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The Bach Dynasty: JS Bach’s sons Music by Carl Philipp Emanuel, Johann Christian, Johann Christoph Friedrich and Wilhelm Friedemann Bach Steven Isserlis cello Richard Egarr director & harpsichord 23 January 24 January 26 January
Herkulessaal der Residenz, Munich, Germany West Road Concert Hall, Cambridge, UK Wigmore Hall, London, UK
Welcome, and a very happy new year! We’re very glad to be beginning 2011 in the company of the eclectically diverse and deeply influential sons of JS Bach, and we’re delighted to be welcoming Steven Isserlis as tonight’s soloist. Steven’s glittering career has been characterised as much by his musical insight as his technical virtuosity, and you can read some of his thoughts on tonight’s programme on page 7.
These performances would not have been possible without the significant generosity of several benefactors. We extend grateful thanks to Cambridge University Press for sponsoring the Cambridge performance; and, in London, to Lady Alexander of Weedon and Mark West for supporting the appearances of Steven Isserlis and Richard Egarr respectively.
AAM pre-concert talks Want to find out more about tonight’s composers and their music from the musicians themselves? Then you should come to the AAM’s free pre-concert talks. They happen shortly before most of our concerts in Cambridge and London, giving informal, half-hour introductions to the evening’s music. For more details, pick up a season brochure tonight or visit www.aam.co.uk. If you’ve missed a pre-concert talk or would like to listen again, you can now download them as podcasts from iTunes — just search ‘Academy of Ancient Music pre-concert talk’
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Programme JOHANN CHRISTIAN BACH (1735–82) Concerto in D major for keyboard Op.13 No.2 Allegro con spirito Andante Allegro non tanto CARL PHILIPP EMANUEL BACH (1714–88) Concerto in A major for cello Wq.172 Allegro Largo Allegro assai
Interval of 20 minutes Please check that your mobile phone is switched off, especially if you used it during the interval.
JOHANN CHRISTOPH FRIEDRICH BACH (1732–95) Sonata in G major for cello Wf X:1 Allegro Larghetto Rondo allegretto WILHELM FRIEDEMANN BACH (1710–84) Concerto in A minor for keyboard F45 Allegro Larghetto Allegro ma non troppo CARL PHILIPP EMANUEL BACH Symphony in G major for strings Wq.182 No.1 Allegro di molto Poco adagio 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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Stephen Rose introduces four extraordinary siblings Johann Sebastian Bach was justifiably proud of the musical talent of his offspring. In 1731 he told an old school friend how his children “are all born musicians”, and boasted how “I can already form an ensemble both vocaliter and instrumentaliter within my family, particularly as my present wife sings a good, clear soprano, and my eldest daughter joins in not badly”. In his sons, Sebastian hoped to see the Bach family’s reputation as musicians perpetuated to the next generation. Indeed, four of Sebastian’s sons won particular recognition as composers: Wilhelm Friedemann Bach (1710–84), Carl Philipp Emanuel Bach (1714–88), Johann Christoph Friedrich Bach (1732–1795) and Johann Christian Bach (1735–1782). Music by all four of these Bachs features in tonight’s concert. The careers and compositions of Johann Sebastian Bach’s sons exemplify how musical life was changing in the second half of the eighteenth century. During this period, the music business was becoming more internationalised, with increasing amounts of travel undertaken by instrumentalists and singers. Whereas almost all of Bach’s predecessors had lived within the confines of the central German province of Thuringia, his sons extended the family’s activities to northern Germany and beyond. Johann Christoph Friedrich worked at the Bückeburg court, near Hannover; Carl Philipp Emanuel worked in Berlin and Hamburg; Johann Christian spent six years in Italy, before spending the rest of his life in London. A map showing the extent of their travels can be found on page 8 of this programme. Musicians were also moving away from the careers in sacred music that had been the norm in earlier generations. Johann Christian Bach adopted a purely secular career in London, writing music for the opera-houses and pleasure-gardens. Even Carl Philipp Emanuel, who from 1768 was director of church music in
Hamburg, focussed his energies there not on sacred performances but on running concerts and publishing his secular keyboard sonatas. Emanuel even abandoned the organ-playing that had been a hallmark of earlier members of his family: he refused to play the organ in front of the English visitor Charles Burney, claiming to have “lost the use of the pedals, which are thought so essential throughout Germany, that no one can pass for a player worth hearing, who is unable to use them”. Yet by forsaking church music for the life of a freelance musician, some of Bach’s sons found themselves constantly struggling with financial insecurity. Most previous members of the Bach family had enjoyed municipal or church posts for life, and could also look to younger members of their family to help them in their old age. By contrast, both Wilhelm Friedemann and Johann Christian Bach ended their days in penury, the former trying to eke out his existence as a freelance organist in Berlin, the latter running up thousands of pounds of debts in London after his operas fell out of fashion. In their compositional style, too, Bach’s sons moved away from the model of their father. All of them had received a rigorous contrapuntal training from Sebastian, but in their own compositions they generally favoured the melody-dominated style of the mid-eighteenth century. Most of Bach’s sons also abandoned the early eighteenth-century compositional norm where one movement evoked a single mood, often with a single motif permeating the whole texture; instead, they devised pieces rich in internal contrasts, where the different themes were held together by a pattern of balanced phrases. Thus each of Bach’s sons found his own way to move with musical fashion and forge a distinctive compositional presence, thereby escaping the huge shadow cast by Sebastian’s towering output.
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Carl Philipp Emanuel Bach (1714–88)
Johann Christoph Friedrich Bach (1732–95) by Georg David Matthieu (1737–78)
Johann Christian Bach (1735–82) by Thomas Gainsborough (1727–88)
© National Portrait Gallery, London
Wilhelm Friedemann Bach (1710–84) by Wilhelm Weitsch (fl.1760)
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As Johann Sebastian’s first-born son, Wilhelm Friedemann Bach undoubtedly suffered from the pressure of paternal expectations. Sebastian lavished on Friedemann an intensive musical education, assembling for this purpose the Clavier-Büchlein vor W. F. Bach (1720–26), and later took a keen interest in his son’s career, even writing for him the letter of application for his first job, as organist at Dresden’s Sophienkirche. Friedemann’s early compositions were also heavily shaped by his father’s example, as with the Concerto in A minor for keyboard written around 1735. The harmonic intensity of this concerto is, if anything, more extreme than Sebastian’s music. The first movement is always pushing towards the dominant chord, using colourful harmonies such as diminished sevenths and Neapolitan sixths to delay arrival there. The keyboard part is one of the most virtuosic ever written in the eighteenth century, with long flurries of toccata-like writing, occasionally interrupted by dramatic silences. Only in the inner movement does the fiery mood abate briefly, with a cantabile theme in F major replacing the frenetic figuration. Of all Sebastian’s sons, Carl Philipp Emanuel Bach was probably the one who gained the widest recognition. Charles Burney saluted him as “the greatest writer for the Harpsichord now alive, or that has ever existed as far as I am able to judge”. Emanuel was also commercially astute, constantly reworking his music to take advantage of new opportunities or markets. Emanuel’s Concerto in A major for cello is a case in point, for it also exists in versions for harpsichord and flute. In each version, the orchestral parts are virtually the same, and Emanuel adeptly adjusts the solo figuration to suit the different instruments. Written around 1753, the concerto lacks the frenetic intensity of Friedemann’s music, instead gaining poise through its clearly articulated phrases. The slow movement achieves a remarkable emotional intensity via its sighing slurred figures, sudden
pianissimos, and creeping chromaticism. Carl Philipp Emanuel’s Symphony in G major for strings is a more challenging work for the listener. It is one of a set of six string symphonies written for Baron van Swieten, who was Austrian ambassador to the Berlin court from 1770 and a keen subscriber to Emanuel’s publications. Reportedly van Swieten said that Bach should write the symphonies without any consideration for the difficulties that the pieces might pose for performers; and the Berlin musician Johann Friedrich Reichardt later praised the pieces for their “original and bold flow of ideas” and the “great diversity and novelty in their forms and surprise effects”. The symphony is in three movements, each elided together in a way that might disorientate casual listeners. The opening Allegro di molto alternates rapid figuration with unexpected chords or pianissimo passages; it ends with what sounds like a repeat of the main theme, but after three bars the music modulates to the dominant of E major, to lead into the following movement. The Adagio has a theme that opens outwards like a fan, yet the spiccato texture and dotted rhythms give a feel of agitation. Again the movement ends inconclusively, on a chord that resolves to the finale. In this Presto, the rollicking triplets repeatedly collide with unexpected diminished chords. Such aurally challenging music would have exhilarated a musical connoisseur such as van Swieten. In contrast to Emanuel’s life at the politically significant Berlin court and in the busy merchant city of Hamburg, Johann Christoph Friedrich Bach spent all his career at one of Germany’s smaller courts, the Bückeburg court of the counts of Schaumburg-Lippe. Yet though the Bückeburg court was small, it had major cultural ambitions. Friedrich’s time there coincided with such luminaries as the writer Johann Gottfried Herder and the philosopher Thomas Abbt. Friedrich favoured a lighter and more melodic style than his older brothers, as
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can be heard in his Sonata in G major for cello. Whereas Sebastian’s cello works try to evoke polyphony from the unaccompanied instrument, Friedrich’s two-movement sonata allows the cellist to project cantabile or virtuosic themes themes above the continuo. The Sonata closes with a Rondo, in which a pleasing melody (sometimes heard in a decorated version) alternates with episodes of more vigorous figuration. Of all Sebastian’s sons, the life of Johann Christian Bach diverged most dramatically from the conservative central German background of his family. Johann Christian was the only Bach to write operas. He converted to Catholicism, something that would have been anathema to his staunchly Lutheran forebears. And he enjoyed to the full the secular pleasures of London life, including the masked balls, aristocratic banquets, and a luxurious wardrobe. As Johann Christian reportedly said (when comparing himself to Emanuel): “My brother lives to compose and I compose to live; he works for others, I work for myself.” Johann Christian’s Concerto in D major for keyboard Op.13 No.2 shows how he had developed a musical style that communicated effectively with his London audiences. The first movement has an extremely comprehensible harmonic structure, with a clear modulation to the key of the dominant for a secondary theme. With such lucid harmonic progressions, all listeners will realise when Johann Christian steps in an unexpected harmonic direction (as with the B minor chords in the first movement). The slow movement is a set of variations upon the song ‘Saw ye my father’, one of the repertory of ‘Scotch songs’ that were so popular in London in the late eighteenth century. Here the keyboard takes the lead, stating the theme, and initiating the variations that adorn the tune with such devices as trills, triplets and arpeggios. The finale sees a more equal
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relationship between keyboard and orchestra, with the swaggering syncopation and dotted rhythms briefly interrupted by a darker episode in D minor. In such concertos, Johann Christian showcased a light and melodious style of writing that immensely impressed the young Wolfgang Amadeus Mozart. Stephen Rose © 2011 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London. You can read more about him on page 13 of this programme.
St Pancras Church, London, where Johann Christian Bach was buried. The church stands at the corner of Euston Road and Upper Woburn Place.
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Steven Isserlis on... ...original instruments, tonight’s programme, and being a Bach... What’s special about playing on original instruments?
“
I’ve always said that playing on ‘authentic’ instruments is like acting Shakespeare with what we think is original pronunciation, and it will make some things clearer and simpler, but in the end the message is the same. What I love about the classical instruments is that it’s quite hard to make a horrible sound; the bow itself wants to dance, it doesn’t want to make an ugly, pressed sound.
”
What were your first impressions of the JCF Bach Sonata you’ll be playing?
“
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What’s striking about the CPE Bach Concerto?
“
JCF Bach was known as the ‘amiable Bach’, and one can hear that in his music. It’s not a masterpiece, but there’s something very likeable about it. It’s friendly music — it has its own quiet charm, and it’s certainly worth hearing. I remember liking it the first time I read it through. And it’s also very interesting to see CPE Bach in context, and the other Bach sons, because they’re all so different from each other. Which I suppose says something for JS as a father — that his sons could be such individuals and he didn’t squash them. Maybe he was a good father. He had a lot of practice as a father, anyway!
”
And what’s it like being accompanied by the harpsichord?
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being heard. Of course Richard [Egarr] is a very exciting harpsichordist. I remember once saying to him “I wish this passage could have a crescendo, but of course you can’t do that on a harpsichord”. He looked at me and swore — in language which I won’t repeat — and he did a huge crescendo; I still don’t know quite how he did it. He refuses to accept any limitations on the harpsichord, which is thrilling.
One plays very differently when playing with harpsichord than one does when playing with the modern piano; one can play much more gently. I love it, because I can just let the cello speak for itself and I don’t have to worry about
The CPE is a really very special piece. It’s real sturm und drang. Obviously the Haydn concertos are the great classical cello concertos, but this is from a different world. This music is full of passion; CPE Bach was very insistent that music must express emotions, and this concerto certainly does that. It’s a very exciting piece, with a gorgeous slow movement, like an aria — it’s a real gem. Everyone talks about the slow movement when they hear it, but the outer movements are also completely unique. It’s a wonderful piece, really wonderful.
”
You come from a particularly musical family; can you imagine what it must have been like to be one of the Bachs?
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It must have been just amazing — music was like a language that the whole family spoke; they would have parties of around 80 (I think) family members, and would all improvise songs together. This was sort of true for me too, on a small scale, because by the time I remember anything my sisters were already playing music, so music just became a language we all talked. But the Bach family was a phenomenon which will probably never be repeated — a miracle of musical nature, but great for us that it existed!
”
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The travels of JS Bach’s sons Unlike their forebears, the four Bach brothers were well-travelled, living and working across a substantial part of Germany and making forays to Italy and England Hamburg
Berlin
Bückeburg Braunschweig London Halle
Leipzig Dresden
Weimar Frankfurt Darmstadt
JCF Bach CPE Bach JC Bach WF Bach Milan
Bologna
WF Bach
CPE Bach
JCF Bach
JC Bach
1710 Born in Weimar 1723 Entered Thomasschule in Leipzig 1729 Entered Leipzig University, studying law 1733 Appointed organist at Sophienkirche in Dresden 1746 Appointed organist at Liebfrauenkirche in Halle 1762 Appointed Kapellmeister in Darmstadt (but never took up the post) 1771 Lived and looked for work in Braunschweig 1774 Moved to Berlin, fell into disgrace 1778 Visited JC Bach in London 1784 Died in Berlin
1714 Born in Weimar 1724 Entered Thomasschule in Leipzig 1731 Entered Leipzig University, studying law 1735 Entered Frankfurt University, studying law 1738 Entered the service of Frederick the Great in Berlin 1768 Succeeded GP Telemann (his godfather) as Kapellmeister in Hamburg 1788 Died in Hamburg
1732 Born in Leipzig 1750 Appointed harpsichordist by Count Wilhelm von Schaumburg-Lippe in Bückeburg 1759 Appointed Konzertmeister in Bückeburg 1778 Visited JC Bach in London 1795 Died in Bückeburg WWII Much of his work destroyed in Berlin
1735 Born in Leipzig 1756 Travelled to and studied in Bologna 1760 Appointed organist at Milan Cathedral 1762 Moved to London 1782 Died in London
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JS Bach’s sons through the eyes of their contemporaries Johann Friedrich Reichardt 1752–1814 German composer, writer and music critic
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Johann Christian Bach was a very light-hearted and jovial person. When one of his more serious friends once reproached him for his carefree ways, both as an artist and as a man, and held up to him the example of his elder brother in Berlin [Carl Philipp], who wrote large works and knew very well how to hold on to the money he earned, Bach said “Oh well, my brother lives to compose and I compose to live; he works for others, I work for myself”.
Written in Berlin in 1796
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Carl Friedrich Cramer 1752–1807 German theologian and music critic
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The old Sebastian had three sons. He was satisfied only with Wilhelm Friedemann, the great organist. Even of CPE he said (unjustly!) “ ‘Tis Berlin Blue! It fades easily!” He applied to the London Chrétien Bach [Johann Christian] always the verse by Gellert: “The boy progresses surely by his stupidity!” Actually this one of the three Bachs made the greatest progress. I have these statements direct from the mouth of Friedemann.
”
Written in Kiel in 1792
Jacob van Stählin 1709–1785 German-born diarist, music critic and historian of Russian art
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I am charmed by the memory of the famous Emanuel Bach, our mutual friendship, and almost daily conversations in Leipzig, where I occasionally played a solo or concert at the Collegium Musicum created by his father. Of the three Bach sons in my conversations, the eldest [Wilhelm Friedemann], who recently died in Dresden [sic.], was the elegant one, and a bit affected. The second (yours in Hamburg), natural, profound, pensive, and funny in company, was named Carl and referred to by his brothers as ‘the black Bach’; and the third, ‘the windy one’ [der Windige —Johann Gottfried] (who died a short while ago in London), often played duets with me on the traverso.
”
Written in St Petersburg in 1784, in a letter to van Stählin’s son
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Steven Isserlis cello Ton Koopman, the Philharmonia Orchestra and András Schiff, and the Vienna Symphony and Thomas Dausgaard; the world premiere of the surviving fragment of Vaughan Williams’s Cello Concerto in a completion by David Matthews at the BBC Proms; and recitals in London and Warsaw with Stephen Hough. In addition he is Artist in Residence at Wigmore Hall. Writing and playing for children is another major interest, and Steven’s books about the lives of the great composers — Why Beethoven Threw the Stew and its sequel, Why Handel Waggled his Wig — are published by Faber and Faber and have been translated into many languages. With Stephen Hough he has recorded a CD entitled Children’s Cello, and with composer Anne Dudley he has written three musical stories for children. “And here was Isserlis, for whom emotional intimacy and delicacy of touch take first place every time” THE TIMES FEBRUARY 2010
Acclaimed worldwide for his technique and musicianship, cellist Steven Isserlis enjoys a distinguished career as a soloist, chamber musician and educator. He takes a strong interest in authentic performance and has played with many of the foremost period-instrument orchestras; he is also a keen exponent of contemporary music, and has worked with many composers on new commissions since giving the world premiere of John Tavener’s The Protecting Veil at the BBC Proms in 1989. Highlights of the 2010–11 season include appearances with The Cleveland Orchestra and
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Steven’s award-winning discography reflects his diverse interests in repertoire. His recording of JS Bach’s solo Cello Suites for Hyperion met with the highest critical acclaim, and was Gramophone Magazine’s Instrumental Disc of the Year in 2007 and Critic’s Choice at the Classical Brits. Other recent releases include an all-Schumann disc for Hyperion with Denes Várjon, and a recording of works for cello and chamber orchestra entitled reVisions. The recipient of many honours, Steven Isserlis was awarded a CBE in 1998 in recognition of his services to music, and in 2000 he received the Schumann Prize of the City of Zwickau. This evening Steven performs on the Feuermann Stradivarius of 1730, kindly loaned to him by The Nippon Music Foundation of Japan.
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Richard Egarr director & harpsichord Baroque; and he has performed as a soloist with The English Concert, the Orchestra of the Age of Enlightenment and the Orchestra of the 18th Century. In 2006 Richard established the Choir of the AAM, and operas and oratorios lie at the heart of his repertoire more generally. He regularly appears at the Concertgebouw in Amsterdam with, among others, the Netherlands Opera Company; and in summer 2010 he conducted Handel’s Saul with the Britten–Pears Baroque Orchestra at Snape Maltings.
Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his musicmaking. A brilliant harpsichordist and equally skilled on the organ, fortepiano and modern piano, Richard’s many roles include directing from the keyboard, playing concertos, giving solo recitals and playing chamber music. He is also an accomplished conductor, and he relishes the chance to talk about music at every opportunity. Richard trained 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 historical performance. Since being appointed Music Director of the AAM in 2006, Richard has directed the orchestra in concerts around the world and in a number of acclaimed recordings. Richard is also involved with a number of other period ensembles: this season he appears in America with the Handel and Haydn Society, Tafelmusik and Portland
Richard is also increasingly sought after by nonperiod orchestras. This season he makes his debuts as conductor with the Rotterdam Philharmonic Orchestra, the BBC National Orchestra of Wales, the Swedish Chamber Orchestra and the Dallas Symphony Orchestra; and he appears annually with the Scottish Chamber Orchestra. “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 has performed as a soloist throughout Europe, Japan and the USA, and his solo recording output comprises works by Frescobaldi, Orlando Gibbons, Couperin, Purcell, Froberger, Mozart and JS Bach. For many years he formed an “unequalled duo for violin and keyboard” (Gramophone) with violinist Andrew Manze, which resulted in acclaimed concerts and award-winning recordings of music from Stylus Phantasticus to Mozart and Schubert. Richard has directed the AAM in recordings by JS Bach, including the Brandenburg Concertos; and in a complete cycle of Handel’s Opp.1-7 instrumental music which has won the MIDEM, Edison and Gramophone Awards. Richard lives in Amsterdam with his wife and daughter.
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Academy of Ancient Music Back in 1973, most orchestras played old music in a modern style. Centuries of change had eroded the sound-worlds known to Bach, Handel, Haydn and Mozart: the instruments were different; the pitch was different; the number of players was different; the very essence and spirit of performances was different. But change was in the air. Wouldn’t it be wonderful, people asked, if we could turn the clock back; if we could find out more about composers’ original intentions and get closer to the style in which music was originally performed? This was the spirit in which Christopher Hogwood founded the AAM. It was revolutionary. Centuries of convention were cut away and baroque and classical masterworks were heard anew.
succeeded Hogwood in 2006. In his first four years as Music Director his recordings with the orchestra have won the Edison, Gramophone and MIDEM Awards; and he has directed hundreds of performances across four continents. The orchestra continues to work with a roster of guest directors including Pavlo Beznosiuk, Giuliano Carmignola, Paul Goodwin, Stephen Layton and Masaaki Suzuki, ensuring that new ideas and approaches continually inspire the group. In 2009 the AAM made history with the world’s first-ever live choral “cinecast”: its performance of Handel’s Messiah was beamed in real time from the King’s College Chapel, Cambridge to tens of thousands of people in over 250 cities around the globe. “A band stuffed with the superstars of the historically-informed style of playing” THE HERALD OCTOBER 2010
The stringed instruments in Hogwood’s new orchestra had strings made of animal gut, not steel. The trumpets had no valves. The violins and violas didn’t have chin-rests, and the cellists gripped their instruments between their legs rather than resting them on the floor. It wasn’t just the instruments or the sound of the music which changed, though; it was how it felt. AAM performances were full of energy and passion and joy. From these beginnings, one of the world’s great orchestras was born. Over the next three decades the AAM’s fame spread to every corner of the globe as it built up a celebrated discography of well over 250 CDs — Brit- and Grammy-award-winning recordings of the great baroque masterworks; opera releases starring Cecilia Bartoli, Dame Emma Kirkby and Dame Joan Sutherland; pioneering cycles of the Mozart and Beethoven symphonies. It performed live on every continent except Antarctica, inspiring music lovers worldwide with the passion and the power of its music-making. Richard Egarr — a leading light in the next generation of early music specialists —
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Today, the AAM’s concert series in London and Cambridge lies at the heart of its work. This season’s programme is based around The Bach Dynasty — a major concert series exploring the music of JS Bach and his many composer-relatives. Other highlights include Mozart’s early opera La Finta Giardiniera at the Barbican, and an intriguing programme showcasing the little-known baroque and classical music of South America. The orchestra will collaborate with the likes of Bernard Labadie, acclaimed director of Les Violons du Roy, singers James Gilchrist, Rosemary Joshua, Andrew Kennedy and Elizabeth Watts, and the Choir of King’s College, Cambridge. The AAM’s international touring schedule in 2010-11 is as wide-ranging as it has ever been. Among this year’s highlights are performances of JS Bach’s Brandenburg Concertos and Haydn’s The Creation at the Shanghai Concert Hall and in Perth, Australia; concerts with the star Korean soprano Sumi Jo at the National Centre for the Performing Arts in Beijing and around Singapore, South Korea and Taiwan; and performances in leading European venues including the Concertgebouw in Amsterdam and the Théatre des Champs-Elysées in Paris.
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Academy of Ancient Music *Sponsored chairs
Cello Robin Michael* Imogen Seth-Smith*
Violin I Pavlo Beznosiuk* Rebecca Livermore Bojan Čičić Pierre Joubert
Leader Lord and Lady Magan
Double bass Judith Evans
Violin II Rodolfo Richter William Thorp Persephone Gibbs Liz MacCarthy
Principal cello Dr Christopher and Lady Juliet Tadgell
Harpsichord Richard Egarr
Principal flute Christopher and Phillida Purvis Sub-principal viola Sir Nicholas and Lady Goodison
Viola Jane Rogers Rachel Byrt*
Sub-principal cello Newby Trust Ltd
In profile
Stephen Rose musicologist
“
I first got involved with the AAM in 2000, when I was doing a PhD in Music at Cambridge, and since 2003 I’ve written programme notes for most of the AAM’s UK concerts. As a lecturer in the University of London I teach and research the history of baroque music, and writing programme notes allows me to share my specialist knowledge with a wider audience. In the current season, the concert of South American music introduced me to pieces I’d never heard before, whereas The Bach Dynasty series has showcased music that is central to my research. Look out for my book, The Musician in Literature in the Age of Bach, to be published this March by Cambridge University Press.
”
You can read Stephen’s programme notes on page 3.
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
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 Michael Garvey Orchestra Manager Andrew Moore Head of External Relations Simon Fairclough
External Relations Manager, Communications Toby Chadd External Relations Manager, Development Anne Leone Administration Manager Samantha Fryer Finance Manager Elaine Hendrie Arts Management Trainee Sarah Reid
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Supporting the Academy of Ancient Music We live in a world of worthy causes. Why support an orchestra like the AAM?
to support from generous individuals which enabled them to realise their potential.
For centuries, people have understood the importance of culture. The arts enrich society and change lives. They help to make life worth living.
Over the centuries, successive generations of philanthropists created and sustained the orchestras and choirs which kept this music alive. It is their legacy which we inherit today.
For centuries, people have also understood that culture is costly, and that it can only thrive if those who are in a position to sustain it do so generously. The music which the AAM performs only ever came into being because of a culture of patronage: Monteverdi was supported for much of his career by the Duke of Mantua; JS Bach composed many of his instrumental masterpieces while employed at the courts of Weimar and Köthen; and Haydn’s 104 symphonies may never have been written had he not enjoyed the backing of the Esterházy family. The music of these great composers — and of many others besides — stands as testament not only to individual genius, but also
For a time, it seemed that the future of the arts in Britain would be taken care of by the state; that the need for support from generous individuals was a thing of the past. For better or worse, those days are long gone. The Academy of Ancient Music does not receive any regular public funding, and income from ticket sales will fall short of covering the full cost of sustaining the orchestra by at least £400,000 this year. The future of ancient music lies in the hands of a new generation of philanthropists.
The AAM Society The AAM Society is the orchestra’s closest group of regular supporters. Membership ranges from £250–£20,000+ per annum — or from £100 per annum for Young Supporters — given either as a lump sum or by regular donation. Members’ 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. They have a chance to become a part of orchestral life behind the scenes by sitting in on rehearsals for concerts and recordings. At least once each year they have the opportunity to accompany the orchestra on an international tour — recently, for example, a large group travelled with the AAM and Choir of King’s College, Cambridge on a tour of the Netherlands. 14 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
Those giving over £1,000 per year receive invitations to regular recitals and other special events held at the homes of fellow members. Those giving over £5,000 per year have the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of Benefactors, a forum which will meet annually to receive an update on the orchestra’s performance from the Chief Executive and Chairman. Tax efficient giving Because the AAM is a charity, gifts from UK taxpayers can be made in a tax-efficient manner under the Gift Aid scheme. The eventual cost of a gift to the donor can be as little as half of its value after Gift Aid to the AAM. The orchestra can claim back from HMRC the basic rate tax already paid by the donor, and higher and additional rate taxpayers can claim tax relief on the difference between the basic rate and the applicable rate of income tax.
Programme JAN 11_AAM programme Dec 2010 17/01/2011 13:27 Page 15
Membership level
Minimum donation
Value of donation to AAM after Gift Aid
Final cost to additional rate (50%) taxpayer after tax relief
Final cost to higher rate (40%) taxpayer after tax relief
Equivalent monthly donation
Young Supporter (under 40 only) Donor Benefactor Principal Benefactor Patron Principal Patron The Hogwood Circle The Chairman’s Circle
£100
£125
£62.50
£75
£8.33
£250 £500 £1,000 £2,500 £5,000 £10,000 £20,000
£312.50 £625 £1,250 £3,125 £6,250 £12,500 £25,000
£156.25 £312.50 £625 £1,562.50 £3,125 £6,250 £12,500
£187.50 £375 £750 £1,875 £3,750 £7,500 £15,000
£20.83 £41.67 £83.33 £208.33 £416.67 £833.33 £1,666.67
Gifts of shares Donors are encouraged to consider covering the cost of their AAM Society membership by making gifts of shares. Generous tax incentives are available to individuals who support charities in this manner. Donors are able to claim income tax relief on the value of shares and securities donated, and are also exempt from any tax on capital gains that would have arisen if the shares had been sold. In some
circumstances the cost of the gift could be under 50% of the eventual value to the AAM. More information is available from the Head of External Relations, Simon Fairclough, on 01223 301509 or s.fairclough@aam.co.uk. How to join To join the AAM Society, please complete and return the form on page 17 of this booklet.
Leaving a legacy Over the last four decades the Academy of Ancient Music has brought joy and inspiration to millions of people. Our aim over the next is to begin to build up an endowment fund which will enable the orchestra to do so in perpetuity. Leaving a legacy is one of the most important and enduring ways in which you can support the AAM. Whether you give £5,000 or £5 million, your bequest will have a real impact in enabling the AAM to keep the music of the baroque and classical periods alive, and to enrich the lives of music lovers for generations to come. Legacies are highly tax efficient: the AAM’s charitable status means that gifts are exempt from Inheritance Tax, and any legacy you
bequeath may also reduce the overall tax liability due on your estate. Should you find yourself a beneficiary under a will, you may also wish to consider transferring part of your inheritance to the AAM using a Deed of Variation. Amounts transferred in this manner become freed of any Inheritance Tax otherwise due, affording the opportunity for the AAM to benefit from your generosity during your lifetime. The Head of External Relations, Simon Fairclough, is always happy to talk informally and in confidence with anyone considering making provision for the AAM in their will. He can be contacted on 01223 301509 or s.fairclough@aam.co.uk.
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Programme JAN 11_AAM programme Dec 2010 17/01/2011 13:27 Page 16
AAM Funders & Supporters The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work: AAM Business Club Cambridge University Press Kleinwort Benson Amberstone Trust CHK Charities Ltd Dunard Fund John Ellerman Foundation Esmée Fairbairn Foundation Fidelity UK Foundation Goldsmiths’ Company Charity The Idlewild Trust
The Michael Marks Charitable Trust Newby Trust Ltd Sir Siegmund Warburg’s Voluntary Settlement Anthony Travis Charitable Trust Arts Council England through the Sustain programme Orchestras Live Cambridge City Council
The AAM Society Special gifts The Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestra’s work at a particularly significant level this year. The Chairman’s Circle (Donations £20,000–£49,999 per annum) CHK Charities Ltd Dunard Fund The Hogwood Circle (Donations £10,000 - £19,999 per annum) Matthew Ferrey Lord and Lady Magan Christopher and Phillida Purvis * Mrs Julia Rosier Dr Christopher and Lady Juliet Tadgell Principal Patrons (Donations £5,000 – £9,999 per annum) Lady Alexander of Weedon Sir Nicholas and Lady Goodison * Richard and Elena Bridges Christopher Hogwood CBE * Mrs Sheila Mitchell Newby Trust Ltd * Chris Rocker and Alison Wisbeach and other anonymous Principal Patrons Patrons (Donations £2,500 – £4,999 per annum) Adam and Sara Broadbent Mr and Mrs Graham Brown Mr and Mrs JE Everett John and Ann Grieves Mark and Liza Loveday John and Joyce Reeve Mark West Sarah and Andrew Williams and other anonymous Patrons Principal Benefactors (Donations £1,000 – £2,499 per annum) George and Kay Brock Mrs D Broke Clive and Helena Butler Jo and Keren Butler Sir Charles Chadwyck-Healey Bt Kate Donaghy The Hon Simon Eccles Elizabeth Hartley-Brewer
Elma Hawkins and Charles Richter Lord Hindlip John McFadden and Lisa Kabnick * Mr and Mrs C Norton Lionel and Lynn Persey Nigel and Hilary Pye * Mr and Mrs Charles Rawlinson Sir Konrad and Lady Schiemann * JG Stanford John and Madeleine Tattersall Marcellus and Katharine Taylor-Jones Stephen Thomas Mrs R Wilson Stephens Charles Woodward and other anonymous Principal Benefactors Benefactors (Donations £500 – £999) Maureen Acland OBE * Dr Aileen Adams CBE Bill and Sue Blyth Elisabeth and Bob Boas * Claire Brisby and John Brisby QC * Mr and Mrs Edward Davies-Gilbert Charles Dumas Mr and Mrs Jean-Marie Eveillard Simon Fairclough Marshall Field Michael and Michele Foot Andrew and Wendy Gairdner William Gibson The Hon Mr and Mrs Philip Havers Professor Sean Hilton Dr and Mrs G and W Hoffman Heather Jarman * David and Linda Lakhdhir Susan Latham Tessa Mayhew Mr and Mrs Hideto Nakahara Rodney and Kusum Nelson-Jones Nick and Margaret Parker Timothy and Maren Robinson Bruno Schroder and Family Peter Thomson Peter and Margaret Wynn Julia Yorke and other anonymous Benefactors Donors (Donations £250 – £499) Angela and Roderick Ashby-Johnson Mrs Nicky Brown
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Dr and Mrs S Challah David and Elizabeth Challen The Cottisford Trust Derek and Mary Draper Beatrice and Charles Goldie Steven and Madelaine Gunders Gemma and Lewis Morris Hall Mrs Helen Higgs Lord and Lady Jenkin of Roding Richard Lockwood Yvonne de la Praudière Robin and Jane Raw Annabel and Martin Randall Arthur L Rebell and Susan B Cohen Michael and Giustina Ryan Miss E M Schlossmann Michael Smith Rt Hon Sir Murray Stuart-Smith * Robin Vousden Pippa Wicks Paul F. Wilkinson and Associates Inc. and other anonymous Donors * denotes founder member Members of the AAM Bach Patrons Lady Alexander of Weedon Richard and Elena Bridges Mr and Mrs Graham Brown Jo and Keren Butler CHK Charities Ltd Matthew Ferrey Dunard Fund Elizabeth Hartley-Brewer The Hon Simon Eccles Professor Sean Hilton Graham and Amanda Hutton Mark and Lisa Loveday Mrs Sheila Mitchell Mr and Mrs Charles Rawlinson John and Joyce Reeve Dr Christopher and Lady Juliet Tadgell John and Madeleine Tattersall Stephen Thomas Mark West Charles Woodward Cambridge Bach Supporters Cambridge Bach Friends and other anonymous AAM Bach Patrons
Programme JAN 11_AAM programme Dec 2010 17/01/2011 13:27 Page 17
Join the AAM Society I would like to join the AAM Society I would like to give membership of the AAM Society to someone else as a gift Your details Name: ........................................................................................................................................ Address: .................................................................................................................................... ........................................................................................................................................................ Telephone: .............................................................................................................................. Email: .......................................................................................................................................... Gift membership — member’s details Please complete this section only if you are giving Society membership to someone else as a gift. Member’s name: ................................................................................................................
Three-year pledge By pledging to support the AAM over a three-year period, you can help the orchestra to plan for the future with confidence. Please tick here if you are able to pledge to support the orchestra at this level for three years. Leaving a legacy Please tick here if you would be willing to receive information about remembering the AAM in your will. Matched giving My firm operates a matched giving policy. Please contact me to discuss this further. Gift Aid declaration Please complete this section if you pay UK income tax and/or capital gains tax at least equal to the tax which the AAM will reclaim on your donations in the appropriate tax year.
Member’s address: ............................................................................................................ ........................................................................................................................................................
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.
Member’s telephone: ...................................................................................................... Signed: ..................................................................................................................................... Member’s email: ................................................................................................................. Date: ........................................................................................................................................... Membership level The Chairman’s Circle The Hogwood Circle Principal Patron Patron Principal Benefactor Benefactor Donor Young Supporter (under 40 only)
£20,000+ £10,000–£19,999 £5,000–£9,999 £2,500–£4,999 £1,000–£2,499 £500–£999 £250–£499 £100–£249
Donations made by standing order Please complete this section if you would like to make your donation to the AAM by standing order. Name of bank: ..................................................................................................................... Bank address: ........................................................................................................................ ........................................................................................................................................................
Date of birth: .................................................................................................................. Account number: ............................................................................................................... Acknowledgement Please acknowledge my gift using the following form of wording ....................................................................................................................................................... I would prefer to remain anonymous
Sort code: ................................................................................................................................ Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place Branch, Cambridge, sort code 30-13-55, Account number 02768172 the sum of £...................................................................................................................................................... per
Payment details I would like to make my donation by I enclose a cheque for £................................ (please make payable to ‘AAM’) I enclose a CAF cheque for £................................ (please make payable to ‘AAM’)
month quarter year
starting on: ............................................................................................................................. Signed: ...................................................................................................................................... Date: ...........................................................................................................................................
I would like to pay by standing order (please complete the standing order section below)
Full name: ...............................................................................................................................
I would like to make a gift of shares (please contact the AAM) Please return your completed form to: Simon Fairclough Head of External Relations Academy of Ancient Music 32 Newnham Road Cambridge CB3 9EY
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Programme JAN 11_AAM programme Dec 2010 17/01/2011 13:28 Page 18
Academy of Ancient Music
JS Bach’s St John Passion with the Choir of King’s College, Cambridge 20 April 2011 Cadogan Hall, London See inside back cover for details of how to book
The AAM brings its acclaimed collaboration with the Choir of King’s College, Cambridge and Stephen Cleobury to London for the first time in a performance of the St John Passion, a work of moving lyricism and intimate scale.
Elin Manahan Thomas soprano
James Laing counter-tenor
Andrew Tortise tenor
Marcus Farnsworth bass
Andrew Kennedy Evangelist
David WilsonJohnson Christ
“Andrew Kennedy is a singer of wide, lustrous tone and striking dramatic prowess”
Choir of King’s College, Cambridge
THE TIMES 2010
Stephen Cleobury conductor
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Programme JAN 11_AAM programme Dec 2010 17/01/2011 13:28 Page 19
www w..camb .cambridge.org
Lufthansa Festival of Baroque Music
in association with Rolls-Royce plc
Hanseatic to Adriatic · Journey through the Heart of Europe 13–21 May 2011 | St. John’s, Smith Square | St. Gabriel’s, Warwick Square | Westminster Abbey
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‘The Lufthansa Festival explores one thing – Baroque music – superlatively well.’ Daily Telegraph
www.lufthansafestival.org.uk | www.sjss.org.uk | 020 7222 1061 Booking opens 1 February | (SS [PJRL[Z MYVT [OL )V_ 6MMPJL :[ 1VOU Z :TP[O :X\HYL 3VUKVU :> 7 /(
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Programme JAN 11_AAM programme Dec 2010 17/01/2011 13:28 Page 20
Academy of Ancient Music
Handel’s tragic muse 16 March 2011 18 March 2011
Wigmore Hall, London West Road Concert Hall, Cambridge
Pre-concert talks with Bernard Labadie at 6.30pm See inside back cover for details of how to book.
“Her glinting soprano, bright-edged yet deliciously rounded and sensual, is used with rare understanding for character”
Canadian duo Karina Gauvin and Bernard Labadie join us for a programme showcasing Handel’s most moving writing for the stage. Arias from six operas — including Alcina’s lament for her lost magical powers and the achingly beautiful ‘Lascia ch’io pianga’ from Rinaldo — are set against the elegant dance interludes from Ariodante and Alcina.
Karina Gauvin soprano
Bernard Labadie conductor
SUNDAY TIMES
Wigmore Hall 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:
Please contact House Management for full details.
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