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‘In stil moderno’ The seventeenth-century Italian avant garde Aleksandra Anisimowicz soprano Richard Egarr director & keyboards 26 April West Road Concert Hall, Cambridge 27 April Theatre Royal, Bury St Edmunds 28 April Wigmore Hall, London
Welcome to this evening’s concert, full of the extraordinary sounds of early seventeenthcentury Venice. Tonight’s music retains the same ear-catching qualities today as it did two hundred years ago, when an English visitor to Venice described hearing music “so good, and delectable, so rare, so admirable, so superexcellent, that it even did ravish and stupifie all those strangers who never heard the like”. We are delighted to welcome Aleksandra Anisimowicz as our soprano soloist. Richard Egarr tipped Aleksandra as one to watch after her performance as Zerlina in a production of Don Giovanni which he directed. But Aleksandra is equally at home performing music from the early baroque, and last year gave a recital of music by Monteverdi and Luzzaschi live on Dutch national radio. Turn to page 11 to read more about her sparkling career. This year sees worldwide celebrations of the four-hundredth anniversary of the composition of Monteverdi’s Vespers. The AAM will be marking the date with performances with the Choir of King’s College, Cambridge across Europe. But, as Stephen Rose reminds us in his programme note (pages 3–5), Monteverdi’s output comprises so much more than the Vespers and, together with that of his contemporary Castello, constituted “the
forefront of musical experimentation in early seventeenth-century Italy”. We very much hope that you enjoy tonight’s colourful array of instrumental sonatas, sacred vocal works, opera excerpts and madrigals from the foundations of European baroque. For the final concerts in our 2009-10 Wigmore Hall and WRCH season we will be joined by tenor James Gilchrist for a programme encompassing four hundred years of English music, from Christopher Gibbons and Henry Purcell to Benjamin Britten and Gerald Finzi. The performance has already been nominated by BBC Music Magazine as one of the must-see concerts of June, and is sure to sell out quickly. Turn to page 18 for details of how to book. The eagerly-anticipated launch of our 2010-11 London and Cambridge season is almost upon us. Complete and return the AAM mailing list form on page 19 and we’ll make sure that you’re among the first to hear about the AAM’s exciting music making over the next year. This evening’s performance could not have taken place without the support of RBC Wealth Management. We are delighted to have the opportunity to thank the Bank publicly for its tremendous generosity.
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Programme DARIO CASTELLO (c.1590–c.1658) Sonata for two sopranos from Sonate Concertate in Stil Moderno, Libro II CLAUDIO MONTEVERDI (1567–1643) Prologo from L’Orfeo DARIO CASTELLO Sonata à 3 for two sopranos and dulcian from Sonate Concertate in Stil Moderno, Libro II CLAUDIO MONTEVERDI Exulta filia Sion DARIO CASTELLO Sonata à 2 for soprano and violeta from Sonate Concertate in Stil Moderno, Libro II CLAUDIO MONTEVERDI Lamento d’Arianna from L’Arianna Interval of 20 minutes Please check that your mobile phone is turned off if you used it during the interval.
CLAUDIO MONTEVERDI ‘Di misera regina’ from Il ritorno d’Ulisse in patria DARIO CASTELLO Sonata à 2 for soprano and dulcian from Sonate Concertate in Stil Moderno, Libro II CLAUDIO MONTEVERDI Laudate Dominum in sanctis eius DARIO CASTELLO Sonata à 3 for two sopranos and dulcian from Sonate Concertate in Stil Moderno, Libro II CLAUDIO MONTEVERDI ‘Se i languidi miei sguardi’ from Il Settimo Libro de Madrigali DARIO CASTELLO Sonata à 4 for two sopranos, violeta and dulcian from Sonate Concertate in Stil Moderno, Libro II CLAUDIO MONTEVERDI Confitebor tibi Dominum 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 Venice’s rich musical culture At the start of the seventeenth century, Venice was entering a musical golden age. The English traveller Thomas Coryate, who visited the city in 1608, noted how music was present at all levels of Venetian society. On the streets, traders used vocal and instrumental music to sell their wares. Describing one of the city’s many courtesans, Coryate noted how “shee will endevour to enchaunt thee partly with her melodious notes that shee warbles out upon her lute... and partly with that heart-tempting harmony of her voice”. Most lavish of all was the music at sacred celebrations. Commenting on the patronal feast at the Scuola di San Rocco, Coryate marvelled: “This feast consisted principally of Musicke, which was both vocall and instrumental, so good, and delectable, so rare, so admirable, so super-excellent, that it did even ravish and stupifie all those strangers that never heard the like. But how others were affected with it I know not; for mine own part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven.” Tonight’s concert showcases compositions by Claudio Monteverdi (1567–1643) and Dario Castello (fl.1620s), two of the musicians working at the basilica of St Mark’s in Venice. St Mark’s was renowned for its vocal music, in particular the antiphonal effects that derived from divided choirs (or cori spezzati). But it also had a team of instrumentalists who played sonatas and the obbligato lines in vocal compositions. Indeed, Coryat observed how the sackbuts and cornets at St Mark’s “yielded passing good music”, and he commended the performance there “of a treble viol, which was so excellent, that I thinke no man could surpasse it”. Monteverdi joined St Mark’s as maestro di cappella in 1613, after a period of employment at the Mantuan court; he combined his duties at St Mark’s with work in Venice’s opera houses. Castello was one of the wind players at the basilica, but otherwise virtually nothing is known about his biography, not even the dates of his birth or death.
Both Monteverdi and Castello were at the forefront of musical experimentation in early seventeenth-century Italy. Instead of the polyphonic style favoured in the previous century, composers were increasingly writing for a single soloist against a chordal accompaniment. In vocal genres, this monodic texture was regarded as a good way to capture the subtleties of speech in tones and to represent emotions in music. Indeed, Monteverdi’s contemporaries used the term stile rappresentativo for the solo recitatives of early dramatic works. The preference for a solo texture also allowed performers to impress audiences through their sheer virtuosity, whether on voice or instruments. Monteverdi’s first essay in the stile rappresentativo was his opera L’Orfeo, written for the Mantuan court in 1607 and emulating earlier operas on the Orpheus myth by the Florentine composers Jacopo Peri and Giulio Caccini. Monteverdi’s choice of subject matter was apt for an era which wished to recapture the emotional powers of music as described by the ancients. According to classical legend, Orpheus moved inanimate objects such as stones to tears through the beauty of his music. His songs were so powerful that they even allowed him access to Hades in order to bring back his lover Euridice to earth. Tonight we hear the Prologo to L’Orfeo as sung by La musica, a celebration of the rhetorical power of song: “I am music, and with sweet melodies / make peaceful every restless heart / And, now with noble anger, now with love / I can inflame the coldest minds.” Although musica’s melody is a simple declamatory line, it is underpinned by a powerful musical logic: each verse is built over the same harmonic structure, and is framed by the same instrumental ritornello. One year after L’Orfeo, Monteverdi wrote his opera L’Arianna for a festival at the Mantuan court celebrating the marriage of Prince Francesco and Margherita of Savoy. The official
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account of the festival suggests that Monteverdi had succeeded in his aim to move the audience’s emotions: “In the lament which Ariadne sings on the rock when she has been abandoned by Theseus, [it] was acted with so much emotion and in so piteous a way that... there was not one lady who did not shed some little tear at her beautiful plaint.” The Lamento d’Arianna (performed in tonight’s concert) is the only part of Monteverdi’s music for the opera to survive, and it retains much of its power for modern audiences. Even the initial phrase is a poignant melodic gesture, rising tentatively on “Lascia” (“Let me”) but then falling downwards on “morire” (“die”); these two opposed melodic directions are symbolic of the discord within Arianna’s tortured personality. In subsequent sections, she calls to her lover with the repeated words “O Teseo”, sometimes beseechingly and sometimes angrily (in the martial style known as the stile concitato). Several of these calls to Theseus echo the memorable shape of the lament’s opening phrase.
“halting words” characteristic of a fractured relationship. Monteverdi’s setting lacks the melodic impulse of his Lamento d’Arianna; the vocal line is little more than heightened speech, and he even indicated that the piece should be sung without a regular beat.
Another sorrowful monologue is ‘Di misera regina’, from Monteverdi’s 1640 opera Il ritorno d’Ulisse in patria. It is sung by Penelope as she awaits the return of her husband Ulysses from the Trojan wars. She describes herself as a “wretched queen” condemned to endless grief and crying, and she reprimands her husband for having abandoned her. Penelope’s mournful tone is matched by the low register of her line and by the flatward harmonies of C minor and G minor that accompany her monologue.
Exulta filia Sion, for solo voice and continuo, is an exuberant hymn of praise possibly written for the Christmas season. Monteverdi juxtaposes passages in dancing triple-time (“Exulta filia”, “Exulta terra”) with duple-time sections that pick out words such as “sanctus”, “venit” and “jubilate” with extravagant vocal decoration. This ecstatic tone is interrupted only when the soloist intones on stepwise paired notes “quia consolatus est Dominus” (“the Lord has consoled his people”). The piece ends with an energetic Alleluia, in which short phrases are repeated in rising or falling sequences; such sequences show Monteverdi indulging in the power of purely musical (rather than speechbased) devices.
An extreme form of the stile rappresentativo is found in ‘Se i languidi miei sguardi’, a setting of Claudio Achillini’s lettere amoroso (love letter) that Monteverdi made for his 1619 Il Settimo Libro de Madrigali (Seventh Book of Madrigals). The poem voices the feelings of a bridegroom impatient that his fiancée has postponed their wedding. It mingles memories of the beloved’s hair, eyes and mouth, with pained references to the “languishing glances”, “broken sighs” and
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Not all of Monteverdi’s compositions were in the stile rappresentativo. By the 1620s he increasingly wrote in a tuneful style in which music regained its ascendancy over the words. Many of his later pieces use string ritornellos, creating structure from the alternation of vocal and instrumental sections. Often these pieces are built on repeating bass patterns, frequently borrowed from the harmonic formulae for popular dances. Above all, the older Monteverdi favoured triple-time vocal lines that combine memorable melodies with the infectious rhythms of dance. This new style is particularly evident in the sacred music that Monteverdi wrote during his time in Venice, of which we include three pieces in tonight’s concert.
A similar mood of vocal elation pervades Laudate Dominum in sanctis eius, a setting of Psalm 150. After the initial call of “Laudate”, much of the piece is in a lilting triple-time. The psalmist’s evocation of the various instruments
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that praise the Lord — the trumpet, psaltery and cymbals — is an opportunity for Monteverdi to get the singer to imitate fanfares, drum-rolls, plucked notes and other instrumental sounds. This is a piece that is emphatically music, not heightened speech. Most ambitious of these sacred compositions is the Confitebor tibi Domine, a setting of Psalm 110 that is a veritable concerto for the voice. The psalm combines praise to God with meditations on his mercy and steadfastness. Monteverdi sets each line of the text to a different type of figuration for the singer; coherence is given by the recurring harmonic patterns and the instrumental ritornellos. In the concluding doxology, excited triple-time writing gives way to grander gestures as the voice and first violin imitate each other’s motifs. Whereas Monteverdi’s music exploits the power of vocal virtuosity, an instrumental counterpart is found in the pieces from Dario Castello’s Sonata Concertate in Stil Moderno (1629). Castello’s sonatas stand at a transitional
moment in the history of the sonata. Sometimes his instrumental parts are suitable for a variety of different instruments (thus the term ‘soprani’ may indicate cornetti, violins or recorders). Other sonatas, however, specify particular instruments such as the dulcian, trombone or violeta (which may denote a tenor violin or an early form of the cello). Castello’s pieces are all built upon a set of formulaic yet highly effective devices. Typically they open with duple-time imitative passages, then alternate fast triple-time writing with chordal adagios or improvisatory solos. The endings use echo effects similar to those found in the doxology of Monteverdi’s Confitebor tibi Domine, with upward scales passing between the instruments. In their array of contrasting sections, Castello’s sonatas epitomise the Venetian love of musical variety and virtuosity. © Stephen Rose 2010 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London
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Texts and translations CLAUDIO MONTEVERDI Prologo from L’Orfeo Dal mio permesso amato a voi ne vegno, incliti eroi sangue gentil de Regi; di cui narra la fama eccelsi pregi, ne giunge al ver perch’è tropp’alto il segno.
I come to you from my beloved Permesso, O great heroes, noble race of kings; fame sings your splendid qualities, but cannot do justice to your excellence.
Io la musica son, ch’ai dolci accenti so far tranquillo ogni turbato core; et hor di nobil’ira et hor d’amore pos’infiammar le più gelate menti.
I am music, and with sweet melodies make peaceful every restless heart; and now with noble anger, now with love, I can inflame the coldest minds.
Io su cetera d’or cantando soglio, mortal orecchio lusingar tal’hora e in questa guisa a l’armonia Sonora de la lira del ciel più l’alme invoglio.
I sing to this, my golden lyre, alluring mortal ears so well that my melodious harmonies whet their desire for heaven’s harps.
Quinci a dirvi d’Orfeo desio mi sprona, d’Orfeo che trasse al suo cantar le fere, e servo fe’ l’Inferno a sue preghiere, Gloria immortal di Pindo e d’Elicona.
Now do I wish to speak of Orpheus, who with his singing drew to him wild beasts, submitting even Hell unto his prayers, glory immortal of Pindo and Helicon.
Hor mentre i canti alterno hor lieti hor mesti, non si mova augellin fra queste piante, ne s’oda in queste rive onda sonante, et ogni auretta in suo cammin s’arresti.
Now, while I sing my songs both happy and sad, let not one bird dare move among these plants, nor should the wavelets sound upon these shores, and every breeze must halt upon its way. TRANSLATION © CLIFFORD BARTLETT
CLAUDIO MONTEVERDI Exulta filia Sion Exulta, filia Sion; lauda, filia Hierusalem. Ecce rex tuus sanctus, ecce mundi salvator venit. Omnes gentes, plaudite manibus, jubilate Deo in voce exultationis, laetentur coeli in voce exultationis, exultet terra in voce exultationis, quia consolatus est Dominus populum suum; redemit Hierusalem. Exulta, filia Sion; lauda, filia Hierusalem. Alleluia.
Exult, daughter of Sion; sing praise, daughter of Jerusalem. Behold, your holy King, behold the saviour of the world comes. All nations, clap your hands, rejoice in God with the voice of exultation, let the heavens be praised in the voice of exultation, let the earth exult in the voice of exultation, for the Lord has comforted his people; he has redeemed Jerusalem. Exult, daughter of Sion; sing praise, daughter of Jerusalem. Alleluia. TRANSLATION © CLIFFORD BARTLETT
CLAUDIO MONTEVERDI Lamento d’Arianna from L’Arianna Lasciatemi morire, lasciatemi morire; e che volete voi che mi conforte in così dura sorte, in così gran martire? Lasciatemi morire, lasciatemi morire.
Leave me to die, leave me to die! and what do you think can comfort me in so harsh a destiny, in so great martyrdom? Leave me to die, leave me to die!
O Teseo, o Teseo mio, sì che mio ti vo’ dir, che mio pur sei, benchè t’involi, ahi crudo! a gli occhi miei. Volgiti, Teseo mio, volgiti, Teseo, oh Dio!
O Theseus, O my Theseus, for mine I say, since you are that, although you flee, cruel, from my eyes. Turn back, my Theseus, turn back, Theseus, oh God!
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Volgiti indietro a rimirar colei che lasciato ha per te la patria e il regno, e in queste arene ancora, cibo di fere dispietate e crude, lascierà l’ossa ignude. O Teseo, o Teseo mio, se tu sapessi, oh Dio! Se tu sapessi, oimè! come s’affanna la povera Arianna, forse, forse pentito rivolgeresti ancor la prora al lito. Ma, con l’aure serene tu te ne vai felice et io qui piango; a te prepara Atene liete pompe superbe, et io rimango cibo di fere in solitarie arene; te l’uno e l’altro tuo vecchio parente stringerà lieto, et io più non vedrovvi, o madre, o padre mio.
Turn back to look again on her who left for you her native land and realm, and on these sands, food for pitiless and cruel wild animals, will leave her bare bones. O Theseus, O my Theseus, if you knew, O God! If you knew, alas, how poor Ariadne suffers, perhaps, perhaps repentant you’d yet turn your prow toward the shore. But with gentle breezes you depart happy while I weep; for you Athens is preparing joyful, magnificent celebrations, while I remain food for wild beasts on solitary sands; every aged relative of yours will happily embrace you, while I will never again see you, O mother, O father of mine.
Dove, dove è la fede, che tanto mi giuravi? Così ne l’alta sede tu mi ripon de gli avi? Son queste le corone onde m’adorni il crine? Questi gli scettri sono, queste le gemme e gli ori: lasciarmi in abbandono a fera che mi strazi e mi divori? Ah Teseo, ah Teseo mio, lascierai tu morire, in van piangendo, in van gridando aita, la misera Arianna che a te fidossi e ti diè gloria e vita?
Where, where is the faith, that you swore so often to me? Is this how you place me on the high throne of your ancestors? Are these the crowns with which you adorn my hair? These the sceptres, these the gems and the gold: to leave me abandoned to a beast who will tear me apart and devour me? Ah Theseus, ah my Theseus, will you leave me to die, weeping in vain, calling in vain for help, the pitiable Ariadne who trusted you and gave you glory and life?
Ahi, che non pur risponde! Ahi, che più d’aspe è sordo a’ miei lamenti! O nembi, o turbi, o venti, sommergetelo voi dentr’a quell’onde! Correte, orche e balene, e de le membra immonde empiete le voragini profonde. Che parlo, ahi! che vaneggio? Misera, ohimè! che chieggio? O Teseo, o Teseo mio, non son, non son quell’io, non son quell’io che i feri detti sciolse: parlò l’affanno mio, parlò il dolore; parlò la lingua sì, ma non già’l core.
Alas, he doesn’t even respond! Alas, he is more deaf than an asp to my laments! O storm-clouds, O tornados, O winds, submerge him under the waves! Hurry, orcs and whales, and with his filthy limbs fill the deep abysses! What am I saying, alas! or raving? Wretched, O dear! what do I ask? O Theseus, O my Theseus, it’s not I, I am not the one who unleashed such fierce words: my anguish spoke, my grief spoke; my tongue spoke, yes, but not my heart.
Misera! ancor dò loco a la tradita speme, e non si spegne, fra tanto scherno ancor d’amor il foco? Spegni tu, Morte, omai le fiamme indegne! O madre, o padre, o de l’antico regno superbi alberghi, ov’ebbi d’or la cuna, o servi, o fidi amici (ahi fato indegno!) mirate ove m’ha scorto empia fortuna! Mirate di che duol m’han fatto erede l’amor mio, la mia fede, e l’altrui inganno. Così va chi tropp’ama e troppo crede.
Poor me, do I still hold onto a betrayed hope? Is the fire of love, despite so much scorn, not put out? At last extinguish, Death, the unworthy flames! O mother, O father, O magnificent palaces of my old realm, where I had a golden cradle, O servants, O trusted friends (alas, mean Fate!), look where evil fortune has brought me! Look what grief I am heir to through my love, my faith, and another’s deceit. Such is one’s lot if one loves and trusts too much. TRANSLATION © BARBARA SACHS
CLAUDIO MONTEVERDI ‘Di misera regina’ from Il ritorno d’Ulisse in patria Di misera Regina non terminati mai dolente affanni! L’aspettato non giunge, e pur fuggono gli anni. La serie del penar è lunga ahi troppo: a chi vive in angoscie il tempo è zoppo.
The grievous sorrows of a hapless queen never come to an end. The long-awaited one does not come, and the years fly past. The succession of my woes is, ah, so long: to him who lives in anguish time is lame.
Fallacissima speme, speranze non più verdi ma canute, all’invecchiato male non promettete più pace o salute.
Most unfounded hopes, hopes no longer green, but hoary, to my age-old misfortune you no longer promise peace or wellbeing.
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Scorsero quattro lustri dal memorabil giorno in cui, con sue rapine, il superbo Trojano chiamò l’alta sua Patria alle ruine.
Twenty years have elapsed since the forgotten day when, through his abduction, the proud Trojan caused his great fatherland to be laid to ruins.
A ragion arse Troia, poichè l’Amor impuro, ch’è un delitto di foco, sì purga con le fiamme. Ma ben contro ragione per l’altrui fallo innocente condannata, de l’altrui colpe io sono l’afflita penitente.
Troy was justly burned; for an impure love is a burning crime, purged in flames. But how unjust that, through the fault of another, innocently condemned, I, by another’s guilt, should be the afflicted penitent.
Ulisse accorto e saggio, tu, che punir gl’adulteri ti vanti, aguzzi l’armi e susciti le fiamme per vendicar gli errori d’una profuga greca; e’n tanto lasci la tua casta consorte fra nemici rivali in dubbio de l’honor, in forse a morte. Ogni partenza attende, desiato ritorno. Tu sol del tuo tornar perdesti il giorno.
Ulysses, shrewd and wise, you who boast of punishing adulterers, who whet your arms and kindle the flames to avenge the transgressions of a fugitive Greek, yet you forsake your faithful wife in the midst of hostile rivals, in peril of her honour, possibly her death. Every parting awaits a longed-for return. You alone have lost sight of the day of your return. TRANSLATION © KATE SINGLETON / HMU
CLAUDIO MONTEVERDI Laudate Dominum in sanctis eius Laudate Dominum in sanctis eius. Laudate eum in firmamento virtutis eius. Laudate eum in sono tubae. Laudate eum in psalterio et citara. Laudate eum in timpano et choro. Laudate eum in cimbalis bene sonantibus. Laudate eum in cimbalis iubilationibus. Omnis spiritus laudat Dominum. Alleluia.
Praise God in his sanctuary. Praise him in the firmament of his power. Praise him with the sound of the trumpet. Praise him with the psaltery and harp. Praise him with the timbrel and dance. Praise him upon the loud cymbals. Praise him upon the high-sounding symbols. Let everything that hath breath praise the Lord. Allelulia.
PSALM 150
TRANSLATION FROM KING JAMES BIBLE
CLAUDIO MONTEVERDI ‘Se i languidi miei sguardi’ from Il Settimo Libro de Madrigali Se i languidi di miei sguardi, se i sospir interroti, se le tronche parole non han sin or potuto, o bel’idolo mio, farvi de le mie fiamme interra fede, leggete queste note, credete a questa carta in cui sotto forma d’inchiostro il cor stillai. Qui sotto scorgerete quegl’interni pensieri che con passi d’amore scorron l’anima mia; anzi, avvampar vedrete come in sua propria sfera nelle vostre bellezza il foco mio.
If my languishing looks, if my suppressed sighs, if my unfinished words have not yet, oh my life, proved my passion, read these notes, believe this letter, this letter in which, like the ink, my heart bled. There you shall see the secret thoughts that with loving gait wander in my soul; so, shall you see burn as in its own sphere, by your beauty, my fire.
Non è già parte in voi che con forza invisibile d’amore tutto a sè non mi tragga: altron già non son io che di vostra beltà preda e trofeo. A voi mi volgo, o chiome, cari miei lacci d’oro: deh, come mai potea scampar sicuro se come lacci l’anima legaste, come oro la compraste? Voi pur voi dunque siete della mia libertà catena e prezzo. Stami miei preziosi, bionde fila divine, con voi l’eterna Parca sovra il fuso fatal mia vita torce.
There is nothing in you that does not drag me from the invisible power of love: I am nothing more than prey and prize of your beauty. To you I turn, O hair, beloved braids of gold: ah, how should I escape if you tied my soul like a plait, and bought it like gold? You, for you are the chain and the price of my freedom. My jewels, fair divine twine, you are used by eternal Parca on her fatal spindle, weaving my life.
Voi capelli d’oro, voi pur siete di lei, ch’è tutto il foco mio, raggi e faville; ma, se faville siete, onde avvien che ad ogn’ora contro l’uso del foco in giù scendete? Ah che a voi
You, you braids of gold, you belong to she who is all my fire, my rays and lightning: for, if lightning you are, why unlike fire, do you descend? Ah, you need descent to go up to the high
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per salir scender conviene, ché la magion celeste ov’aspirate, o sfera de gli ardori o paradiso, è posta in quel bel viso.
heaven that you yearn for, O, sphere of passion, O, paradise, lives in that radiant face.
Cara mia selva d’oro, richissimi capelli, in voi quel labirinto Amor intesse ond’uscir non saprà l’anima mia. Tronchi pur morte i rami del prezioso bosco e de la fragil carne scuota pur lo mio spirto, che tra fronde sì belle, anco reciso, rimarrò prigioniero, fatto gelida polve ed ombra ignuda.
My beloved forest of gold, finest braids, in you love wove a labyrinth where the soul is lost. Death may cut the branches of the lovely wood, and from delicate flesh free my spirit, but in such a beautiful, yet pruned, canopy, I shall remain captive, made cold dust and knotted shadow.
Dolcissimi legami, belle mie piogge d’oro, quali or sciolte cadete da quelle ricche nubi onde raccolte siete e, cadendo, formate preziose procelle onde con onde d’or bagnando andate scogli di latte e rivi d’alabastro, more subitamente (o miracolo eterno d’amoroso desìo) fra si belle tempeste arsi il cor mio.
Sweetest twine, my beautiful golden rain, each drop falling from those rich clouds that hold you and, in falling, you make pretty storms and break waves and waves of gold, swiftly shaded, in crags of milk and rivers of alabaster (oh, eternal miracle of loving desire), in whose beautiful storms my heart was burnt.
Ma già l’hora m’invita, o degli affetti miei nunzia fedele, cara carta amorosa, che dalla penna ti dividi omai; vanne, e s’amor e’l cielo cortese ti concede che de’begli occhi non t’accenda il raggio, ricovra entro il bel seno; chi sà che tu non gionga da sì felice loco per sentieri di neve a un cor di foco!
But now the hour bids me, oh, faithful messenger of my affection, precious love letter, to separate my quill from you. Go, and if love and the courteous sky prevent the rays of her eyes from burning you, find shelter in her lovely breast: that perchance you reach out from such a blessed place, across snow-covered paths to a heart of fire. TRANSLATION © TOM SKIPP / GLOSSA MUSICA
CLAUDIO MONTEVERDI Confitebor tibi Domine Confitebor tibi, Dominum, in toto corde meo, in consilio iustorum et congregatione. Magno opera Domini, exquisite in omnes voluntates eius: confessio et magnificentia opus eius, et iustitia eius manet in saeculum saeculi. Memoriam fecit mirabilium suorum: misericors et miserator Dominus. Escam dedit timentibus se: memor erit in saeculum testamenti sui. Virtutem operum suorum annunciabit populo suo, ut det illis hereditatem gentium. Opera manuum eius veritas et iudicium; fidelia omnia mandata eius. Confirmata in saeculum saeculi, facta in veritate et aequitate. Redemptionem misit populo suo: mandavit in aeternum testamentum suum: sanctum et terribile nomen eius. Initium sapientiae timor Domini: intellectus bonus omnibus facientibus eum. Laudatio eius manet in saeculum saeculi. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
I will give thanks unto the Lord with my whole heart, in the council of the upright and in the congregation. The works of the Lord are great, sought out for all of them that have pleasure therein. His work is honour and majesty: and his righteousness endureth for ever. He hath made his wonderful works to be remembered: the Lord is gracious and full of compassion. He hath given meat unto them that fear him: he will ever be mindful of his covenant. He hath showed his people the power of his works, in giving them the heritage of the heathen. The works of his hands are truth and judgement; all his precepts are sure. They are established for ever and ever, and are done in truth and uprightness. He hath sent redemption unto his people: he hath commanded his covenant for ever: holy and reverent is his name. The fear of the Lord is the beginning of wisdom: a good understanding have all they that do thereafter; his praise endureth for ever. Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning is now and ever shall be. Amen
PSALM 110
TRANSLATION FROM KING JAMES BIBLE
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Richard Egarr director & keyboards Glyndebourne to the Beijing Concert Hall to Carnegie Hall. On top of a busy schedule of concerts worldwide with the Academy of Ancient Music, he has recently collaborated with the Residentie Orchestra of the Hague, the Brabant Orchestra, the Flemish Radio Orchestra and Choir, the Netherlands Bach Society and the Chamber Orchestra of Europe. Richard has given innumerable solo performances around Europe, Japan and the USA. Recent USA tours have included JS Bach’s Well-Tempered Clavier and Goldberg Variations. As an orchestral soloist he has appeared with the AAM, The English Concert, the Orchestra of the Age of Enlightenment, the Orchestra of the 18th Century, the Dutch Radio Chamber Orchestra and the Netherlands Wind Ensemble.
“It wouldn’t be a stretch to call Egarr the ‘Bernstein of Early Music” U S A N AT I O N A L P U B L I C R A D I O
Richard Egarr, acclaimed Music Director of the Academy of Ancient Music, is one of the most versatile musicians performing today. He has worked with all types of keyboards, performing repertoire ranging from 15th-century organ music to Berg and Maxwell Davies on modern piano. He is in great demand as a soloist and a chamber musician as well as a conductor. Richard enjoyed his musical training as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College, Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historically-informed performance. As a conductor, Richard has directed repertoire ranging from JS Bach’s St Matthew Passion to John Tavener’s Ikon of Light. Numerous opera, oratorio and orchestral performances have taken him to venues ranging from
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In chamber music, Richard forms an “unequalled duo for violin and keyboard” (Gramophone) with violinist Andrew Manze, performing music from the Stylus Phantasticus to Mozart and Schubert. They have toured extensively throughout Europe, North America and the Far East. Richard records exclusively for Harmonia Mundi USA. His solo output includes works by Frescobaldi, Couperin, Purcell, Froberger, Mozart and JS Bach. His award-winning recordings with Manze include sonatas by JS Bach, Biber, Rebel, Pandolfi, Corelli, Handel, Mozart and Schubert. With the Academy of Ancient Music he has recorded JS Bach’s harpsichord concertos, JS Bach’s complete Brandenburg Concertos, and a set of Handel’s complete instrumental music Opp.1–7.
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Aleksandra Anisimowicz soprano It was on the operatic stage that Aleksandra caught the eye of Richard Egarr, when she played Zerlina in a production of Don Giovanni with the Dutch National Opera Academy — a performance which he directed. Aleksandra has joined The Dutch National Opera Academy in several other roles, including as Contessa in Le nozze di Figaro and as Constance in Dialogues des Carmélites. She also played Susanna in a performance of Le nozze di Figaro given for Queen Beatrix in Amsterdam’s Theatre Carré, and her first appearance at the Concertgebouw came in 2006 with a staging of Don Giovanni conducted by Vincent de Kort and directed by Laurence Dale. Outside the Netherlands, she starred in William Christie’s performance of Purcell’s The Fairy Queen at the 2008 Festival d’Aix en Provence.
Aleksandra was born and brought up in Gdansk and had a wide-ranging artistic education, learning the piano and violin and being schooled in EJ Dalcroze’s classical dance methods. Her first stage performance came at the age of 11, as Tina Crome in Britten’s Little Sweep.
Aleksandra is one of a quartet of singers who make up Le Donne di Ferrarra, a group devoted to the music of the early baroque. The name refers to the ladies who sang at the Italian court of Alfonso II in the 1590s, and whose fame spread across Europe. In 2007 the ensemble was invited to perform works by Luzzasco Luzzaschi at the Internationale Muziekzomer Festival in Gelderland. Aleksandra has given solo recitals, including a performance of work by Handel and Vivaldi in Amsterdam’s Concertgebouw. She has given a live performance for Dutch national radio from the Concertgebouw’s Spiegelzaal, and reached the semi-finals of the hall’s Vriendenkrans competition. In 2009 Aleksandra performed works by Monteverdi and Luzzaschi with Claron McFadden, live on Dutch national radio.
In 2001 Aleksandra began her vocal studies at the Conservatory of Amsterdam, with Howard Crook as her baroque tutor. She received her Bachelor’s (2008) and then Master’s Diplomas (2008), both cum laude, from the Dutch National Opera Academy.
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Academy of Ancient Music Recently hailed as “a superb period instrument band” by the New York Times, the Academy of Ancient Music is a household name renowned worldwide for its energized, passionate performances of baroque and classical music. Since it was founded by Christopher Hogwood in 1973 the AAM has reached music lovers on a global stage with over 250 recordings and live performances on every continent except Antarctica.
who directs early masterpieces by Schubert and Mendelssohn; Stephen Cleobury, who conducts a major European tour of Monteverdi’s Vespers with the Choir of King’s College, Cambridge; Paul Goodwin, who conducts Haydn symphonies at Esterháza Palace, the historic seat of the composer’s patrons; and Stephen Layton, who conducts the AAM’s traditional Good Friday performance of JS Bach’s St John Passion with Polyphony.
The AAM specialises in performing on instruments and in styles dating from the time when the music was composed. Under Hogwood’s stewardship it established itself as a leading authority on how music was originally performed. This pioneering work had a transformative impact on the world of classical music, and lies at the heart of the AAM’s reputation for musical excellence.
The AAM’s pioneering recordings under Hogwood for Decca’s L’Oiseau-Lyre label cover much of the baroque and classical orchestral canon. They include the first recordings on period instruments of Mozart’s complete symphonies and Beethoven’s piano concertos, and prize-winning opera recordings starring Cecilia Bartoli, Emma Kirkby and Joan Sutherland. Further projects have resulted in recordings for EMI, Chandos, Erato and Harmonia Mundi, and the orchestra has released award-winning recordings with the choirs of King’s College, Cambridge, Trinity College, Cambridge and New College, Oxford.
In 2006, Hogwood passed leadership of the AAM on to Richard Egarr. In his first three years as Music Director, Egarr has led tours to four continents, released CDs which have already won Gramophone, MIDEM and Edison awards, and founded the award-winning Choir of the AAM.
“The peerless Academy of Ancient Music” Concerts with Egarr in 2009–10 see the orchestra performing music ranging from Monteverdi to Britten around the world. Highlights include a tour of music by anniversary composers Purcell and Haydn to Africa and the Far East, a Christmas tour of Handel’s Messiah around Europe, and a fascinating programme showcasing the music of Monteverdi’s little-known contemporary Dario Castello. The vitality of the AAM’s music making continues to be fostered by a range of guest directors. This season the orchestra works with Pavlo Beznosiuk, who directs a programme contrasting the Pergolesi and Vivaldi settings of the Stabat Mater; violinist Giuliano Carmignola,
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With Richard Egarr, the orchestra has recently completed a landmark new cycle of Handel’s complete instrumental music published as Opp.1-7. Other recent releases include JS Bach’s complete Brandenburg Concertos with Egarr, Purcell and Handel discs with Stephen Layton and the Choir of Trinity College, Cambridge on Hyperion, and, for EMI, Handel’s Messiah with Stephen Cleobury and the Choir of King’s College, Cambridge. The AAM is Orchestra-in-Residence at the University of Cambridge.
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Violin Pavlo Beznosiuk* Rodolfo Richter
*Sponsored chairs Leader Mr and Mrs George Magan
Cello Joseph Crouch*
Principal cello Dr Christopher and Lady Juliet Tadgell
Dulcian William Lyons
Principal flute Christopher and Phillida Purvis
Chitarrone Paula Chateauneuf
Sub-principal viola Sir Nicholas and Lady Goodison
Harpsichord & organ Richard Egarr
Sub-principal cello Newby Trust Ltd
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 Marketing & Development Manager Simon Fairclough
Concerts & Tours Manager Kate Caro Assistant Marketing & Development Manager Toby Chadd Finance Manager Elaine Hendrie Administrator Samantha Fryer
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The AAM Society The Academy of Ancient Music has been a byword for musical excellence for over 30 years. The orchestra has enriched the lives of millions of music lovers with its ground-breaking performances and recordings of baroque and classical music on period instruments; and it has attained an important position as one of Britain’s most active cultural institutions on the global stage. Today over 50,000 people attend AAM performances annually; and the orchestra reaches hundreds of thousands more through its recordings and broadcasts. As its 40th anniversary approaches, the AAM is seeking to build upon and develop its distinctive traditions of excellence and innovation for the music lovers of the future — but year by year the cost of sustaining these traditions is increasing. Only a modest proportion of the cost of staging concerts like tonight’s is covered by ticket income, and the AAM receives no regular public funding. This year, the AAM needs to raise £250,000 to make its plans possible. One way in which you can help the Academy of Ancient Music to transform its ambitious vision into reality is to join the AAM Society. The Society is the orchestra’s closest group of regular supporters. It was established ten years ago by a committed group of founder members who appreciated the orchestra’s
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superb artistry and wanted to secure its future. Membership ranges from £250 to £10,000+ per annum, and members’ annual contributions provide the vital core funding required if the orchestra is to continue to perform. Society members enjoy a very close involvement with the life of the AAM. After performances in London, members dine with the director, soloists and AAM musicians. Members have the chance to become a part of orchestral life behind the scenes by sitting in on rehearsals for concerts and recordings, and from time to time by accompanying the orchestra on international tours. Those at the Principal Benefactor level and above receive invitations to special events in London; those at the Principal Patron level and above have the opportunity to sponsor a specific position in the orchestra; and those at the Hogwood Circle level have the opportunity to support a specific concert each season. If you want to get closer to the AAM’s music making while helping to secure the orchestra’s future, do be in touch with me. Simon Fairclough Development Manager 01223 301509 s.fairclough@aam.co.uk
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AAM Funders & Supporters The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work during the 2009–2010 season: AAM Business Club Cambridge University Press Kleinwort Benson RBC Wealth Management SVG Capital Anthony Travis Charitable Trust CHK Charities LtdJohn Ellerman Foundation The Idlewild Trust Goldsmiths’ Company Charity Michael Marks Charitable Trust Arts Council England through the Sustain programme Orchestras Live Cambridge City Council
The AAM Society The Hogwood Circle (Donations £10,000 and above per annum) Matthew Ferrey Mr and Mrs George Magan Christopher and Phillida Purvis * Mrs Julia Rosier Lady Sainsbury of Turville Dr Christopher and Lady Juliet Tadgell Principal Patrons (Donations £5,000 – £9,999 per annum) Sir Nicholas and Lady Goodison * Richard Bridges and Elena Vorotko Christopher Hogwood CBE * Newby Trust Ltd * and other anonymous Principal Patrons Patrons (Donations £2,500 – £4,999 per annum) Adam and Sara Broadbent Mr and Mrs JE Everett John and Ann Grieves Christopher Rocker and Alison Wisbeach Sarah and Andrew Williams SVG Capital and other anonymous Patrons Principal Benefactors (Donations £1,000 – £2,499 per annum) Lady Alexander of Weedon George and Kay Brock Mrs D Broke Mr and Mrs Graham Brown Clive and Helena Butler Sir Charles Chadwyck-Healey Bt Kate Donaghy Elizabeth Hartley-Brewer Elma Hawkins and Charles Richter Lord Hindlip John McFadden and Lisa Kabnick * Mark and Liza Loveday Mr and Mrs C Norton Lionel and Lynn Persey Nigel and Hilary Pye * Mr and Mrs Charles Rawlinson Joyce and John Reeve
Michael and Sophia Robinson Sir Konrad and Lady Schiemann * Sir David and Lady Scholey JG Stanford Marcellus and Katharine Taylor-Jones Mrs R Wilson Stephens and other anonymous Principal Benefactors Benefactors (Donations £500 – £999) Dr Aileen Adams CBE Bill and Sue Blyth Elisabeth and Bob Boas * Claire Brisby and John Brisby QC * Jo and Keren Butler Mr and Mrs Edward Davies-Gilbert Charles Dumas The Hon Simon Eccles Mr and Mrs Jean-Marie Eveillard Marshall Field Andrew and Wendy Gairdner William Gibson The Hon Mr and Mrs Philip Havers Professor Sean Hilton Heather Jarman * Michael and Nicola Keane Susan Latham Tessa Mayhew Mrs Sheila Mitchell Mr and Mrs Hideto Nakahara Rodney and Kusum Nelson-Jones Nick and Margaret Parker Timothy and Maren Robinson Bruno Schroder and Family John and Madeleine Tattersall Stephen Thomas Peter Thomson Charles Woodward Peter & Margaret Wynn and other anonymous Benefactors
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 Mr and Mrs G and W Hoffman 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 Rt Hon Sir Murray Stuart-Smith * Robin Vousden Paul F. Wilkinson and Associates Inc. and other anonymous Donors * denotes founder member Members of the AAM Bach Patrons Lady Alexander of Weedon Richard Bridges and Elena Vorotko Mr and Mrs Graham Brown CHK Charities Ltd Dunard Fund The Hon Simon Eccles Dr Christopher and Lady Juliet Tadgell Stephen Thomas
Donors (Donations £250 – £499) Maureen Acland OBE * Angela and Roderick Ashby-Johnson Mrs Nicky Brown
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Join the AAM Society I would like to help secure the Academy of Ancient Music’s future by joining the AAM Society. Personal details Name ............................................................................................................................................. Address ......................................................................................................................................... ............................................................................................................................................................ Tel .....................................................................................................................................................
Giftaid declaration Please complete this section only if you pay Income Tax and/or Capital Gains Tax at least equal to the tax that the AAM will reclaim on your donations in the appropriate tax year. Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations. Signed ...........................................................................................................................................
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Please complete this section if you would like to make your donation to the Academy of Ancient Music by standing order.
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£5,000 – £9,999 per annum
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£2,500 – £4,999 per annum
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£ ............................................. (amount) Please indicate below how you would like to be acknowledged in AAM programmes. If you would prefer to remain anonymous, please write ‘anonymous’. ............................................................................................................................................................
Bank Name ............................................................................................................................... Address of Bank ................................................................................................................... ............................................................................................................................................................ Account No. ................................................................ Sort Code ................... - ................... - ................... Please pay: Academy of Ancient Music, Lloyds TSB, Gonville Place Branch, Cambridge Sort Code 30-13-55, Account No. 2768172 the sum of £ .............................. (Print amount .......................................................................................................................) per month
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starting on ................................................................. (date) Signed .......................................................................................................................................... ...............................................................................................................................................(date) Name.................................................................................................................... (full name) Address ..................................................................................................................................... ............................................................................................................................................................ Please return your completed form to Simon Fairclough, Development Manager, Academy of Ancient Music, 32 Newnham Road, Cambridge, CB3 9EY
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AAM Bach Patrons At the heart of the AAM’s London and Cambridge seasons in 2010–11 will be The Bach Dynasty — a groundbreaking concert series celebrating the output of history’s most important musical family.
For more information, please contact Simon Fairclough, AAM Development Manager, on 01223 301509 or s.fairclough@aam.co.uk. © Lebrecht Arts & Music
Johann Sebastian was just one of a great lineage of distinguished composers active in seventeenth- and eighteenth-century Germany. In modern times, the outstanding music of his relatives has been neglected. The Bach Dynasty will breathe new life into works by Heinrich, Johann Christoph, Johann Michael, Johann Christian, Johann Christoph Friedrich, Carl Philipp Emanuel and Wilhelm Friedemann Bach — as well as including music by JS Bach himself. Guest soloists will include the world-famous cellist Steven Isserlis and four AAM Young Artists.
Funding of £70,000 is needed if this landmark project is to go ahead. Those supporting the series with gifts of £500 or more will become members of the AAM Bach Patrons — an inner circle of supporters whose special association with the series will include the exclusive opportunity to sit in on rehearsals for concerts, the chance to join musicians for dinner after performances and an invitation to The Bach Dynasty launch party. Patrons may choose to make a general gift of any amount over £500, or to target their contribution towards one or more of the areas listed below which are in particular need of support.
WOODCUT OF JS BACH, AT THE CLAVICHORD, WITH HIS FAMILY. ONE SON PLAYS THE VIOLIN WHILE ANOTHER SINGS.
Support towards Steven Isserlis’ appearances in the series Support towards the Choir of the AAM’s appearances in the series Support towards Richard Egarr’s appearances in the series Support of the AAM Young Artists Provision of sheet music for the series Provision of free programme booklets, each including a newly-commissioned scholarly essay Provision of harpsichords and chamber organs appropriate to the repertoire being performed Concert sponsorship
£4,000 per concert
£8,000 for 2 concerts
£2,500 per concert
£12,500 for 5 concerts
£2,000 per concert £1,400 per Young Artist
£16,000 for 8 concerts £5,600 for four Young Artists
£1,400 £1,000 per concert
£8,000 for the series
£750 per concert £6,000 for the series By negotiation
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Wigmore Hall and West Road Concert Hall 2009–2010 Season
Academy of Ancient Music
WEST ROAD CONCERT
WIGMORE HALL,
HALL, CAMBRIDGE
LONDON
Baroque in high definition Concertos used in film
24 September
25 September
The virtuoso voice Carolyn Sampson sings arias by Handel and Purcell
21 November
22 November
Prodigious minds Giuliano Carmignola directs early masterpieces by Schubert and Mendelssohn
21 February
22 February
‘In Stil Moderno’ Music by composers from seventeenth-century Venice
26 April
28 April
The English school Four centuries of music by English composers
17 June
18 June
Booking information WEST ROAD CONCERT HALL, CAMBRIDGE
WIGMORE HALL, LONDON
Ways to book • General booking is now open through the Arts Theatre box office on 01223 503333.
Ways to book • In person: 7 days a week; 10am – 8.30pm. Days without an evening concert, 10am –5pm. No advance booking in the half hour prior to a concert. • Telephone: 020 7935 2141, 7 days a week; 10am – 5pm. Days without an evening concert, 10am 5pm. • Online: www.wigmore-hall.org.uk, 7 days a week, 24 hours a day.
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Join the AAM mailing list If you would like to hear about future AAM performances, please complete this form and either: • return it to the AAM staff at the CD sales desk after this evening’s performance; • fax it to 01223 323202; • or send it to: AAM, 32 Newnham Road, Cambridge CB3 9EY
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WEDNESDAY 12 MAY 2010, 7.30PM WIGMORE HALL, LONDON
WEDNESDAY 5 MAY 2010, 7.30PM WEST ROAD CONCERT HALL, CAMBRIDGE
Haydn — String Quartet in G Op.76 No.1 Debussy — String Quartet Op.10 Schubert — String Quartet No.14 D.810 (‘Death and the Maiden’)
Haydn — String Quartet in G Op.76 No.1 Beethoven — String Quartet in F minor Op.95 (‘Serioso’) TBC — Quintet with Cambridge University Student
Tickets: £12, £16, £22, £24 Box Office: 020 7935 2141 Book Online: www.wigmore-hall.org.uk
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Tickets: £20, £18 (OAP), £10 (Child, Student, Registered Disabled) Box Office: 01223 503333 Book Online: www.cambridgeartstheatre.com
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:
^^^ S\M[OHUZHMLZ[P]HS VYN \R ^^^ ZQZZ VYN \R c (SS [PJRL[Z MYVT [OL )V_ 6MMPJL :[ 1VOU Z :TP[O :X\HYL 3VUKVU :> 7 /(
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Please contact House Management for full details.