophecies. As such the libretto incorporates such a wide selection of Biblical texts that it resonates with Christians from a variety of persuasions and historical periods. Moreover, unlike operas and many other oratorios, there is no attempt to represent actual characters. There is little dialogue or reported speech; instead, the texts are sung in the third person, avoiding any crude attempt at literal portrayal of Biblical events, and thereby gaining a sense of universality. Handel’s music for Messiah offers a synthesis of styles and textures that has appealed greatly to audiences ever since its premiere. There are relatively few recitatives, but instead numerous sharply-characterised choruses and arias. Handel’s experience as an opera composer is evident in the oratorio’s arias, which each evoke an emotional state via carefully-selected instrumental and vocal gestures. Some arias draw
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on the stereotyped forms of Italian opera, such as the rage aria (‘Why do all the nations so furiously rage together’) or the bravura display piece (‘Rejoice greatly, O daughter of Zion’). As in his operas, Handel sometimes includes pictorial gestures that instantly convey a message to the listeners, such as the angry dotted rhythms on the words ‘He gave his back to the smiters’ in ‘He was despised’. Yet despite this use of operatic elements, the arias also have a tuneful appeal that reflects Handel’s training in both Italian melody and German counterpoint. The smooth and melodious lines of ‘He was despised’ and ‘I know that my redeemer liveth’ partly draw on the lyricism of opera around 1700, but are also supported by a firm sense of harmonic structure that Handel gained from his German upbringing. Messiah is set apart from Handel’s operas by its many choral movements. Italianate opera mainly consisted of arias and recitatives, and rarely made use of a chorus. Handel’s oratorios, by contrast, drew on the English tradition of grand choral movements in church anthems and secular odes.
Some of the choruses are exercises in homophony, such as ‘Since by man came death’ with its contrasts between minor-key Grave sections and major-key Allegro passages. Other choruses show Handel’s skill, again gained from his German upbringing, in writing fugues. But most characteristic are those choruses that juxtapose homophonic and fugal sections. Thus ‘For unto us a child is born’ starts as a fugue— albeit with a transparent texture rarely heard in the works of German composers—and culminates in the chordal interjections on ‘Wonderful Counsellor’. Another powerful juxtaposition of homophony and fugue is found in the Hallelujah Chorus. Such choral writing is one of the main reasons why Messiah has appealed to generations of performers and listeners, from the eighteenth century right up to the present day. Stephen Rose © 2009 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London
AAM Messiah recordings NAXOS 2006 £10
EMI 2009 £ 15
DECCA 1980 £20
Edward Higginbottom Choir of New College, Oxford
Stephen Cleobury Choir of King’s College, Cambridge
Christopher Hogwood Choir of Christ Church Cathedral, Oxford
1751 VERSION
“a very engaging performance, bursting with style and character”
F O U N D L I N G H O S P I TA L V E R S I O N
E A R LY M U S I C TO DAY, S E P T E M B E R 2 0 0 9
B E LG I U M A N D T H E
“beautifully played, brightly sung, sweetly satisfying and unashamedly English in its sentimental roots”
W I N N E R O F T H E E D I S O N AWA R D, G R A N D P R I X D E S D I S CO P H I L E S - R T B C A E C I L I A P R I Z E - B E LG I U M
GRAMOPHONE, DECEMBER 2006
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Messiah HWV56 PART ONE
Chorus And he shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
Symphony Accompagnato (tenor) Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: prepare ye the way of the Lord, make straight in the desert a highway for our God. ISAIAH 40.1-3
Air (tenor) Ev’ry valley shall be exalted, and every mountain and hill made low, the crooked straight, and the rough places plain. ISAIAH 40.4
Chorus And the glory of the Lord shall be revealed. And all flesh shall see it together, for the mouth of the Lord hath spoken it. ISAIAH 40.5
Accompagnato (bass) Thus saith the Lord of Hosts: Yet once, a little while, and I will shake the heavens and the earth, the sea and the dry land, and I will shake all nations, and the desire of all nations shall come. H AG G A I 2 . 6 - 7
The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the Covenant, whom ye delight in; behold, he shall come, saith the Lord of Hosts. MA L AC H I 3 . 1
Air (counter-tenor) But who may abide the day of his coming, and who shall stand when he appeareth? For he is like a refiner’s fire. MA L AC H I 3 . 2
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MA L AC H I 3 . 3
Recitative (counter-tenor) Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel, God with us. I S A I A H 7 . 1 4 ; MAT T H E W 1 . 2 3
Air (counter-tenor) and Chorus O thou that tellest good tidings to Zion, get thee up into the high mountain, O thou that tellest good tidings to Jerusalem, lift up thy voice with strength, lift it up, be not afraid, say unto the cities of Judah: Behold your God! O thou that tellest good tidings to Zion, arise, shine for thy light is come, and the glory of the Lord is risen upon thee. ISAIAH 40.9, 60.1
Accompagnato (bass) For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and his glory shall be seen upon thee. And the gentiles shall come to thy light, and kings to the brightness of thy rising. ISAIAH 60.2-3
Air (bass) The people that walked in darkness have seen a great light. And they that dwell in the land of the shadow of death, upon them hath the light shined. ISAIAH 9.2
Chorus For unto us a Child is born, unto us, a Son is given, and the government shall be upon his shoulder, and his Name shall be called: Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace! ISAIAH 9.6
Pifa Larghetto e mezzo piano
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Recitative (soprano) There were shepherds abiding in the field, keeping watch over their flock by night. Accompagnato (soprano) And lo, the angel of the Lord came upon them and the glory of the Lord shone round about them and they were sore afraid. Recitative (soprano) And the angel said unto them: Fear not; for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David, a Saviour, which is Christ the Lord. Accompagnato (soprano) And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying:
Come unto him, all ye that labour, come unto him that are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him, for he is meek and lowly of heart, and ye shall find rest unto your souls. MAT T H E W 1 1 . 2 8 - 9
Chorus His yoke is easy, his burthen is light. MAT T H E W 1 1 . 3 0
Interval of 20 minutes
PART TWO Chorus Behold, the Lamb of God, that taketh away the sin of the world. JOHN 1.29
LU K E 2 . 8 - 1 3
Chorus Glory to God in the highest, and peace on earth, good will towards men! LU K E 2 . 1 4
Air (soprano) 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
Recitative (counter-tenor) Then shall the eyes of the blind be opened, and the ears of the deaf unstopped; then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
Air (counter-tenor) He was despised and rejected of men, a man of sorrows, and acquainted with grief. ISAIAH 53.3
He gave his back to the smiters, and his cheeks to them that plucked off the hair: he hid not his face from shame and spitting. ISAIAH 50.6
Chorus Surely he hath borne our griefs and carried our sorrows; he was wounded for our transgressions, he was bruised for our iniquities; the chastisement of our peace was upon him. ISAIAH 53.4-5
Chorus And with his stripes we are healed. ISAIAH 53.5
ISAIAH 35.5-6
Duet (counter-tenor / soprano) He shall feed his flock like a shepherd, and he shall gather the lambs with his arm; and carry them in his bosom, and gently lead those that are with young.
Chorus All we like sheep have gone astray, we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all. ISAIAH 53.6
ISAIAH 40-11
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Accompagnato (tenor) All they that see him, laugh him to scorn: they shoot out their lips, and shake their heads, saying:
Recitative (tenor) Unto which of the angels said he at any time: thou art my son, this day have I begotten thee? HEBREWS 1.5
PSALM 22.8
Chorus He trusted in God that he would deliver him: let him deliver him, if he delight in him. PSALM 22.7
Accompagnato (tenor) Thy rebuke hath broken his heart; he is full of heaviness; he looked for some to have pity on him, but there was no man, neither found he any to comfort him. PSALM 69.21
Arioso (tenor) Behold, and see if there be any sorrow like unto his sorrow! L A M E N TAT I O N S 1 . 1 2
Accompagnato (tenor) He was cut off out of the land of the living; for the transgression of thy people was he stricken. ISAIAH 53.8
Air (tenor) But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption. PSALM 16.10
Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Who is this King of Glory? The Lord of Hosts, he is the King of Glory. PSALM 24.7-10
Chorus (chorus) Let all the angels of God worship him. HEBREWS 1.6
Air (counter-tenor) Thou art gone up on high, thou hast led captivity captive, and received gifts for men, yea, even for thine enemies, that the Lord God might dwell among them. PSALM 68.18
Chorus The Lord gave the word: Great was the company of the preachers. PSALM 68.11
Air (soprano) How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. R O MA N S 1 0 . 1 5
Their sound is gone out into all lands, and their words unto the end of the world. R O MA N S 1 0 . 1 8
Air (bass) Why do the nations so furiously rage together, and why do the people imagine a vain thing; the kings of the earth rise up, and the rulers take counsel together against the Lord and against his anointed. PSALM 2.1-2
Chorus Let us break their bonds asunder, and cast away their yokes from us. PSALM 2.3
Recitative (tenor) He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision. PSALM 2.4
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Air (tenor) Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. PSALM 2.9
Chorus Hallelujah, for the Lord God Omnipotent reigneth, Hallelujah! The Kingdom of this world is become the Kingdom of our Lord and of his Christ, and he shall reign for ever and ever, Hallelujah! King of Kings, and Lord of Lords, and he shall reign for ever and ever, Hallelujah! R E V E L AT I O N 1 9 . 6 , 1 1 . 5 , 1 9 . 6
PART THREE
Air (bass) The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality. CO R I N T H I A N S 1 5 . 5 2 - 3
Recitative (counter-tenor) Then shall be brought to pass the saying that is written, Death is swallowed up in victory. 1 CO R I N T H I A N S 1 5 . 5 2 - 3
Duet (counter-tenor / tenor) O death, where is thy sting? O grave, where is thy victory? The sting of death is sin, and the strength of sin is the law. 1 CO R I N T H I A N S 1 5 . 5 5 - 6
Air (soprano) I know that my redeemer liveth, and that he shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God.
Chorus But thanks be to God, who giveth us the victory through our Lord Jesus Christ. 1 CO R I N T H I A N S 1 5 . 5 7
JOB 19.25-6
For now is Christ risen from the dead, the first fruits of them that sleep. 1 CO R I N T H I A N S 1 5 . 2 0
Chorus Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. 1 CO R I N T H I A N S 1 5 . 2 1 - 2
Accompagnato (bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet. 1 CO R I N T H I A N S 1 5 . 5 1 - 2
Air (soprano) If God is for us, who can be against us? Who shall lay anything to the charge of God’s elect? It is God that justifieth. Who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us. R O MA N S 8 . 3 1 , 3 3 - 4
Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by his blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. R E V E L AT I O N 5 . 1 2 - 1 4
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Š Marco Borggreve
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Choir of the AAM
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Richard Egarr director & harpsichord Glyndebourne to the Beijing Concert Hall to Carnegie Hall. On top of a busy schedule of concerts worldwide with the Academy of Ancient Music, he has recently collaborated with the Residentie Orchestra of the Hague, the Brabant Orchestra, the Flemish Radio Orchestra and Choir, the Netherlands Bach Society and the Chamber Orchestra of Europe. Richard has given innumerable solo performances around Europe, Japan and the USA. Recent USA tours have included JS Bach’s Well-Tempered Clavier and Goldberg Variations. As an orchestral soloist he has appeared with the AAM, The English Concert, the Orchestra of the Age of Enlightenment, the Orchestra of the 18th Century, the Dutch Radio Chamber Orchestra and the Netherlands Wind Ensemble.
“It wouldn't be a stretch to call Egarr the 'Bernstein of Early Music” U S A N AT I O N A L P U B L I C R A D I O
Richard Egarr, acclaimed Music Director of the Academy of Ancient Music, is one of the most versatile musicians performing today. He has worked with all types of keyboards, performing repertoire ranging from 15th-century organ music to Berg and Maxwell Davies on modern piano. He is in great demand as a soloist and a chamber musician as well as a conductor. Richard enjoyed his musical training as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College, Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historically-informed performance. As a conductor, Richard has directed repertoire ranging from JS Bach’s St Matthew Passion to John Tavener’s Ikon of Light. Numerous opera, oratorio and orchestral performances have taken him to venues ranging from
In chamber music, Richard forms an “unequalled duo for violin and keyboard” (Gramophone) with violinist Andrew Manze, performing music from the Stylus Phantasticus to Mozart and Schubert. They have toured extensively throughout Europe, North America and the Far East. Richard records exclusively for Harmonia Mundi USA. His solo output includes works by Frescobaldi, Couperin, Purcell, Froberger, Mozart and JS Bach. His award-winning recordings with Manze include sonatas by JS Bach, Biber, Rebel, Pandolfi, Corelli, Handel, Mozart and Schubert. With the Academy of Ancient Music he has recorded JS Bach’s harpsichord concertos, JS Bach’s complete Brandenburg Concertos, and a set of Handel discs including the Concerti Grossi Op.3, the Organ Concertos Op.4 and 7 and the Sonatas Opp.1, 2 and 5.
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Elizabeth Watts soprano
Born in 1979, Elizabeth Watts was a chorister at Norwich Cathedral, and studied archaeology at Sheffield University before attending the Royal College of Music. She won the 2006 Kathleen Ferrier Prize, the 2007 Outstanding Young Artist Award at the Cannes MIDEM Classical Awards and gained international recognition at the 2007 BBC Cardiff Singer of the World Competition, winning the Rosenblatt Recital Song Prize and thereby selection for BBC Radio 3’s New Generation Artists Scheme. The critical success of Elizabeth’s first recording of Schubert lieder has now established her as "one of the brightest new talents" (The Independent) — the recording was Gramophone Magazine’s ‘Editor's Choice’ in February 2009. Her operatic work has included Susanna and Barbarina in Le Nozze di Figaro for Santa Fe Opera and Welsh National Opera, Papagena in Die Zauberflöte, Music and Hope in Orfeo for English National Opera, and the title role in Handel’s Semele. Elizabeth has given recitals throughout the UK with pianists such as Roger Vignoles, Julius Drake, and Gary Matthewman. She has performed in concert with, among others, all the BBC orchestras, The English Concert, the Orquesta de Radio Televisión Española in Madrid and the Royal Liverpool Philharmonic orchestra. This season Elizabeth won universal praise for her portrayal of Mandane in Thomas Arnes’ Artaxerxes at the Royal Opera House, with The Times’ Richard Morrison declaring her “the pick of the bunch”. She will reprise this role at the Buxton Festival in 2010. Other future plans include the role of Marzelline in Beethoven’s Fidelio with the Royal Opera House in Spring 2011.
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Michael Chance counter-tenor
Michael’s vocal training with Rupert Bruce Lockhart followed an English degree at King's College, Cambridge, where he was also a choral scholar. Subsequently, he has performed across the world from Sydney Opera House to Teatro Colon in Buenos Aires, from La Scala in Milan to New York, from Amsterdam to Lisbon. He has performed the title roles in Orfeo, Giasone, Giustino, Rinaldo and Ascanio in Albai, as well as roles in L’incoronazione di Poppea, Semele, Tamerlano, A Midsummer Night’s Dream, Giulio Cesare and Death in Venice. Michael has had opera roles written especially for him by Sir Harrison Birtwistle (Orpheus in The Second Mrs Kong) and Judith Weir (A Military Governor in A Night at the Chinese Opera). Furthermore, his interest in expanding the counter-tenor repertoire has prompted new concert work to be composed for him by, among others, Richard Rodney Bennett, Alexander Goehr, Tan Dun, Anthony Powers, John Tavener and Elvis Costello. Michael’s recordings focus on the baroque repertoire. He received a Grammy award for his singing in Handel's Semele for Deutsche Grammophon with John Nelson and Kathleen Battle. He has recorded frequently with John Eliot Gardiner, including JS Bach’s Passions and Cantatas and B Minor Mass, and has collaborated with Trevor Pinnock, Franz Bruggen, Ton Koopman and Nicholas McGegan. He has recently released a disc of Vivaldi’s solo alto cantatas with Trevor Pinnock and The English Concert. Michael’s television appearances include A Night at the Chinese Opera, Death in Venice, The Fairy Queen, the three Monteverdi operas with Netherlands Opera and Messiah in Dublin with Sir Neville Marriner. He was awarded the CBE in the 2009 New Year’s Honours List.
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Andrew Tortise tenor
Andrew Tortise was a choral scholar at Wells Cathedral before graduating from Trinity College, Cambridge in 2002. Whilst at Cambridge he was active as both tenor soloist and piano accompanist. Andrew currently studies with Ashley Stafford. Andrew made his opera debut in 2004, performing as Apollo in Semele in Paris at the Théâtre des Champs-Élysée. He has since sung under conductors including Rinaldo Alessandrini, William Christie and Marc Minkowski, in operas ranging from Mozart’s Mitridate and Cosi fan Tutte to Monteverdi’s Poppea and Il Ritorno d’Ulisse. He has recently performed the tenor arias in JS Bach’s St Matthew Passion, in a staged version by Katie Mitchell for Glyndebourne Festival Opera; and Robert in Richard Jones’ production of David Sawyer’s new opera Skin Deep for Opera North and Bregenz Festival. On the concert platform, Andrew has performed Messiah with Richard Egarr and the Orchestra of the Age of Enlightenment, and with the National Symphony Orchestra in Washington, and has toured with Sir John Eliot Gardiner singing Purcell and Monteverdi. Other highlights include Mozart’s Requiem with Sir Colin Davis and with the Philharmonia Orchestra, and Squeak in Britten’s Billy Budd with Daniel Harding and the LSO. Recordings include Le Jardin des Voix on Virgin Classics; Rossini’s Petite Messe Solennelle on Hyperion; and Buxtehude’s Membra Jesu Nostri for Netherlands Bach Society on Channel Classics, which was Gramophone magazine Editor’s Choice and was awarded the Diapason d’Or. Future concert engagements include Andrew’s debut with The English Concert and Harry Bicket singing Handel; and recitals at the Aldeburgh Festival with Malcolm Martineau and in Bruges with Richard Egarr.
Christopher Purves bass
Christopher Purves studied English at King’s College, Cambridge, before performing and recording with the highly innovative vocal rock & roll group Harvey and the Wallbangers. Christopher’s musical history does have a more conventional side. He has performed Handel’s Messiah on numerous occasions, and has recorded the work with Harry Christophers and The Sixteen. Other classical and baroque performances include Mozart’s Mass in C Minor at Aix-en-Provence, Monteverdi’s Vespers 1610 with Richard Hickox, JS Bach’s St John Passion with Paul Goodwin in Madrid and B Minor Mass at the Chaise Dieu Festival, and performances of Handel’s Judas Maccabeus, La Resurrezione and Alexander’s Feast. Christopher also revels in more recent work, highlights of which include: Stravinsky’s Les Noces with Philippe Herreweghe in Brussels, John Tavener’s Apocalypse at the Proms, Honneger’s Jeanne d’Arc au Bûcher with the RLPO under Libor Pesek, Poulenc’s Les Mamelles de Tirésias with the London Sinfonietta under Sir Simon Rattle, and Britten’s War Requiem. In opera, Christopher has established himself as a leading exponent of canonical work whilst simultaneously featuring in new and groundbreaking compositions and performances. He performed in a controversial production of JS Bach’s St Matthew Passion at the Glyndebourne Festival, had the role of Executioner in James Macmillan’s Ines de Castro written for him, and has sung in Macmillan’s Parthenogenesis. He has also given a critically-acclaimed portrayal of the title role in Wozzeck for Welsh National Opera, and of Sharpless in Anthony Minghella’s new production of Madame Butterfly for English National Opera. Classical and baroque operatic engagements include Figaro and the Count in Le Nozze di Figaro; Papageno in Die Zauberflöte and Faninal in Der Rosenkavalier; Zebul in Jephtha, Germont in La Traviata, and the title role in Don Giovanni.
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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 on period instruments. Since it was founded by Christopher Hogwood in 1973, the AAM has reached music lovers worldwide with over 250 recordings and live performances on every continent except Antarctica. The AAM specialises in performing on instruments and in styles dating from the time when the music was composed. Under Hogwood’s leadership 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. 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 and released CDs which have already won Gramophone, MIDEM and Edison awards. In 2007, Egarr founded the Choir of the AAM to complement the orchestra. The choir has already established itself as a major force, earning critical acclaim for its performances worldwide — including the title of "Chorus of the Year" in the prestigious Classical Elites Beijing awards, for its performance of Handel's Messiah at the Beijing Music Festival in October 2008. Concerts with Egarr in 2009–10 see the AAM performing music from Castello and Monteverdi to Finzi and 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.
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The vitality of the AAM’s music making continues to be fostered by a range of guest directors. This season the orchestra works with Pavlo Beznosiuk, who directs a programme contrasting the Pergolesi and Vivaldi settings of the Stabat Mater; violinist Giuliano Carmignola, who directs early masterpieces by Mendelssohn and Schubert; Stephen Cleobury, who conducts a major European tour of Monteverdi’s Vespers will 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. “No praise can be too high” T H E I N D E P E N D E N T 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. 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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Academy of Ancient Music Violin 1 Rebecca Livermore* Persephone Gibbs Liz MacCarthy Joanna Lawrence Stephen Jones Violin 2 William Thorp Pauline Smith Marianna Sz端cs Lara James Viola Jane Rogers Trevor Jones *
Bassoon Alastair Mitchell Trumpet David Blackadder Phillip Bainbridge Timpani Ben Hoffnung Harpsichord Richard Egarr Organ Alastair Ross
Alto Jeanette Ager Jacqueline Connell Frances Jellard Kate Mapp Susanna Spicer Tenor Julian Forbes James Geer Edmund Hastings Sean Kerr Ben Thapa
Cello Catherine Jones* Cassandra Luckhardt* Double Bass Judith Evans
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
Soprano Charmian Bedford Donna Deam Alison Hill Leah Jackson Katie Thomas Anna Whyte
*Sponsored chairs Leader Mr and Mrs George Magan Principal cello Dr Christopher and Lady Juliet Tadgell Principal flute Christopher and Phillida Purvis Sub-principal viola Sir Nicholas and Lady Goodison Sub-principal cello Newby Trust Ltd
Bass Neil Bellingham Richard Latham Julian Perkins Charles Pott Michael Wallace
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 Dr Christopher Tadgell Madeleine Tattersall Sarah Miles Williams
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 conductor, 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 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) Sir Nicholas and Lady Goodison * Mr and Mrs George Magan Christopher and Phillida Purvis * Mrs Julia Rosier Dr Christopher and Lady Juliet Tadgell and other anonymous Hogwood Circle members
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
Principal Patrons (Donations £5,000 – £9,999 per annum) Christopher Hogwood CBE * Newby Trust Ltd * and other anonymous Principal Patrons
Benefactors (Donations £500 – £999) Dr Aileen Adams CBE Bill and Sue Blyth 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
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 *
Donors (Donations £250 – £499) Maureen Acland OBE * Angela and Roderick Ashby-Johnson
Elisabeth and Bob Boas * 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 ...........................................................................................................................................
email ...............................................................................................................................................
...............................................................................................................................................(date)
Membership level
Donations by standing order
I would like to join the Society at the following level:
Please complete this section if you would like to make your donation to the Academy of Ancient Music by standing order.
The Hogwood Circle £10,000 or more per annum £ ............................................. (amount) Principal Patron
£5,000 – £9,999 per annum
£ ............................................. (amount) Patron
£2,500 – £4,999 per annum
£ ............................................. (amount) Principal Benefactor
£1,000 – £2,499 per annum
£ ............................................. (amount) Benefactor
£500 – £999 per annum
£ ............................................. (amount) Donor
£250 – £499 per annum
£ ............................................. (amount) Please indicate below how you would like to be acknowledged in AAM programmes. If you would prefer to remain anonymous, please write ‘anonymous’. ............................................................................................................................................................
Bank Name ............................................................................................................................... Address of Bank ................................................................................................................... ............................................................................................................................................................ Account No. ................................................................ Sort Code ................... - ................... - ................... Please pay: Academy of Ancient Music, Lloyds TSB, Gonville Place Branch, Cambridge Sort Code 30-13-55, Account No. 2768172 the sum of £ .............................. (Print amount .......................................................................................................................) per month
Payment details
quarter
I would like to make my donation by
year
CAF cheque (please enclose a CAF cheque made payable to ‘AAM’) Cheque (please enclose a cheque made payable to ‘AAM’) Standing Order (please complete the Standing Order form below) Shares (please contact AAM office)
starting on ................................................................. (date) Signed .......................................................................................................................................... ...............................................................................................................................................(date) Name.................................................................................................................... (full name) Address ..................................................................................................................................... ............................................................................................................................................................ Please return your completed form to Simon Fairclough, Development Manager, Academy of Ancient Music, 32 Newnham Road, Cambridge, CB3 9EY
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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. Booking is now open for the concert in February. Tickets for the concerts in April and June go on sale on 2 January.
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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
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 20 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