NOT ALL ORCHESTRAS ARE THE SAME
BACH: A FAMILY AFFAIR
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W E L C OM INTRODUCING OUR NEW SEASON
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ho would have imagined in 1986 that we would one day expand so courageously across the canvas of later Romantic repertoire, to perform Mahler and Bruckner? So often there is the casual assumption that historically informed performance is confined in time and place. Our 30th birthday season demonstrated that we uphold an aesthetic movement that applies with unapologetic freedom across all repertoire.
But what next?! We revisit the pillars of our musical technique, the grand horizontals of Bach and the svelte, vertical elegance of Haydn and Mozart. That was where we began and that is where it is right that we return, a reformed, revised period band fluent in Brahms and Bruckner, to take in again those great landmarks. Crispin Woodhead, Chief Executive
Major sponsor
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n often employed device when putting programmes together is to focus on a composer. We decided to focus on a city instead: Paris in the Classical period. What was it that drew so many composers from round Europe to this artistic honey pot? One of the key figures of this time turns out to be Méhul. How will his music sound to our ears in 2017? Cecelia Bruggemeyer, double bass and 2016–17 season curator
O
ttavio Dantone is a keyboard wizard – whoever witnessed his Rinaldo harpsichord cadenza with us in 2014, especially at the Prom, will never forget it!
Meanwhile, Masaaki Suzuki is a legendary Bach director who, unusually for our modern era, declares his strong faith as under-pinning his performing motivation. The chance to experience the whole of the six-part Christmas Oratorio with him is very rare and not to be missed. Colin Kitching, librarian and 2016–17 season curator
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CONTENTS 3 I ntroducing our new season
6 T onight’s concert
5
9
In context
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Support Us
12 20 Programme notes
Biographies
24 Education
26 28 30
News Supporters Coming Soon
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BACH: A FAMILY CONCERT SOLOISTS / REPERTOIRE
AFFAIR
This performance is generously supported by Mark and Rosamund Williams.
Sunday 30 October 7pm St John’s Smith Square
Ottavio Dantone Director / harpsichord The concert will finish at approximately 9pm, including a 20 minute interval. Pre-concert talk at 5.45pm in the hall (free admission).
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CPE BACH
WF BACH
Sinfonia in C
Harpsichord Concerto in F minor
JS BACH Harpsichord Concerto No. 1 in D minor
INTERVAL JCF BACH Sinfonia in D minor
WHICH BACH ARE YOU? Find out which member of the Bach family you most closely resemble by taking our quiz at bit.ly/whichbach
CPE BACH Sinfonia in B minor
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ORCHESTRA Director / Harpsichord
Ottavio Dantone
Violins I
Kati Debretzeni Henry Tong Julia Kuhn Elicia Silverstein Rachel Isserlis Debbie Diamond
Violins II
Alison Bury Roy Mowatt Iona Davies Claire Holden Stephen Rouse Joanna Lawrence
Violas
Annette Isserlis Martin Kelly Nicholas Logie Katie Heller
Cellos
Luise Buchberger Helen Verney Ruth Alford
Basses
Cecelia Bruggemeyer Kate Aldridge
Harpsichord Robert Howarth
IN CONTEXT
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John Butt, OAE Principal Artist and Bach expert
DID THE SECOND GENERATION OF FAMOUS BACHS DEVELOP THEIR FATHER’S LEGACY, OR REBEL AGAINST IT?
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his is of course a fascinating question, one that has intrigued biographers and amateur psychologists for years. The closest son to the father in terms of musical style and also in terms of the sheer amount of effort the father devoted to him is Wilhelm Friedemann. However, among whatever personal flaws he seems to have had, he was quite clearly spoilt and found it difficult to forge a career without his father’s help. He clearly tries to update the ‘family style’ but only succeeds intermittently. Carl Philipp Emanuel, as the second son, may well have felt somewhat neglected, and he clearly went out of his way to forge his own pathway. However, he clearly respected the thoroughness and intensity of his father’s compositional attitude and, after Sebastian’s death, he was perhaps the most important contributor in forging an idealised image of the father for future generations. The youngest of the successful composers was Johann Christian, who was still a teenager when his father died and who may only have had preliminary instruction from the ageing composer. His music sounds least like his father’s although certain aspects of
construction (e.g. the concerto ritornello style that greatly influenced Mozart) he may have inherited via his study with Emanuel. There are clearly enormous signs of the family talent but Christian definitely sounds as though he belongs to a much newer generation.
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IN CONTEXT
BACH: A FAMILY TIMELINE The Bach dynasty’s peak came at the height of the Age of Enlightenment in the 18th century. Here we look at how the life of the Bachs coincided with major developments in science, politics and philosophy.
1685
Johann Sebastian Bach is born in Eisenach in what is now central Germany.
Locke’s Essay 1689 John Concerning Human
Understanding attacks the idea that universal truths are placed in our minds by God.
Cristofori 1709 Bartolomeo is credited as building the first piano.
Friedemann, 1710 Wilhelm JS Bach’s eldest son, is born.
of New Orleans 1718 City founded in Louisiana.
JS Bach publishes his 1734 Christmas Oratorio, and
the Harpsichord Concerto in D minor you’ll hear in tonight’s concert.
1750 JS Bach dies aged 65. Rousseau’s 1762 Jean-Jacques Social Contract argues against the divine right of the monarchy.
WF Bach writes the 1767 Harpischord Concerto in tonight’s concert.
Cook finishes 1770 James mapping Australia and New Zealand.
Philipp Emanuel 1773 Carl Bach writes his Sinfonias
in C and B Minor, the two pieces you’ll hear tonight.
Declaration of 1776 US Independence.
French Revolution 1789 The begins, including the
storming of the Bastille.
Johann Christoph Bach’s Brandenburg 1795 1721 JSConcertos Friedrich Bach – the are completed.
1726
John Swift publishes Gulliver’s Travels.
last of the famous Bach composers – dies in Bückeburg.
THE BACH * FAMILY
Johann Ambrosius (1645–95)
Maria Elisabeth Lämmerhirt (1644–1694)
Johann Jacob (1682–1722)
Johann Christoph (1671–1721)
* Not the whole family, which is huge. And most of them were musicians of some kind.
Johann Balthasar (1673–1691)
JOHANN SEBASTIAN (1685–1750)
Maria Barbara Bach (1684 –1720)
Catharina Dorothea (1708–1774)
WILHELM FRIEDEMANN
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Anna Magdalena Wilcke (1701–1760)
CARL PHILIPP EMANUEL (1714–1788)
Johann Gottfried Bernhard (1715–1739)
(1710–1784) Gottfried Heinrich (1724 –1763)
Johann Christian* (1735–1782)
Elisabeth Juliane Friederica (1726–1781)
Johanna Carolina (1737–1781)
JOHANN CHRISTOPH FRIEDRICH (1732–1795)
* Johann Christian, also called ‘the London Bach’ (he’s buried in the churchyard of St Pancras Old Church) is the other notable composer on this list.
Regina Susanna (1742–1809)
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PROGRAMME NOTES
BACH: A FAMILY AFFAIR
J
ohann Sebastian Bach was father to 20 children, seven by his first wife Maria Barbara (who died in 1720) and thirteen by his second Anna Magdalena (who outlived him). Of the eleven that survived infancy, four were girls and seven boys, and of the boys four – Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich and Johann Christian – went on to be professional composers of note, Emmanuel and Christian more famous in their own time than their father had ever been in his. That may be story enough for a concert of works by these family composers, but there is more. For while the inherent musical ability
of the sons was undoubtedly nourished and deepened by the incomparable musical training they received at the hands of their father, and for all that they rightly revered his memory, their own compositions show signs of conflict between the High Baroque legacy of Johann Sebastian and their natural inclinations towards the stylistic developments that in the middle decades of the eighteenth century were leading to the Classical style of Haydn and Mozart, and in some cases even to the Romantic era beyond. Their separate fates also reveal much about the family dynamic among the Bachs of Leipzig.
Carl Philipp Emanuel Bach (1714-88)
Sinfonia in C, Wq182/3 1 2 3
Allegro assai Adagio Allegretto
Carl Philipp Emanuel was the second of the surviving sons, born when Sebastian was a court musician in Weimar. As a boy he followed his father’s career moves to Cöthen and Leipzig, and although he initially studied law was clearly bound for a life in music. In 1740 he obtained a post as harpsichordist at the court of Frederick the Great in Berlin, an ultimately frustrating job from which escape came only in 1768 with his appointment as Kantor (effectively city music director) in Hamburg. Emanuel’s last two decades in this culturally rich metropolis were the years of his greatest professional fulfilment, a time when his international reputation as a composer and keyboard player reached its height. By the time of his death, people were referring to him – not Sebastian – when they used the single name ‘Bach’. Around 20 symphonies by Bach are known, equally divided between his Berlin and Hamburg periods. The ten Hamburg works stand out, however, for their striking sense of release, fired by the invitation of Baron Gottfried Van Swieten, the musicloving Austrian Ambassador to Berlin who commissioned the first six of them in 1773, to give his imagination free reign. The result was music in the fervently emotional and unpredictable new style known as Empfindsamkeit (roughly translating as ‘ultra-sensitive’), further enlivened by the turbulent, mainly minor-key spirit of Sturm und Drang (‘storm and stress’) that was at this time affecting Haydn among other composers. Even Van Swieten, however, must have been amazed by the nervy extremes of expression that here mark Bach out as a composer of urgent individuality.
The C major Symphony quickly displays this closely-packed range of expressive devices: jagged melodic lines, rushing scales and angry trills jostle with each other or plunge headlong into caressing pianissimo phrases and dramatic silences. As in all these symphonies the movements are run together with crazy disjunctions: few listeners, for instance, would be prepared for the car crash with which the deeply affecting second movement bursts in, and perhaps no more surprising is the sudden change of mood that arrives with the courtly finale. Johann Sebastian Bach (1685-1750)
Harpsichord Concerto in D minor, BWV 1052 1 2 3
Allegro Adagio Allegro
All of J.S. Bach’s sons were accomplished keyboard players, taught as they had been by one of the greatest organists and harpsichordists of the day, and it is no surprise that they all composed in the genre their father himself seems to have created: the harpsichord concerto. Indeed, Sebastian’s surviving examples may well have been devised with the older sons in mind, perhaps for them to perform at the gatherings of the Collegium Musicum, the Leipzig concert society which he took charge of in 1729. Such pragmatic origins are certainly implied by the fact that all were adaptations of concertos written some years before for other instruments, yet while the earlier versions are sometimes clear enough – the violin concertos and the Fourth ‘Brandenburg’ all exist in keyboard form – for most the identity of the original solo instruments can only be conjectured. As we know it today, the D minor Harpsichord Concerto is possibly the second or third reworking of an earlier work, generally thought to have been for violin or perhaps viola d’amore.
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PROGRAMME NOTES
However it entered the world, this is noble and powerful music. Vivaldian in form, it is conceived on a scale that surely signals the hand of Bach, with a robust virtuosity and undemonstrative but persistently demonic quality in the outer movements, contrasting with a brooding seriousness in the central one, that have long made it the most frequently performed of his harpsichord concertos.
INTERVAL Johann Christoph Friedrich Bach (1732-95)
Sinfonia in D minor, WfvI/3 1 2 3
Allegro Andante amoroso Allegro assai
The third of J.S. Bach’s four composing sons was Johann Christoph Friedrich, born nine years after the family had moved to Leipzig. Having studied with his father and his second cousin Johann Elias (who was living in the house and acting as Sebastian’s secretary), he studied law at Leipzig University before, like Emanuel, switching to music as a career at the age of 18 with an appointment as a court musician to Count of Schaumburg-Lippe in Bückeburg. He remained there for the rest of his life, composing keyboard pieces, instrumental music and vocal works, some to texts by his colleague the poet Johann Gottfried Herder. His marriage to a professional singer brought nine children, including the last of the composing Bachs, Wilhelm Friedrich Ernst (1759–1845). Many of J.C.F. Bach’s works were destroyed in the Second World War, and only four of his 16 known symphonies survive. Though hardly in the revolutionary mode of Emanuel’s, they are competent and appealing works in the personable pre-Classical galant style much favoured by his employer – though not without hints, too, of the North German ‘sensibility’ of his older brothers.
Wilhelm Friedemann Bach (1710-1784)
Carl Philipp Emanuel Bach (1714-88)
Harpsichord Concerto in F minor
Sinfonia in B minor, Wq182/5
The oldest of J.S. Bach’s sons was Wilhelm Friedemann, a brilliant organist and talented composer but a difficult character whose career, despite the best efforts of his father, failed to run smoothly. Born in Weimar, his early life followed a similar course to Emanuel’s until in 1733 he was appointed organist at the Sophienkirche in Dresden, seat of the Elector of Saxony and one of the most musically spectacular cities in Europe. He later moved to a similar post in Halle, but a deteriorating relationship with the church authorities there eventually led to him walking out in 1764, and after that he never held another formal post. By the time he died he had been eking out a living in Berlin as a teacher and occasional recitalist, and selling off manuscript scores by his late father.
Bach was evidently well aware that the six symphonies for Van Swieten were of a boldness not even he had attempted before, because before sending them off to his patron he decided that it would be a good idea to audition them before a circle of friends and admirers in Hamburg. In 1814 an article in a music journal by the poet Klopstock recalled the occasion: ‘one could hear with delight the original, daring flow of ideas and the great variety and novelty in the forms and modulations … Seldom has a highly gifted mind poured out music of such superior, peculiar and high-spirited character.’
1 2 3
Allegro di molto Andante Prestissimo
Friedemann seems to have been the son who was personally closest to Sebastian, and his surviving musical output – mainly keyboard, chamber and orchestral music – sometimes shows the conflict he had in reconciling the older Baroque style of his father with newer pre-Classical manner, often ‘solving’ the problem by throwing them together in the same piece. The F minor Concerto manages more smoothly than that; its formal debt to Sebastian is obvious, while its melodic stamp and minor-key anxiousness belong very much to Friedemann’s generation. This concerto has also been attributed to Emanuel and (less probably) to the youngest Bach brother, Johann Christian, but in Ottavio Dantone’s opinion its moody nature strongly suggests Friedemann as author.
1 2 3
Allegretto Larghetto Presto
The B minor Symphony starts with a melody that is somehow both elegant and tense, and further underminings by scrabbling unison lines and threatening full-orchestral chords ensure that the mood never feels entirely comfortable. The second movement breaks in unexpectedly to bring a more settled melancholy, but this is soon swept aside as the finale pitches headlong into further agitation. Programme note © Lindsay Kemp
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SUPPORT US The past 30 years have seen the OAE grow to become one of the world’s leading period instrument orchestras performing to a global audience of over 5 million people each year.
Our education work reaches over 12,000 participants annually across the UK. The Night Shift, our pioneering late night series of informal performances, now tours internationally attracting audiences of over 4,000 each year. We love what we do and we’re proud of our international reputation for performing with warmth, imagination and expertise.
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We could not have reached these milestones without our loyal band of supporters. Our box office sales, touring and public funding brings in 70% of the income we need and the generosity of our donors is vital to make up the remaining 30%. Without this support, we could not realise our ambitious plans to continue our pioneering work on the concert platform and beyond.
OAE Young Patrons
Love the Orchestra of the Age of Enlightenment? Curious about what goes on behind the scenes? Become part of the OAE family by supporting us today.
Leaving a Legacy to the OAE
OAE Friends
As an OAE Friend (from £50), you can be sure to get your hands on your favourite seats with our priority booking period. You’ll also benefit from a unique insight into the inner workings of the Orchestra with regular rehearsal access, opportunities to meet the players and invitations to other events throughout the season. Join the OAE Friends at oae.co.uk/support or contact Danielle Robson at danielle.robson@oae.co.uk, 0207 239 9386.
OAE Patrons
OAE Patrons (from £1,000) enjoy unrivalled access to our artistic activity, with opportunities for involvement including invitations to Glyndebourne dress rehearsals, dinner with OAE players and guest artists, Patron trips, and the chance to select a concert in our Southbank Centre season, gaining special insight into the artistic process through backstage and rehearsal access.
We’re committed to enthusing the next generation of philanthropists through our Young Patrons programme. Aimed at people under 45, this membership scheme includes the opportunity to socialise with our musicians, 2 for 1 tickets to The Night Shift and a chance to meet like-minded people at networking events.
Legacies are crucial to our fundraising and help to sustain and increase the scope of our work. By leaving a legacy to the OAE you will be helping to shape the Orchestra’s future ensuring we can continue to inspire, enthuse and challenge audiences for years to come. To find out more visit www.oae.co.uk/support or contact Alex Madgwick, Head of Individual Giving, at alex.madgwick@oae.co.uk, 020 7239 9380.
Supporting our Projects
Every year, the OAE curates a season full of inspiring and unique projects. We are always looking for enlightened individuals who are interested in supporting this aspect of our work. Project supporters enjoy the chance to meet players and soloists and be involved in the creative process from the early stages right up to the performance. Please contact Emily Stubbs, Development Director at emily.stubbs@oae.co.uk, 020 7239 9381 for more information.
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INSTRUMENT CORNER HARPSICHORD
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e harpsichord is the more delicate h ancestor of the modern piano. The instrument as we know it probably developed in the high or late Middle Ages – written references to it start to appear from the 1300s.
At its most basic, the harpsichord is easy to understand – there’s a row of tight strings and when a key is pressed, the corresponding string is plucked. Each string is coiled around a small tuning pin, just like a piano, guitar or violin. The string passes tautly over a nut, extends down the length of the harpsichord and then lies taut on a bridge which rests on a soundboard made of spruce or fir. It’s that soundboard that is responsible for amplifying the strings’ vibrations and producing that room-filling sound. When a key is pressed, the jack (a thin piece of wood connected to the key) rises vertically and a plectrum attached to the jack plucks the string. While the key is still pressed and the jack still raised, the note still sounds, just like a piano. When the key is released the jack falls, the plectrum (which is spring loaded) is pushed back as it passes the string so it doesn’t pluck it again, and a damper comes to rest on the top of the jack. The string stops vibrating, cutting the note short cleanly. Because the strings are plucked in this way, the harpsichord is essentially one volume, despite clever arrangements of stops and strings which skilled players use to vary the sound.
Early harpsichords had just one keyboard and one set of strings. Later examples have two (like those you’re hearing tonight) or three keyboards and multiple sets of strings. Stops control which strings are being played by which keyboard, with one keyboard often playing two or three sets of strings for greater volume and tone. Harpsichords eventually lost out to the more fashionable fortepiano, where the strings are struck meaning players can vary the volume. The first fortepiano, credited to Bartolomeo Cristofori, was exhibited in JS Bach’s lifetime in 1709, and the instrument became more widely used during the careers of his sons. Indeed CPE Bach, to demonstrate the contrast between the harpsichord and fortepiano, wrote a concerto (Wq. 47) for both in which the solo parts are played on each instrument respectively.
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BIOGRAPHY
OTTAVIO DANTONE DIRECTOR / HARPSICHORD Graduated in organ and harpsichord at the Giuseppe Verdi Conservatory in Milan, Ottavio Dantone started a successful concert career at a very young age, concentrating on ancient music. He was the first Italian performer to obtain the first prize in two of the most important harpsichord competitions in the world: the International Competition of Paris (1985) and the International Competition of Bruges (1986). In 1996 he was appointed Musical Director of the Accademia Bizantina Orchestra, based in Ravenna. He has also regularly collaborated with other important orchestral institutions (using both ancient and modern instruments) such as Staatskapelle Berlin, Philharmoniker Orchestra in Hamburg, Orchestre National de France, Orchestra Filarmonica della Scala in Milano, and Philharmonia Baroque Orchestra of San Francisco. In March 1999 he made his successful operatic debut conducting the world première of Giulio Sabino by Giuseppe Sarti at the Teatro Alighieri di Ravenna (with the Accademia Bizantina). He led important productions including Il viaggio a Reims, Così fan tutte and Rinaldo at the Teatro alla Scala, Rinaldo (with the OAE) at Glyndebourne and L’Arbore di Diana at the Teatro Real di Madrid. He has made many radio and television appearances in Italy and abroad. His recordings (as soloist and as conductor) have won several international awards. Since 2003 he regularly records for both Decca and Naïve. He regularly runs advanced courses of harpsichord, chamber music and basso continuo.
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ORCHESTRA OF THE AGE OF ENLIGHTENMENT
It searched for the right repertoire, instruments and approaches with even greater resolve. It kept true to its founding vow.
In some small way, the OAE changed the classical music world too. It challenged hree decades ago, a group of those distinguished partner organisations inquisitive London musicians took and brought the very best from them, too. a long hard look at that curious Symphony and opera orchestras began to institution we call the Orchestra, and ask it for advice. Existing period instrument decided to start again from scratch. groups started to vary their conductors and They began by throwing out the rulebook. repertoire. New ones popped up all over Put a single conductor in charge? No way. Europe and America. Specialise in repertoire of a particular era? And so the story continues, with ever more Too restricting. Perfect a work and then momentum and vision. The OAE’s series move on? Too lazy. The Orchestra of the of nocturnal Night Shift performance have Age of Enlightenment was born. redefined concert parameters. Its new home And as this distinctive ensemble playing on at London’s Kings Place has fostered further period-specific instruments began to get a diversity of planning and music-making. foothold, it made a promise to itself. It vowed Great performances now become recordings to keep questioning, adapting and inventing on the Orchestra’s in-house CD label. The as long as it lived. Those original instruments ensemble has formed the bedrock for some of became just one element of its quest for Glyndebourne’s most ground-breaking recent authenticity. Baroque and Classical music productions. It travels as much abroad as to became just one strand of its repertoire. Every the UK regions: New York and Amsterdam time the musical establishment thought it court it, Birmingham and Bristol cherish it. had a handle on what the OAE was all about, Remarkable people are behind it. Simon the ensemble pulled out another shocker: a Rattle, the young conductor in whom the Symphonie Fantastique here, some conductorOAE placed so much of its initial trust, less Bach there. All the while, the Orchestra’s still cleaves to the ensemble. Iván Fischer, players called the shots. the visionary who punted some of his most At first it felt like a minor miracle. Ideas and individual musical ideas on the young talent were plentiful; money wasn’t. Somehow, orchestra, continues to challenge it. Mark the OAE survived to a year. Then to two. Elder still mines for luminosity, shade Then to five. It began to make benchmark and line. Vladimir Jurowski, the podium recordings and attract the finest conductors. technician with an insatiable appetite for It became the toast of the European touring creative renewal, has drawn from it some of circuit. It bagged distinguished residencies the most revelatory noises of recent years. at the Southbank Centre and Glyndebourne And, most recently, John Butt has conducted Festival Opera. It began, before long, to thrive. his experiments in Bach inside it. All five of them share the title Principal Artist. And then came the real challenge. The ensemble’s musicians were branded eccentric Of the instrumentalists, many remain from idealists, and that they were determined to those brave first days; many have come since. remain. In the face of the music industry’s big All seem as eager and hungry as ever. They’re guns, the OAE kept its head. It got organised offered ever greater respect, but continue only but remained experimentalist. It sustained to question themselves. Because still, they its founding drive but welcomed new talent. pride themselves on sitting ever so slightly It kept on exploring performance formats, outside the box. They wouldn’t want it any rehearsal approaches and musical techniques. other way. Andrew Mellor
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THE OAE TEAM Chief Executive Crispin Woodhead Projects Manager Jo Perry Projects Officer Sarah Irving Orchestra Manager Philippa Brownsword Librarian Colin Kitching Director of Finance and Operations Ivan Rockey Finance Officer Fabio Lodato Education Director Cherry Forbes Education Officer Louise Malijenovsky Director of PR & Press Katy Bell Director of Marketing and Audience Development John Holmes Digital Content Officer Zen Grisdale Marketing and Press Officer Charles Lewis Development Director Emily Stubbs
23 Head of Individual Giving Alex Madgwick Development and Events Administrator Danielle Robson Development Manager Catherine Kinsler Board of Directors Sir Martin Smith (Chairman) Cecelia Bruggemeyer (Vice-Chair) Lisa Beznosiuk Luise Buchberger Robert Cory Denys Firth Nigel Jones Max Mandel David Marks Roger Montgomery Olivia Roberts Susannah Simons Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Robert Cory Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen
Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Cecelia Bruggemeyer Lisa Beznosiuk Luise Buchberger Max Mandel Roger Montgomery Administration Orchestra of the Age of Enlightenment Kings Place, 90 York Way, London, N1 9AG Tel: 020 7239 9370 Email: info@oae.co.uk Website: oae.co.uk Registered Charity No. 295329 Registered Company No. 2040312
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OAE EDUCATION Now we’ve celebrated our 30th birthday year, it is a good moment to reflect on what we have achieved since we started our Education work 20 years ago. We’ve grown rapidly, with ten times as much educational activity happening this year compared to when our Education programme began. There are six main parts to our educational work: TOTS, Schools, Special Needs, Nurturing Talent, Opera and Flagship projects. We have partnerships in ten cities across the country, work with 12 music hubs and numerous venues and concert halls, and in every location we have created an extended OAE family, something we are very proud of.
And have worked with over
17,500 people
2 Concerts in our nurturing talent strand
Since September 2015 our education work has included:
21 TOTS and family concerts
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4 Community concerts
Special needs concerts and care homes visits
3projects Opera
16 Schools concerts
We have raised over £12,500 for WaterAid Events in unconventional settings (pubs and ferries)
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Looking ahead to 2016–17: Landscapes and Journeys
Support our Education programmes
In 2016–17 we will be exploring music with thousands of people of all ages from across the country. We are thrilled to have been awarded a grant by Arts Council England for a tour Musical Landscapes which will include work in Norfolk, Suffolk and County Durham. In each location we will be creating a film of the area which will then be set to music by students and local people. We will be encouraging everyone to explore their own landscape through music and come together in a series of performances with the OAE.
The work we do could not happen without the support of our generous donors. If you would like to support our Education work please contact Alex Madgwick, Head of Individual Giving alex.madgwick@oae.co.uk, 020 7239 9380
An OAE Education tribute: Remembering Claire Sansom, violinist at the OAE On Saturday 1 October, OAE Education was in Brighton as part of the Brighton Early Music Festival. We performed our first TOTS concert of the season, Going on a Journey, in memory of violinist Claire Sansom, who sadly passed away last January. She loved our TOTS concerts and played in most of them. We and her daughters thought it would be a fitting tribute to her, and as part of the concerts we played a lovely lullaby that Claire wrote and made it into a postcard to give to all the children who joined us. Right: OAE TOTS: Sailing Away at Lowestoft library, part of Watercycle (October 2015)
Below: Beverley residency with the National Centre for Early Music (May 2016)
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NEWS YOUNG PATRONS SIMONE JANDL
We’ve recently launched a Young Patrons scheme to encourage aspiring young philanthropists, under 45, to support the OAE and get closer to what we do at the same time. With networking events, access to The Night Shift and other special events, there are plenty of reasons to become one of the first Young Patrons. Visit oae.co.uk/ youngpatrons to find out more.
You might not even notice from the audience because Simone has been a friend of the Orchestra for a while now, but it’s with great excitement that we can announce her as our new Co-Principal Viola. She joins Max Mandel in leading the viola section. Although she’s a native German, she’s fluent in Italian and Spanish as well as German and English, so we’re looking forward to her joining us on European tours. Welcome, Simone.
Follow us for more news orchestraoftheageofenlightenment
@theoae
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CHRISTMAS ORATORIO Hopefully you’ve already booked your tickets to our Christmas Oratorio doubleheader with Masaaki Suzuki. But if two London concerts isn’t enough for you, why not join us on tour? We’re off to Paris, Rotterdam, Katowice, Brussels and Cologne. See you there.
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SUPPORTERS The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.
OAE THIRTY CIRCLE The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust THIRTY CIRCLE PATRONS Bob & Laura Cory Sir Martin Smith & Lady Smith OBE THIRTY CIRCLE MEMBERS Victoria & Edward Bonham Carter Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Julian & Camilla Mash Mark & Rosamund Williams
OUR SUPPORTERS ANN & PETER LAW OAE EXPERIENCE SCHEME Ann & Peter Law MAJOR SPONSOR
CORPORATE PARTNERS Apax Partners E.S.J.G. Limited Lindt Lubbock Fine Chartered Accountants Parabola Land Stephen Levinson at Keystone Law Swan Turton SEASON PATRONS Bob & Laura Cory Bruce Harris Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Sir Martin Smith & Lady Smith OBE Mark & Rosamund Williams
PROJECT PATRONS Julian & Annette Armstrong JMS Advisory Limited Adrian Frost Julian and Camilla Mash Philip & Rosalyn Wilkinson ARIA PATRONS Denys and Vicki Firth Gary & Nina Moss Andrew Nurnberg Rupert Sebag-Montefiore Caroline Steane Eric Tomsett CHAIR PATRONS Mrs Nicola Armitage Education Director Hugh & Michelle Arthur Violin Victoria & Edward Bonham Carter Principal Trumpet Anthony & Celia Edwards Principal Oboe Sir Vernon & Lady Ellis Co-Principal Viola Franz & Regina Etz Principal Double Bass James Flynn QC Co-Principal Lute/Theorbo Paul Forman Co-Principal Cello and Co-Principal Bassoon The Mark Williams Foundation Co-Principal Bassoon Sandy Mitchell Jenny and Tim Morrison Second Violin Haakon & Imogen Overli Co-Principal Cello Jonathan Parker Charitable Trust Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal Bassoon Olivia Roberts Violin John & Rosemary Shannon Principal Horn Roger & Pam Stubbs Sub-Principal Clarinet Crispin Woodhead & Christine Rice Principal Timpani
EDUCATION PATRONS John & Sue Edwards (Principal Education Patrons) Mrs Nicola Armitage Patricia & Stephen Crew The Nigel Gee Foundation Venetia Hoare Professor Richard Portes CBE FBA ASSOCIATE PATRONS Felix Appelbe & Lisa Bolgar Smith Mrs A Boettcher Christopher & Lesley Cooke David Emmerson Ian S. Ferguson & Dr. Susan Tranter Jonathan & Tessa Gaisman Sir Timothy & Lady Lloyd Stanley Lowy Michael & Harriet Maunsell David Mildon in memory of Lesley Mildon North Street Trust Andrew & Cindy Peck Michael & Giustina Ryan Ivor Samuels & Gerry Wakelin Emily Stubbs & Stephen McCrum Shelley von Strunckel Rev.d John Wates, OBE & Carol Wates Tim Wise
GOLD FRIENDS Noël & Caroline Annesley Mr & Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Simon Edelsten Michael & Harriet Maunsell Mr J Westwood SILVER FRIENDS Haylee & Michael Bowsher Michael Brecknell Christopher Campbell Mr & Mrs Michael Cooper Norman and Sarah Fiore Malcolm Herring Patricia Herrmann Peter & Sally Hilliar Rupert & Alice King William Norris Roger Mears & Joanie Speers Stephen & Roberta Rosefield Susannah Simons Her Honour Suzanne Stewart David Swanson
BRONZE FRIENDS Keith Barton Dennis Baldry Dan Burt Tony Burt Michael A. Conlon Anthony & Jo Diamond Mrs S M Edge Mrs Mary Fysh Ray & Liz Harsant YOUNG PATRONS Auriel Hill Josh Bell and Adam Pile Nigel Mackintosh Sam Hucklebridge Angus Macpherson Joseph Cooke and Rowan Julian Markson Roberts Hugh & Eleanor Paget THE AMERICAN FRIENDS Nigel Pantling OF THE OAE Alan Sainer Jane Attias Ruth & David Samuels Wendy Brooks & Tim Medland Gillian Threlfall Steve and Joyce Davis Mr & Mrs Tony Timms Jerome and Joan Karter David & Margaret Walker Andrew Wilson Mrs Joy Whitby Tony & Jackie Yates-Watson
TRUSTS AND 29 FOUNDATIONS Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Brian Mitchell Charitable Settlement The Charles Peel Charitable Trust Derek Hill Foundation Dunard Fund Ernest Cook Trust Fenton Arts Trust Garfield Weston Foundation The Golden Bottle Trust Goldsmiths’ Company Charity Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Orchestras Live Palazzetto Bru-Zane P F Charitable Trust Schroder Charity Trust Valentine Charitable Trust
We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm. For more information on supporting the OAE please contact Emily Stubbs, Development Director emily.stubbs@oae.co.uk 020 7239 9381. The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses.
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COMING SO THE NIGHT SHIFT END OF YEAR PARTY
CHRISTMAS ORATORIO, PARTS 4–6
Our rule-breaking late night series celebrates a year of monthly pub gigs. 8.30pm, Tuesday 29th November
The conclusion of Bach’s monumental retelling of the Christmas story. 7pm, Saturday 10th December
CHRISTMAS ORATORIO, PARTS 1–3
NOEL: A CHRISTMAS CELEBRATION
CLF Art Café, Peckham Tickets: thenightshift.co.uk
Maasaki Suzuki conducts Bach’s festive masterpiece in our first visit to Cadogan Hall. 7pm, Friday 9th December
Cadogan Hall Tickets: southbankcentre.co.uk /oae
Cadogan Hall Tickets: southbankcentre.co.uk /oae
Early German Baroque takes centre stage, including Schutz’s under-rated Christmas Story. 7.30pm, Monday 19th December Kings Place Tickets: www.kingsplace.co.uk
MÉHUL: THE FIRST ROMANTIC Explore the operas of a forgotten giant of the Romantic era. 7pm, Friday 10th February, 2017
St John’s Smith Square Tickets: southbankcentre.co.uk /oae
SARAH CONNOLLY’S BERLIOZ Explore six stages of love with one of Britain’s favourite singers. 7pm, Monday 20th February, 2017
Royal Festival Hall Tickets: southbankcentre.co.uk /oae
KIRKER MUSIC HOLIDAYS FOR DISCERNING TRAVELLERS Kirker Holidays offers an extensive range of holidays for music lovers. These include our own exclusive opera and chamber music festivals on land and at sea and tours to leading festivals in Europe.
THE DRESDEN MUSIC FESTIVAL A SEVEN NIGHT HOLIDAY | 17 MAY 2017
The Saxon capital is one of Europe’s most beautiful cities and a historic centre of musical excellence. Our holiday to the annual Dresden Music festival takes in performances by Diana Damrau, Steven Isserlis and Francesco Piemontesi and three major European orchestras. In addition to five concerts at venues including the famous Semper Opera and the Schloss Wackerbarth, we shall also explore the historic heart of Dresden itself. Highlights include the extraordinary collection amassed by the Electors of Saxony at the Green Vaults, the important exhibition of Old Masters housed in the elaborate rococo Zwinger Gallery, and the magnificently restored Frauenkirche. Price from £2,725 per person for seven nights including return flights, accommodation with breakfast, three lunches, two dinners, tickets for five concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.
Speak to an expert or request a brochure:
020 7593 2284 quote code GCN www.kirkerholidays.com
Theatre Angels Love Theatre? Want to be more involved? A Theatre Angel can enjoy the benefits such as….
What is a theatre Angel?
•
The lifeblood of Commercial Theatre are the investors. The ordinary people who invest the money through Producers to make the Shows Happen.
• • • • •
Complimentary tickets to opening night performances. Invitations to meet the cast and company at opening night parties. Access to VIP house seats across the West End. The opportunity to organise special theatre evenings for friends, colleagues, or clients. Industry insider status, recommendations, and information. Advance notice of further investment opportunities.
By doing so they join a select club of individuals who are an integral part of the producing process, and enjoy the insider benefits of glamorous press night parties, priority booking and of course if the production is successful, the financial rewards.
“Go on, be an angel” www.theatreangels.com
ACADEMY OF ANCIENT MUSIC london concert season 2016-17 Purcell the fairy queen Monday 10 October 2016, Barbican Hall
James Gilchrist Directs Thursday 20 October 2016, Milton Court Concert Hall
the Glory of Venice Wednesday 7 December 2016, Milton Court Concert Hall
bach anD the italian concerto Wednesday 15 February 2017, Milton Court Concert Hall
JorDi saVall Directs Saturday 11 March 2017, Barbican Hall
bach reconstructeD Friday 7 April 2017, Milton Court Concert Hall
richarD eGarr Directs Friday 5 May 2017, Milton Court Concert Hall
monteVerDi VeSPerS Friday 23 June 2017, Barbican Hall
tickets £10-50 plus booking fee* £5 for aamplify members | £70 premium seats available
Book at barbican.org.uk or call 020 7638 8891 aam.co.uk/london * £3 online, £4 by telephone, no fee when booked in person
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Without help, I wouldn’t be able to afford to study to become a singer. Our work gives people like Soraya a chance to follow their dreams. Help us help musicians. helpmusicians.org.uk 020 7239 9100
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Help Musicians UK is the new name for the Musicians Benevolent Fund. We help musicians of all genres throughout their professional lives. Registered charity 228089.
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