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The Bach Dynasty: JS Bach at Christmas Mhairi Lawson soprano . Julia Riley mezzo-soprano . James Oxley tenor . Stephan Loges bass Choir of the AAM Pavlo Beznosiuk violin . Frank de Bruine oboe Richard Egarr director & harpsichord 20 December 23 December
Auditorio Nacional de Música, Madrid, Spain Cadogan Hall, London, UK
A very warm welcome to tonight’s performance, in which we’ll be transporting you back to eighteenth-century Germany to enjoy some of JS Bach’s finest festive music — written for both the Christmas worshippers and December revellers. What permeates it all is a sense of celebration; listening to it, how could one not — in the words of Cantata No.70 — “join the angels’ jubilation, in continual exultation”? Tonight’s performance is part of The Bach Dynasty, our year-long exploration of the music of JS Bach and his family. In September we performed music by JS Bach’s forebears; and next month the series continues with a programme of music by four of JS Bach’s sons with cellist Steven Isserlis. Full details of our London concerts can be found on the inside back cover of this programme.
In April 2011 we return to Cadogan Hall with the Choir of King’s College, Cambridge to perform the St John Passion — a work written just a few months after the Magnificat. The AAM has enjoyed a strong and fruitful relationship with the Choir over the years, and it’s a delight to be performing together in London for the first time, with Stephen Cleobury conducting. I hope you enjoy tonight’s performance and, from all of us at the AAM, a very happy Christmas and a tuneful new year.
Richard Egarr Music Director
AAM online Have you ever wondered what goes on behind the scenes in preparation for concerts like this one? Visit the AAM’s Youtube channel to watch rehearsal footage and interviews with AAM musicians and soloists. Visit www.youtube.com/acadofancientmusic.
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Programme JOHANN SEBASTIAN BACH (1685–1750) Cantata No.70 ‘Wachet! betet! betet! wachet!’ Concerto in C minor for violin and oboe BWV 1060 Allegro Adagio Allegro
Interval of 20 minutes
Concerto in D minor for harpsichord BWV 1052 Allegro Adagio Allegro Magnificat in D major BWV 243
Tonight’s soloists Unfortunately both Madeleine Shaw and Ben Johnson have had to withdraw from tonight’s performance. In their place, we are delighted to welcome Julia Riley and James Oxley for their debuts with the AAM. You can read all about them, and tonight’s other soloists, on pages 10 and 11.
The future of ancient music is in your hands Every year, the Academy of Ancient Music enriches the lives of tens of thousands of music lovers. Its performances are a source of inspiration and joy: the world would be a duller place without them. But the AAM will only continue to thrive and develop if those who are in a position to support it do so generously. Income from ticket sales will fall short of the full cost of running the orchestra by around £400,000 this year, and the AAM receives no regular government funding. Members of the AAM Society sustain the orchestra’s work magnificently for the benefit of us all — but the AAM has an ambitious vision for the future, and the need for support is greater than it has ever been before. The future of ancient music is in your hands: turn to page 16 to find out how you can help.
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Stephen Rose describes JS Bach’s musical preparations for Christmas Christmas is always a busy time for musicians, then as now. During Johann Sebastian Bach’s time in Leipzig (from 1723 until his death in 1750), he had to juggle a wide variety of sacred and secular musical activities every Christmas season. As cantor at the Thomasschule, Bach was responsible for music at the city’s celebrations of Christ’s Nativity, including the services on Christmas Day and on the Second and Third Days of Christmas. Immediately afterwards Leipzig held one of its thrice-yearly trade-fairs, the New Year’s Fair. Merchants from across central Europe flocked to the city, and outside the hours of business, they expected musical entertainment at the church services and in the concerts run at the city’s coffeehouses. From 1729 until 1737 Bach was director of the Collegium Musicum that held concerts every Tuesday and Friday during the trade-fairs. Bach’s Christmas repertory thus included sacred pieces such as Cantata No.70 and the Magnificat as heard in tonight’s concert, but also concertos and orchestral suites to entertain the crowds visiting for the trade-fairs. Bach wrote Cantata No.70 ‘Wachet! betet! betet! wachet!’ in 1714 during his time at the Weimar court. Originally he intended it for the Second Sunday in Advent, but in Leipzig he
revived it for the Twenty-Sixth Sunday after Trinity (21st November 1723), one of the last Sundays in the liturgical year. (In Leipzig, cantatas were not performed in church during Advent, except on the First Sunday of Advent.) In its Leipzig form, the piece is a substantial work, split into two parts that each conclude with a chorale. The cantata uses a libretto inspired by the words of Luke 21. 36 (‘Watch and pray that you may escape all that shall come to pass and stand before the Son of Man’); this prediction of the Second Coming was a common theme in sermons during Advent. Bach’s opening chorus is dominated by two musical ideas: an upwardrunning scale sung to ‘Wachet!’ (‘Watch!’), commanding the believer to be vigilant; and long sustained notes on ‘Betet!’ (‘Pray!’), urging reflective meditations on Christ’s coming. The listener’s attention is also seized by the powerful sense of tonal direction, with the music always pushing towards a harmonic goal that is often withheld through the use of unexpected chromatic notes in the bass. The chorus’s urgent figuration for the violins then recurs in the subsequent recitative, with its graphic depictions of sinners trembling at the Day of Judgement.
In profile
In profile: Cantata No.70 (1714) In 1717, Bach left the Weimar court under a cloud; he was even jailed for a month for “too stubbornly forcing the issue of his dismissal”. But the previous nine years had been full of musical endeavour: with a group of professional musicians at his disposal, he had produced a huge range of work, including Das Wohltemperierte Clavier and, for his eldest son Wilhelm Friedemann, the Orgelbüchlein. The latter contained settings of the Lutheran chorales central to Cantata No.70 — and to all of Bach’s cantatas, passions and oratorios.
DISPUTED PORTRAIT OF JS BACH, PAINTED BETWEEN 1708 AND 1717 BY J. E. RENTSCH THE ELDER
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The cantata has four arias, each scored differently and each with a distinct musical character. The first aria, ‘Wenn kömmt der Tag, an dem wir ziehen’ (‘When will the day arrive, when we leave [this world?]’), is scored for alto soloist, obbligato cello and continuo. Despite the athletic leaps in the bass-line, the vocal part for this aria is relatively melodious, with lilting rhythms and elegant appoggiaturas. It seems to express a wistful yearning for the Day of Judgement, despite the brief terror evoked by the long melismas on ‘fliehen’ (‘fly’) and ‘Feuer’ (‘fire’).
further. Here the tenor soloist is accompanied by the oboist in addition to full strings (who now play in four-part harmony, rather than the unison writing of the previous aria). Bach exhorts his congregation to act optimistically, creating a cheerful mood via the constant momentum of the walking-bass and the upward phrases in the initial ritornello.
The second aria, ‘Laßt der Spötter Zungen schmähen’ (‘Let the mockers’ tongues scorn’), is scored for the thicker texture of strings plus soprano. The short phrases, dactylic rhythms and unison string-writing give an air of strutting arrogance; the brief echo-phrases are no doubt an imitation of the mockers’ tongues. The text contrasts the scorn and transience of this earthly world with the eternal truths of God’s scripture. The ensuing recitative and chorale create a calmer mood, with words of rejoicing at the salvation offered by Christ.
The Day of Judgement is again evoked in the last recitative, where the “letzte Schlag” (“last stroke”) is enacted by the trumpet playing the tune of the Advent chorale ‘Es ist gewißlich an der Zeit / Dass Gottes Sohn wird kommen’ (‘The time will certainly come/ When God’s son will come’). The final aria (‘Seligster Erquickungstag’) offers a memorable juxtaposition of two contrasting musical elements: a calm anticipation of heaven, sung by the bass molt’adagio with minimal accompaniment of continuo only; and then another dramatic account of the “letzte Schlag” (“last stroke”), complete with apocalyptic figuration in the strings. The concluding chorale voices the Soul’s desire not for the world nor even for heaven, but simply to be united with Christ.
The third aria, ‘Hebt euer Haupt empor’ (‘Lift up your heads’), enlarges the orchestral texture
The highlight of Bach’s first Christmas in Leipzig was the performance of his new setting of the
In profile
In profile: Magnificat in D major (1723) When Bach arrived in Leipzig in 1723 as music director of the Thomaskirche, one councillor lamented that “as the best men could not be got, we must make do with the mediocre”. Within a year, Bach had proved his doubters spectacularly wrong. On Christmas Day 1723 the Magnificat stunned the Leipzig congregation; a few months later the St John Passion was first performed, on Good Friday 1724. It was an extraordinary period, for both the number and quality of choral works Bach composed. In his first six years in Leipzig, he wrote around 250 cantatas. DISPUTED PORTRAIT OF JS BACH, PAINTED AROUND 1720
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Magnificat at Vespers. The jubilant song of Mary as she celebrated her pregnancy (Luke 1. 46–55), the Magnificat was highly appropriate for a Christmas service. Bach’s 1723 performance of the Magnificat used a special Christmas version in E flat major, with interpolations of four Christmas hymns. At some stage between 1728 and 1731 he revised the work, removing the Christmas movements and transposing it to D major. He thus made the work suitable for use throughout the year; the Magnificat was regularly sung after the sermon in the Vespers service on Sunday evenings in Leipzig. It is this D major version (BWV 243) that features in tonight’s concert. In contrast to Bach’s cantatas, the Magnificat uses the Biblical Latin text, without the florid metaphors and varied versification favoured by the eighteenth-century librettists of Bach’s cantatas. Each line of the text is set as a different chorus or aria; there are no recitatives. In each aria, Bach characterises a keyword in the text with a carefully chosen theme. Thus in ‘Et exultavit spiritus meus’ (‘And my spirit rejoices’), the opening theme that leaps upwards through a triad; in ‘Quia respexist humilatatem’ (‘He hath regarded the lowliness...’), the oboe d’amore bends downward with an undulating scale; and in ‘Quia fecit mihi magna’ (‘He that is mighty hath done...’), the continuo swaggers through a series of repeated notes and downward leaps. The ‘Et misericordia’ (‘And his mercy’) is a gentle pastorale; and in ‘Deposuit potentes’ (‘He hath put down the mighty’), the mood is captured by fast downward scales and dactylic rhythms for unison violins. Although Bach’s Magnificat uses the Latin version of the words, he also acknowledges the Lutheran tradition of singing a German paraphrase of the canticle. The tenth movement, ‘Suscepit Israel’, is set as a vocal trio, upon which the oboists superimpose the Gregorian melody known as the tonus peregrinus. This was the melody to which the
canticle was traditionally chanted in Catholic services; but it was also used for Luther’s version of the words (‘Meine Seele erhebt den Herren’), and as such would bring this hymn to mind among the members of the Leipzig congregation. The other component of Bach’s Magnificat is, of course, the festal choruses. Scored for five-part choir with an orchestra augmented by three trumpets and drums, these choruses express the canticle’s joyfulness with appropriate pomp. Yet despite using these large forces, Bach continues to be responsive to the text, whether in the supple upbeat motif used for ‘Magnificat’ in the opening movement, or the sudden entry of tutti forces to represent ‘Omnes generationes’ (‘All generations’). Bach also uses the stile antico (the style of writing found in motets, with no independent instrumental parts other than continuo) in the movement ‘Sicut locutus est ad Patres nostros’ (‘As he spake to our forefathers’), as a musical symbol of venerable Old Testament figures such as Abraham. And using the musical pun beloved by eighteenth-century composers when setting the Magnificat, Bach brings back the opening music on the concluding words, ‘Sicut erat in principio’ (‘As it was in the beginning’). Alongside his duties at church during the Christmas season, Bach was increasingly preoccupied by the 1730s with providing concerts in Leipzig’s coffee-houses, particularly for the visiting merchants who flocked to the city in early January. The Concerto in D minor for harpsichord BWV 1052 is one of a group of seven keyboard concertos that Bach assembled for use with the Collegium Musicum, presumably with himself or one of his sons as soloist. All seven of these concertos are arrangements of earlier pieces with different soloists; in the case of BWV 1052, it was originally a violin concerto. Indeed, in the outer movements of this concerto the keyboard part has constant semiquaver figuration whose
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origin is obviously in violin bariolage. The rapid movement of the violinist’s bow across the strings has simply been reworked as the rapid plucking of the harpsichord’s plectra against its strings. The central movement was originally a decorated cantilena for violin, here rewritten as an ornamented line for harpsichord against the gentle repeated notes in the strings. The concerto was evidently one of Bach’s favourites, for he also reworked two of its movements within a cantata, ‘Wir müssen durch viel Trübsal’ BWV 146 (to be performed in the July concert in the AAM’s The Bach Dynasty series at Wigmore Hall). The Concerto in C minor for oboe and violin BWV 1060 survives as a piece for two harpsichords, another of the arrangements that Bach made for the Collegium Musicum in Leipzig, but its original form was almost certainly as a concerto for violin and oboe.
Whereas the D minor Concerto gives prominence to the almost demented figuration of the harpsichord, in this double concerto the soloists play in dialogue with each other and the orchestra. Such dialogue is brought to perfection in the first movement, where the oboe and violin cheekily echo the ends of phrases. In the slow movement, both soloists spin out melodies that wrap around each other. The finale adds a touch of fiery energy, but the overriding impression is of joie de vivre and sheer delight in the ensemble performance. If this piece was performed at Leipzig’s Collegium Musicum, it would have doubtless delighted the mixed audiences of visiting merchants, local students and wealthy Leipzigers. Stephen Rose ©2010 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London
In profile
Concerto in C minor for violin and oboe; Concerto in D minor for harpsichord (c.1730) In March 1729 Bach took over directorship of Leipzig’s Collegium Musicum, a group formed by Georg Philipp Telemann and at the centre of the town’s musical life. Bach’s motives may not have been entirely musical though — the move might well have been an attempt to increase his grip on the key musical institutions in Leipzig. Whatever the real reasons, the results were spectacular. The Collegium gave twice-weekly performances in the large hall of Zimmermann’s coffee house, and Bach produced some of his most inventive and virtuosic music for these occasions. Indeed, tonight’s Concerto in D minor for harpsichord was almost certainly written to showcase the Collegium’s new instrument. Outside the coffee house, Bach was embarking on his magisterial Mass in B minor in an effort to woo the patronage of the King of Poland.
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DISPUTED PORTRAIT OF JS BACH, PAINTED BETWEEN 1730 AND 1735
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Texts and translations Cantata No.70 ‘Wachet! betet! betet! wachet!’ Part one Chorus Wachet! betet! betet! wachet! Seid bereit Allezeit, Bis der Herr der Herrlichkeit Dieser Welt ein Ende machet. Recitative (bass) Erschrecket, ihr verstockten Sünder! Ein Tag bricht an, Vor dem sich niemand bergen kann: Er eilt mit dir zum strengen Rechte, O! sündliches Geschlechte, Zum ewgen Herzeleide. Doch euch, erwählte Gotteskinder, Ist er ein Anfang wahrer Freude. Der Heiland holet euch, wenn alles fällt und bricht, Vor sein erhöhtes Angesicht; Drum zaget nicht! Aria (mezzo-soprano) Wenn kömmt der Tag, an dem wir ziehen Aus dem Ägypten dieser Welt? Ach! lasst uns bald aus Sodom fliehen, Eh uns das Feuer überfällt! Wacht, Seelen, auf von Sicherheit Und glaubt, es ist die letzte Zeit! Recitative (tenor) Auch bei dem himmlischen Verlangen Hält unser Leib den Geist gefangen; Es legt die Welt durch ihre Tücke Den Frommen Netz und Stricke. Der Geist ist willig, doch das Fleisch ist schwach; Dies presst uns aus ein jammervolles Ach! Aria (soprano) Laßt der Spötter Zungen schmähen, Es wird doch und muss geschehen, Dass wir Jesum werden sehen Auf den Wolken, in den Höhen. Welt und Himmel mag vergehen, Christi Wort muss fest bestehen. Laßt der Spötter Zungen schmähen; Es wird doch und muss geschehen! Recitative (tenor) Jedoch bei dem unartigen Geschlechte Denkt Gott an seine Knechte, Dass diese böse Art Sie ferner nicht verletzet,
Watch now! praying! praying! Watch now! And prepare ev’ry hour, till the Lord of grace and power comes to end the world with raging.
Be fearful, sinners fixed and stubborn! There comes a day, whose dreadful sentence none can flee: he comes to earth to judge you strictly, O! sinners, bringing quickly your everlasting sadness. But you, who are God’s chosen children, know him as source of all your gladness. The Saviour brings you in when all things break apart, to see his face serene and bright; so tremble not! When breaks the day, when we go forward out of the Egypt of this world? O! Let us run from Sodom’s graveyard, before the bolts of fire are hurled! Complacent souls, wake from your ease: be warned, it is the end of days!
When for God’s heaven we are ready our soul is caged within our body; the sinful world with its deceptions brings pitfalls and obstructions. The soul is willing, but the flesh is weak; this draws from us cries from the heart’s own quick!
Though malicious tongues be clever, to our souls it shall be given, to behold the blessed Saviour in the clouds of highest heaven. All the world may then pass over, but Christ’s word shall stand for ever. Let the tongues of the mockers scorn; though malicious tongues be clever, to our souls it shall be given!
But still, though all the world is mean and devious God thinks of his own servants, that its maliciousness may now no more corrupt them, 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 7
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Indem er sie in seiner Hand bewahrt Und in ein himmlisch Eden setzet.
for all the time he holds them in his grace and in his paradise will set them.
Chorale Freu dich sehr, o meine Seele, Und vergiss all Not und Qual, Weil dich nun Christus, dein Herre, Ruft aus diesem Jammertal! Seine Freud und Herrlichkeit Sollt du sehn in Ewigkeit, Mit den Engeln jubilieren, In Ewigkeit triumphieren.
Rejoice greatly, O my soul, and forget your pain and fears, for Lord Jesus Christ, your Saviour, calls you from this vale of tears! All his joy and majesty you shall see eternally, join the angels’ jubilation, in continual exultation.
Part two Aria (tenor) Hebt euer Haupt empor Und seid getrost, ihr Frommen, Zu eurer Seelen Flor! Ihr sollt in Eden grünen, Gott ewiglich zu dienen.
Lift up your heads once more and now rejoice, O blessed, your souls shall be in flower! In Eden you shall flourish, for ever in God’s service.
Recitative (bass) Ach, soll nicht dieser große Tag, Der Welt Verfall Und der Posaunen Schall, Der unerhörte letzte Schlag, Des Richters ausgesprochne Worte, Des Höllenrachens offne Pforte In meinem Sinn Viel Zweifel, Furcht und Schrecken, Der ich ein Kind der Sünden bin, erwecken? Jedoch, es gehet meiner Seelen Ein Freudenschein, ein Licht des Trostes auf. Der Heiland kann sein Herze nicht verhehlen, So vor Erbarmen bricht, Sein Gnadenarm verlässt mich nicht. Wohlan, so ende ich mit Freuden meinen Lauf.
Ah, should not this great day of woe, of the world’s end and of the trumpet’s sound, that unimaginable blow, God’s final judgement on all mortals, the jaws of hell, its open portals, awaken in me much doubting, fear, and terror, since I am but a child of sin and error? But still my soul is overcome with the light of joy, the peace of Christ the Lord. The Saviour cannot hide his loving kindness for pity breaks his heart, His gracious arm forsakes me not. And so, now from this earth rejoicing I shall run.
Aria (bass) Seligster Erquickungstag, Führe mich zu deinen Zimmern! Schalle, knalle, letzter Schlag, Welt und Himmel, geht zu Trümmern! Jesus führet mich zur Stille, An den Ort, da Lust die Fülle.
O most blessed day of life, lead me now into your gardens! Strike now, crash now, hour of grief; earth and heav’n, be brought to ruins! Jesus leads me to that silence, where is pleasure in abundance.
Chorale Nicht nach Welt, nach Himmel nicht Meine Seele wünscht und sehnet, Jesum wünsch ich und sein Licht, Der mich hat mit Gott versöhnet, Der mich freiet vom Gericht, Meinen Jesum lass ich nicht.
Not for earth, and not for heav’n does my spirit long within me, but for Jesus Christ alone, for his passion has redeemed me. From my judgement I am spared, I will never leave my Lord.
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Magnificat in D major BWV 243 Chorus Magnificat anima mea dominum.
My soul doth magnify the Lord;
Aria (soprano) Et exusultavit spiritus meus in Deo salutari meo.
and my spirit hath rejoiced in God my Saviour.
Aria (soprano) Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent
For he hath regarded the lowliness of his handmaiden; for behold, from henceforth shall call me blessed
Chorus Omnes generationes.
all generations.
Aria (bass) Quia fecit mihi magna qui potens est: et sanctum nomen eius.
For he that is mighty hath magnified me; and holy is his name.
Duet (mezzo-soprano & tenor) Et misericordia a progenie in progenies: timentibus eum.
And his mercy is on them that fear him throughout all generations.
Chorus Fecit potentiam in bracchio suo: dispersit superbos mente cordis sui.
He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts.
Aria (tenor) Deposuit potentes de sede: et exultavit humiles.
He hath put down the mighty from their seat, and hath exalted the humble and weak.
Aria (mezzo-soprano) Esurientes implevit bonis: et divites dimisit inanes.
He hath filled the hungry with good things: and the rich he hath sent empty away.
Trio (soprano I, soprano II, mezzo-soprano) Suscepit Israel puerum suum: recordatus misericordiae suae.
He hath holpen his servant Israel, in remembrance of his mercy.
Chorus Sicut locutus est ad Patres nostros, Abraham et semini eius in saecula.
As he promised to our forefathers, Abraham and his seed, for ever.
Chorus Gloria Patri, gloria filio et Spiritui Sancto; sicut erat in principio, et nunc, et semper et in saecula saeculorum. Amen.
Glory be to the Father, and to the Son, and to the Holy Ghost; as it was in the beginning, is now, and ever shall be, world without end. Amen.
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Mhairi Lawson soprano
Julia Riley mezzo-soprano
Mhairi Lawson studied at the Guildhall School of Music and Drama, where she won the International Early Music Network Young Artists Prize. Since then she has performed in opera houses and concert halls worldwide with groups including English National Opera, Les Arts Florissants, the Gabrieli Consort and Players and The Scottish Chamber Orchestra, and with leading conductors such as William Christie, the late Sir Charles Mackerras, Paul McCreesh, Jane Glover and Sir John Eliot Gardiner.
A graduate of the National Opera Studio in London, British mezzo-soprano Julia Riley began her studies at the Royal Academy of Music. She was awarded first prize in the 2007 Mozart Singing Competition.
With Les Arts Florissants, Mhairi has performed dramatic music by Purcell, Charpentier, Landi and Monteverdi at the Cité de la Musique, Paris, London’s Barbican Centre and Birmingham’s Symphony Hall. At the Wigmore Hall she has performed operas by Purcell, Handel and Hasse with the Early Opera Company. A strong relationship with the Gabrieli Consort and Players has provided opportunities to sing Purcell’s The Fairy Queen at the BBC Proms in the Royal Albert Hall, and the title roles of Acis and Galatea and Dido and Aeneas in Scandinavia and the Netherlands. With La Serenissima, Mhairi has made acclaimed recordings of arias by Vivaldi, Hasse and Giacomelli, and a newly-discovered vocal work by the mysterious ‘Composer X’. Mhairi’s performances this season include Haydn’s The Seasons, Handel’s La Resurrezione and JS Bach’s St John Passion. 10 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
Julia has appeared with Glyndebourne on Tour in Albert Herring and Le nozze di Figaro, with English Touring Opera in Don Giovanni, and at Holland Park Opera in La Traviata. Her concert work includes Mozart’s Requiem at the BBC Welsh Proms, JS Bach’s Christmas Oratorio with the English Chamber Orchestra and Berlioz’ Les Nuits d'été with the City of London Orchestra. In the 2006 Glyndebourne Festival, Julia performed staged excerpts from Jonathan Dove's song cycle All you who sleep tonight. Julia made her debut at the BBC Proms in Vaughan Williams’ Serenade to Music, and her rendition of Giovanna Seymour in Donizetti’s Anna Bolena for English Touring Opera was described as "powerful, passionate and intelligent" by Richard Morrison in The Times. During the 2008–09 season, Riley made her French debut in the role of Nancy in Albert Herring in Rouen and with Opéra Comique in Paris, in a production which will be released on DVD later this year. A disc of Clara Schumann and Brahms with pianist Martin Roscoe is due for release shortly.
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James Oxley tenor
Stephan Loges bass
James Oxley studied as a cellist at the Royal College of Music and later gained a scholarship to Oxford where he read music and studied singing. In 1994 he was awarded first prize at the renowned International Vocalisten Concours at 'sHertogenbosch, and he is currently Visiting Professor at the Royal College of Music.
Born in Dresden, Stephan studied in Dresden and at the Guildhall School of Music and Drama in London. He won the 1999 Wigmore Hall International Song Competition and he regularly gives recitals throughout the world, including at Wigmore Hall, Carnegie Hall, and the Concertgebouw.
James has appeared in concert halls throughout the UK, Europe and the world. Notable performances in the UK include Beethoven’s Missa Solemnis with Heinrich Schiff and the Orchestra of the Age of Enlightenment, Haydn’s The Creation and Mozart’s Große Messe with the Scottish Chamber Orchestra and Handel’s Alexander's Feast with Northern Sinfonia and Nicholas McGegan; and he has appeared with Christian Curnyn and the Early Opera Company, and Sir John Eliot Gardiner in the landmark Bach Cantata Pilgrimage. He works extensively in France with, among others, Philippe Herreweghe, Hervé Niquet and Christophe Rousset. Similarly in demand on the operatic stage, James’ appearances have included roles in Monteverdi with ENO, Strauss at Garsington, Purcell with Opéra Comique de Paris and Handel at the Covent Garden Festival. Recent and future highlights include Orphée in Gluck’s Orphée et Euridyce, the title roles in Acis and Galatea and Bernstein’s Candide, and Sandy in Maxwell-Davies’ The Lighthouse.
His concert appearances have included Haydn’s The Creation with the Iceland Symphony Orchestra under Paul McCreesh; Elgar’s The Dream of Gerontius in Stuttgart and Darmstadt; Britten’s War Requiem with the Royal Philharmonic Orchestra; and Messiah with the National Symphony Orchestra in Washington. Stephan has sung JS Bach’s cantatas with the English Baroque Soloists under Sir John Eliot Gardiner, and the passions with the Gabrieli Consort and Players under Paul McCreesh. He made his debut at the BBC Proms in 2002 in the St Matthew Passion under Trevor Pinnock, and regularly sings the Christmas Oratorio, most recently with the Russian National Orchestra under Vladimir Jurowski. Stephan made his debut with Théâtre Royal de la Monnaie in Brussels in a new opera by Francesconi; he has also appeared at the Royal Opera House in Macmillan’s Parthanogenesis. Current engagements and future plans include Brahms’ Vier Ernste Gesänge with the Scottish Chamber Orchestra; Britten’s War Requiem with the Melbourne Symphony Orchestra; and Bach’s St John Passion with the Leipzig Gewandhaus Orchestra. 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 11
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Pavlo Beznosiuk violin
Frank de Bruine oboe
A long-standing presence on the early music scene, Pavlo has earned the respect of musicians, audiences and critics alike through his virtuosity and versatility on renaissance, baroque and classical violins and violas. As well as leading the AAM, Pavlo directs the Avison Ensemble and has appeared with orchestras including the Orchestra of the Age of Enlightenment and the Hanover Band.
Frank de Bruine received his musical training at the Royal Conservatory in The Hague, from where he graduated with distinction.
Pavlo's extensive list of recordings is testament to his popularity as one of the field's outstanding players. These include, among many others, an acclaimed version of Biber's "Rosary" Sonatas with the actor Timothy West, Vivaldi's Violin Concertos, world premiere recordings of music by JJ Walther and JP von Westhoff, and Mozart's Sinfonia Concertante with Monica Huggett. His acclaimed five-year project with the Avison Ensemble to record Thomas Avison's entire output is drawing to a close with the recent and much-praised release of Avison's arrangements of Scarlatti’s keyboard sonatas; and it was with this group that Pavlo revived William Herschel’s Violin Concerto in D minor.
He is also renowned as a soloist performing across Europe, the USA, South America and Japan. He has recorded oboe concertos by Vivaldi and Albinoni with the AAM and Christopher Hogwood, as well as recordings for the Wigmore Hall Live Label and Harmonia Mundi (also with the AAM). He features on the AAM’s acclaimed new recording of JS Bach’s Brandenburg Concertos. Most recently he has recorded Handel’s Oboe Sonatas Op.1 with Richard Egarr.
Pavlo continues to work in ground-breaking directions, particularly in his role within The Division Lobby, an ensemble exploring solo improvisation from seventeenth-century Italy. He teaches baroque violin at the Guildhall School of Music and Drama in London.
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Since then he has played with many period orchestras in Holland, England, Germany and France. He plays principal oboe for the Academy of Ancient Music, the Orchestra of the Eighteenth Century and Concerto Copenhagen.
Frank makes regular appearances as a teacher at courses in Holland, Poland and Canada. He teaches early oboe at the Royal Conservatory in The Hague and at the Utrecht Conservatory.
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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. The stringed instruments in Hogwood’s new orchestra were strung with 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- awardwinning 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 — succeeded Hogwood in 2006. In his first four years as Music Director his recordings with the orchestra have
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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 2007, Egarr founded the Choir of the AAM to complement the orchestra. The choir has already established itself as a major force, winning the title of "Chorus of the Year" in the prestigious Classical Elites Beijing awards for a performance of Handel's Messiah. It has recently made the worldpremiere recording of music by Christopher Gibbons, due for release in 2011. “A band stuffed with the superstars of the historically-informed style of playing” THE HERALD OCTOBER 2010
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 new concert series exploring the music of JS Bach and his many composerrelatives. Other highlights include Mozart’s early opera La Finta Giardiniera at the Barbican, and an intriguing programme showcasing the littleknown baroque and classical music of South America starring Colombian soprano Juanita Lascarro. The AAM’s international touring schedule in 201011 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 ChampsElysées in Paris.
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Academy of Ancient Music Violin I Pavlo Beznosiuk* Bojan Čičić Sijie Chen Johannes Pramsohler Hilary Michael Violin II Rebecca Livermore Joanna Lawrence William Thorp Stephen Pedder Viola Jane Rogers Marina Ascherson* Cello Robin Michael* Catherine Rimer*
Flute Rachel Brown* Guy Williams Oboe Frank de Bruine Lars Henriksson Bassoon Ursula Leveaux Trumpet David Blackadder Phillip Bainbridge Timothy Hayward
Soprano Charmian Bedford Nina Bennet Emma Brain-Gabbott Donna Deam Philippa Hyde Philippa Murray
Tenor Paul Curievici Julian Forbes Michael Solomon Williams Paul Tindall Christopher Tortise
Alto Heather Cairncross Jacqueline Connell Lucy Goddard Kate Mapp Susanna Spicer
Bass Michael Bundy Richard Latham Samuel Queen Ashley Riches Jon Stainsby
Timpani Alan Emslie
*Sponsored chairs Leader Lord and Lady 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
Organ Alastair Ross
Double bass Cecelia Bruggemeyer
In profile Ursula Leveaux bassoon
At the age of 8 I announced, with certainty, that I would play the bassoon. I loved it’s voice, and the way it could speak and sing with so many different characters. One of the great joys of playing with the AAM is the opportunity to play bass lines — of one of JS Bach’s cantatas or a Handel Concerto Grosso, for instance. I love being part of the real energy that drives the music, even if the listener is probably more aware of the solo or vocal line above.
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
External Relations Manager Toby Chadd
Emeritus Director Christopher Hogwood CBE
Administration Manager Samantha Fryer
Chief Executive Michael Garvey
Finance Manager Elaine Hendrie
Orchestra Manager Andrew Moore
Arts Management Trainee Sarah Reid
Head of External Relations Simon Fairclough
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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 — earlier this month, for example, a large group travelled with the AAM and Choir of King’s College, Cambridge on a tour of the Netherlands. 16 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.
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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 19 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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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 Sigmund 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 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 Dr and Mrs S Challah
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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 Tom Siebens and Mimi Parsons 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
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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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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
“Andrew Kennedy is a singer of wide, lustrous tone and striking dramatic prowess”
Academy of Ancient Music
THE TIMES 2010
JS Bach’s St John Passion with the Choir of King’s College, Cambridge
Andrew Kennedy Evangelist
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.
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Stephen Cleobury conductor