OAE programme April – May 2016 by Orchestra of the Age of Enlightenment

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Saturday 5 December 2015, 7.30pm Milton Court Concert Hall, London Padilla Missa ego flos campi / Victoria O magnum mysterium Fernandes Xicochi / English 16th century Coventry Carol Bach In dulci jubilo Ex Cathedra Consort Jeffrey Skidmore conductor 07/03/2016

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The glorious polyphony and rhythmic verve of Padilla’s Missa ego flos campi is complemented by stunning, seasonal music from Renaissance Spain and Latin America in the first half of this intimate concert. We return to our roots in the second half with a selection of ‘most highly favoured’ Christmas music and readings from the 13th to 18th-centuries.

EX CATHEDRA rey Skidmore Jeff

Vocal excellence, made in Birmingham

Shakespeare Odes

Thursday 12 May 2016, 7.30pm Milton Court Concert Hall, London

Gaudete!

Saturday 5 December 2015, 7.30pm Milton Court Concert Hall, London

Padilla Missa ego flos campi / Victoria O magnum mysterium

Arne The Garrick Ode (reconstruction) Fernandes Xicochi / English 16th century Coventry Carol Bach In dulci jubilo Beamish A New Ode by Carol Ann Duffy (world première) Ex Cathedra Consort To mark Shakespeare’s 400th anniversary, Ex Cathedra Jeffrey Skidmore conductor – in partnership with the Shakespeare Birthplace Trust, the Shakespeare Institute, and in association with the The glorious polyphony and rhythmic verve of Padilla’s Missa ego flos campi Royal Shakespeare Company – has commissioned new is complementedaby stunning, seasonal music from Renaissance Spain and Latin Shakespeare Ode from the PoetAmerica Laureate, Ann in theCarol first half of this intimate concert. We return to our roots in the second half with a selection of ‘most highly favoured’ Christmas music and readings from the 13th to Duffy, and composer Sally Beamish. 18th-centuries.

Shakespeare Odes

Thursday 12 May 2016, 7.30pm Milton Court Concert Hall, London www.excathedra.co.uk /excathedra

@excathedrachoir

Arne The Garrick Ode (reconstruction) Beamish A New Ode by Carol Ann Duffy (world première) EXCATH060 Barbican Ad.indd 1

To mark Shakespeare’s 400th anniversary, Ex Cathedra – in partnership with the Shakespeare Birthplace Trust,

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Contents

Spring Concerts 2016

Introducing this season

Resurrection Tuesday 12 April 2016

Rattle’s Bruckner Friday 22 April 2016

Winds of Change Saturday 7 May 2016

OAE Biography

The OAE Team

Glossary

Education

News

Future Concerts

OAE Supporters

Welcome to this concert with the Orchestra of the Age of Enlightenment, one of Southbank Centre’s four Resident Orchestras. This is our sixth season of offering free programmes and we hope that they’re helping you enjoy our concerts. This programme covers three different concerts. So if you’re coming to another one, don’t forget to bring it back with you. You can also download copies of our programmes from oae.co.uk/programmes.

Some of our concerts this year will be held at St John’s Smith Square. They’re still part of our Southbank Centre residency, but while the Queen Elizabeth Hall is closed for refurbishment, they’re taking place at St John’s Smith Square instead. At both St John’s Smith Square and Southbank Centre, please do not hesitate to approach our Duty Manager and ushers/hosts with any questions you may have. Eating, drinking, shopping? There are numerous cafes, restaurants and shops around the Southbank Centre site, including inside the Royal Festival Hall itself. At St John’s Smith Square the Footstool Restaurant in the Crypt will serve interval and post-concert refreshments, but please note at both venues that refreshments will not be allowed in the concert hall. If you wish to make a comment following your visit please contact Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email customer@southbankcentre.co.uk. We look forward to seeing you again soon.

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A small group of period instrument-playing pioneers formed the Orchestra of the Age of Enlightenment 30 years ago. At that point public enthusiasm for historically performed performance was still relatively recent and the idea of a player-led period group revolutionary.

Introducing this season

A lot has changed since then, but the Orchestra of the Age of Enlightenment continues to ride a wave of adventure and experimentation. This season is no different, and curators Andrew Watts (bassoon) and Cecelia Bruggemeyer (double bass) have put together a series of concerts that includes old, firm favourites alongside new ground for the Orchestra to tread.

The Old Cecelia comments on how the Orchestra remains true to its roots this season: One of the primary motivations of OAE was to be player-led rather than director-led, and 30 years on that’s still very much at the heart of what we do now. So you have players like Andy and me curating the season. You have players directing concerts – Steve Devine will be directing the opening concert and Matt Truscott directing the Winds of Change concert. And you have soloists from within the Orchestra throughout the season such as Lisa Beznosiuk, Antony Pay, Margaret Faultless, Kati Debretzeni and David Blackadder to name a few. Andrew adds: We felt it was important to feature the Baroque and Classical repertoire that has always been at the heart of the OAE’s work but to bring our approach up to date with the latest scholarship and research. So we’re delighted that John Butt is joining us for an all Bach programme. John is one of the leading Bach scholars of our time with a formidable breadth of knowledge and insight.

The New 2015–2016 also sees the Orchestra venturing into later repertoire. Cecelia says, ‘We’ve also got Mahler’s Second Symphony to look forward to with Jurowski – who would have thought when the OAE started 30 years ago, we would one day be talking about a period instrument performance of Mahler. It’s extraordinary how far we’ve come’ This season we perform with Principal Artists Sir Mark Elder, Vladimir Jurowski and Sir Simon Rattle and we’re reunited with Emeritus Conductor Sir Roger Norrington. But we’ll be forging new relationships as well, not least with our new Principal Artist John Butt. Cecelia comments:

I’m so looking forward to working for the first time with Patricia Kopatchinskaja, and hearing what Michael Gordon composes for the classical bassoon. It will be fascinating to see what the chemistry between them and us will create. I can’t wait to see how David Pountney brings Der Freischütz to the concert platform. And I’m really delighted that we are playing with Sir András Schiff again. It’s only the second time I’ll have worked with him and the Orchestra still have such wonderful memories of the Haydn and Mozart project we did together.’

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Resurrection Tuesday 12 April 2016

Resurrection Tuesday 12 April 2016 7pm Royal Festival Hall

Mahler Symphony No. 2, Resurrection

Vladimir Jurowski conductor Adriana Kuฤ erovรก soprano Sarah Connolly mezzo-soprano

Philharmonia Chorus

This concert will finish at approximately 8.30pm with no interval.

We are very grateful to the following Patrons for their generous support of this concert: An anonymous donor Bob and Laura Cory

OAE Extras at 5.45pm, free admission Clore Ballroom, Royal Festival Hall Why Mahler? Dr Robert Samuels (Open University) introduces us to tonight's concert. A discussion with members of the OAE looking at what period performance can bring to the music of Mahler. Aftershow Clore Ballroom, immediately after the concert Mahler expert Thomas Kemp, Matthew Truscott (violin) and Martin Lawrence (horn) join Nicola Christie to discuss tonight's performance.

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Violin I Matthew Truscott Jennifer Godson Kati Debretzeni Julia Kuhn Rodolfo Richter Hed Jaron Mayersohn* Miranda Fulleylove Declan Daly Madeleine Easton Sophie Barber Kathryn Templeman Leonie Curtin Alice Evans Simon Kodurand Lucy Waterhouse Anna Curzon Persephone Gibbs Violin II Ken Aiso Roy Mowatt Andrew Roberts Huw Daniel Nancy Elan Lucia Veintimilla* James Toll Iona Davies Stephen Rouse Jayne Spencer Colin Callow Debbie Diamond George Clifford Catherine Ford Christiane Eidsten Dahl Davina Clarke Flora Curzon Violas Timur Yakubov Max Mandel Nicholas Logie Martin Kelly Kate Heller Marina Ascherson Ian Rathbone Lisa Cochrane Penny Veryard Thomas Kirby Christopher Beckett Elisabeth Sordia* Nigel Goodwin

Cellos Luise Buchberger Catherine Rimer Andrew Skidmore Helen Verney Richard Tunnicliffe Josh Salter Jonny Byers George Ross Penny Driver Annabeth Shirley* Poppy Walshaw Bianca Riesner Sarah Butcher Double basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer Andrei Mihailescu Christine Sticher Pippa Macmillan Adam Wynter Kate Aldridge John-Henry Baker Heather Bird Jacqui Dossor Hannah Turnbull*

Flutes/piccolos Lisa Beznosiuk Katy Bircher Neil McLaren Judith Treggor

Offstage trumpets Paul Sharp Ross Brown Anthony Cross Peter Mankarious

Oboes Daniel Bates Henry Clay Leo Duarte (+ cor anglais) Matthew Draper (+ cor anglais)

Trombones Philip Dale Emily White Patrick Jackman Adrian France

Clarinets Antony Pay Sarah Thurlow Katherine Spencer (+ Eb clarinet) Mark Withers (+ bass clarinet) Eb clarinet Timothy Lines Bassoons Jane Gower Rebecca Hammond Christopher Rawley David Chatterton (+ contrabassoon) Horns Roger Montgomery Martin Lawrence Nicholas Benz Christopher Larkin Joseph Walters Martin Hobbs Finlay Bain

Tuba James Anderson Timpani Adrian Bending Marney Oâ&#x20AC;&#x2122;Sullivan Percussion Jeremy Cornes Glyn Matthews Matthew Dickinson Elsa Bradley Keith Millar Offstage percussion Donna-Maria Landowski Jude Carlton George Barton Harps Alison Martin Tanya Houghton Organ James Johnstone

*OAE Experience scheme Offstage horns Phillip Eastop Lauren Reeve-Rawlings Anneke Scott Alex Wide Trumpets David Blackadder Phillip Bainbridge Matthew Wells John Hutchins Neil Brough Simon Gabriel Simon Munday

Assistant Conductor Tim Murray

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Resurrection Tuesday 12 April 2016

‘I demand that everything must be heard exactly as it sounds in my inner ear.’ Gustav Mahler

Concert in context

The OAE performed and recorded the first movement of Mahler’s Second Symphony, Totenfeier, with Vladimir Jurowski in 2011. The success of this project convinced the Orchestra its 30th birthday season was the time for one of its biggest and most ambitious concerts to date – a very rare performance of the entire Second Symphony on the 19th century instruments for which Mahler composed. Mahler saw his Second Symphony as growing out of the narrative and ideas he put forward in his First Symphony, and the composition of Totenfeier was started almost immediately after the First Symphony’s completion in 1888. The rest of the movements for the Second, however, were not completed until six years later in 1894, when Mahler finally had his musical epiphany for the Finale while attending the funeral of his close personal friend and conductor, Hans von Bülow. At this early stage in his career Mahler was better known as an operatic conductor than as a composer. Like many conductors of the time, Mahler added his own Retuschen (amendments to the scores, instrumentation and so on) in order to create the best possible performance of a work. While many conductors used their Retuschen to to make the works more emotive and impactful, Mahler primarily used his to help reflect what he believed to be the intentions of the composer. For example, Mahler frequently edited Beethoven’s works. He justified these amendments by stating that in doing so he was making Beethoven’s intentions clearer. In updating other composers’ works,

Mahler was attempting to embody the mind of the composer and perform the works as he believed they would have wanted. It seems logical, therefore, to consider what Mahler would have wanted when performing his works today. He once stated: ‘I demand that everything must be heard exactly as it sounds in my inner ear. To achieve this, I exploit all available means to the utmost… It doesn’t do, in these matters, to have preconceived ideals which simply do not correspond with reality.’ In rehearsals for his works Mahler was notoriously specific about how he wanted his music performed, and he commented specifically that he would never dare leave the interpretation of his music up to the performers. Tonight the OAE is giving us the opportunity to hear Mahler’s Second as Mahler himself might have heard it when it was first performed.

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The Story of the Second The Second Symphony isn’t just a piece of music – it tells a distinct story through each of its five movements.

Programme Notes Gustav Mahler (1860–1911) Symphony No. 2, Resurrection (c.1888–1894) I II III IV V

Allegro maestoso Andante moderato In ruhig fliessender Bewegung Urlicht In Tempo des Scherzos

I . Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck (With complete gravity and solemnity of expression) The first movement of the Second Symphony, Totenfeier, was originally composed as an independent symphonic poem, and it is thought that Mahler considered it to be a continuation to the story of the hero in his first symphony, Titan. The movement opens in C minor, a key long associated with music of a sinister or tragic quality, with the double bass flurries of sixteenth notes creating an atmosphere of intense agitation. The movement follows Sonata form structure, with the restless C minor strings making up the first theme, and a contrasting lyric section in E major constituting the second theme. Through these contrasting subjects Mahler enables us to feel, on the one hand, the frustration, resentment and pain of our protagonist as he grapples at the questions of existence and searches for an escape from the mortality of life, and a lyrical tranquillity as he thinks back to the moments of love, tenderness and joy that he experienced in this world. The movement is a painful cry at life, a funeral march that crashes into the concert hall in a relentless and awe-inspiring depiction of the struggles and tortures of humanity. As Mahler described it: ‘What did you live for? Why did you suffer? Is it all only a vast, terrifying joke? – We have to answer these questions somehow if we are to go on living – indeed, even if we are to go on dying! The person in whose life this call has resounded, even if it was only the once, must give an answer.’

II Andante moderato. Sehr gemächlich. Nie eilen. (Very leisurely. Never rush.) The second movement is a relaxed waltz, and it is a nostalgic recollection of lost love. In contrast to the dramatic conclusion of Totenfeier, it opens with the elegant string writing of a lilting, romantic waltz. However, Mahler counteracts this with passages of rich minor melodic material, vastly different to the gleefully reminiscent air found in the previous section. Following one of these passages of darker reminiscence, Mahler reprises the opening theme in light, delicate pizzicato, depicting the ease of reconciliation and the youthful, playful agility of the young lovers following these moments of tension. Here Mahler is able to depict both the highs and lows of young love: its fond, heart-warming nostalgia, and the dramatic throws of adolescent youth.

III In ruhig fließender Bewegung (With quietly flowing movement) The Scherzo is an arrangement of one of Mahler’s earlier songs ‘Des Antonius von Padua Fischpredigt,’ taken from his Des Knaben Wunderhorn cycle. The song describes a preacher, St Anthony, who after finishing his

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Resurrection Tuesday 12 April 2016

Programme Notes

sermon at the church realises that it has emptied and decides instead to go down to the river and preach to the fishes. The story solemnly concludes with the moral that although the fish enjoyed the sermon, they remain unchanged as the preacher remains in another world, one not understood by them. The piece lilts between playful folk storytelling and sardonic dance-like romanticism, with flowing melodies of sixteenth notes constantly passing between the instruments, propelling the work forward and mimicking the current of the water or the relentless swimming of the fish. Mahler’s commentary on the work asks us to imagine the following image: ‘At a distance, you watch a dance through a window, without being able to hear the music, then the turning and twisting movement of the couples seems senseless, because you are not catching the rhythm that is key to it all. You must imagine that to one who has lost his identity and his happiness, the world looks like this – distorted and crazy.’ The Scherzo ends with the crashing of the ‘Death Shriek’, which Mahler described as the ‘appalling shriek of this tortured soul,’ as our protagonist cries out in anguish and despair for his lost happiness, lost identity, and his inevitable isolation on this earth.

IV Urlicht (Primeval Light). Sehr feierlich, aber schlicht (Very solemn, but simple) In stark contrast to the movements that surround it, Urlicht is another Wunderhorn song rearranged for an isolated moment of tranquillity and reflection, and a plea for immortality. The voice leads us into the movement followed by a gentle brass chorale, setting the tone for the sacred and heavenly context in which the singer tells of how she transcended to heaven, yet was turned away by an angel and sent back to earth. The movement resounds with the notion of ones striving to return to this primal light, and a turn from the bitterness of death to hope for reaching the sanctity of the afterlife.

V Im Tempo des Scherzos (In the tempo of the scherzo) The final movement bursts through the serenity of Urlicht, with the ‘Death Shriek’ that concluded the Scherzo, throwing us into a barren and apocalyptic landscape in which the dead souls of the earth are making the pilgrimage to be reborn. In this movement Mahler intended to confront the questions that were raised in Totenfeier and depict the day of eternal judgement and the call from the soul for eternal salvation. Mahler skilfully demonstrates his prowess as an orchestrator in this movement; he incorporates offstage trumpet calls which echo around us as if calling to us from the beyond, and the crashing percussion and erratic shrieking melodies found throughout contribute in our depiction of the marching procession of the spirits of the earth. Yet, as ever with Mahler, he layers in contrasting textures and passages that maintain a truly transcendental quality, intended to encapsulate the listener in a musical sphere that touches on the otherworldly, the spiritual, and the joy of salvation that accompanies ones acceptance into the afterlife. Following the ‘Last Trump’ call from the offstage brass, an eerie silence hangs in the air after the flutes, the ‘bird of death’, sing out into the night, calling forth for the chorus to lead us on. Programme notes © Genevieve Arkle

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Texts and Translations IV Urlicht (Primeval Light). Sehr feierlich, aber schlicht (Very solemn, but simple) O Röschen rot! Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein! Je lieber möcht’ich im Himmel sein. Da kam ich auf einen breiten Weg: Da kam ein Engelein und wollt’mich abweisen. Ach nein! Ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

Red rose! Man lies in greatest need! Man lies in greatest sorrow! How I would rather be in heaven. Then I came across a broad path Then came a little angel and wanted to turn me away. Ah no! I would not let myself be turned away! I am from God and I want to return to God! The beloved God will grant me a little light, Which will light me into that eternal blissful life!

V Im Tempo des Scherzos (In the tempo of the scherzo) Aufersteh’n, ja aufersteh’n Wirst du, Mein Staub, Nach kurzer Ruh’! Unsterblich Leben! Unsterblich Leben Wird der dich rief dir geben!

Arise, yes, arise, Will you My dust After a brief rest! Immortal life! Immortal life! Will he who called you, give you!

Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!

To bloom again were you sown! The Lord of the harvest goes And gathers in the sheaves, For us, who died!

O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, ja dein, was du gesehnt! Dein, was du geliebt, Was du gestritten! O glaube Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Was enstanden ist Das muß vergehen! Was vergangen, auferstehen! Hör auf zu beben! Bereite dich zu leben! O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heißem Liebesstreben, Wed’ich enschweben Zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ich, um zu leben! Aufersteh’n, ja aufersteh’n Wirst du, mein Herz, in einem Nu! Was du geschlagen Zu Gott wird es dich tragen!

O believe, my heart, O believe: Nothing to you is lost! Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for! O believe You were not born for nothing! Have not for nothing, lived, suffered! What was created Must decay, What decayed, rise again! Cease your trembling! Prepare yourself to live! O Pain! You piercer of all things, From you, I have escaped! O Death, you conqueror of all things, Now, are you conquered! With wings which I have won for myself, Passionately striving for love, I shall soar upwards To the light which no eye has reached! Die shall I in order to live! Rise again, yes, rise again, Will, you my heart, in an instant! That which you have suffered To God it shall carry you!

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Resurrection Tuesday 12 April 2016

Boffin’s Corner Mahler and the Programmatic Issue For a composer who was adamant that performances of his music should be, “exactly how it sounds in his inner ear”, Mahler had surprising difficulties with his programme notes. In fact, he decided to abandon them entirely later in his career. For the Second there are in fact three versions of ‘programme notes’, or rather, three different commentaries from Mahler regarding what he believed his Symphony to be about. The first set comes from 1896 from the Recollections of Natalie Bauer-Lechner, Mahler’s close personal friend who documented much of his life and compositional process. The second set were drafted in a letter to his friend Max Marschalk, also in 1896, and the final set were official Programme Notes that were written for the Dresden Performance of the work in 1901. In each version Mahler diverges slightly and brings in new ideas or metaphors to help the listener interpret his work. For example, in the Bauer-Lechner notes for Totenfeier,’ he states: ‘The first movement depicts the titanic struggles of a mighty being still caught in the toils of the world; grappling with life and the fate to which he must succumb - his death.’ In this version it is apparent that Mahler’s protagonist is very much alive but is struggling with life and inevitably must come to terms with his future fate. However, in the Dresden notes of 1901, Mahler’s protagonist it seems is already dead and we are instead recapping his life through the music: ‘We stand by the coffin of a well-loved person. His life, struggles, passions and aspirations once more, for the last time, pass before our mind’s eye.’ The differences between the programme notes convey Mahler’s own confusion as he attempted to follow the conventions of the time, however it seems that he struggled greatly in settling on one concrete story that outlined the Second. In a letter to Max Kalbeck Mahler proclaimed: ‘And so once again: Down with every program! After all, one has to bring along ears and a heart and, last but not least, be willing to give oneself to the rhapsodist. A remnant of mystery always remains – even for the creator!’ © Genevieve Arkle

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Biography Vladimir Jurowski conductor One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow in 1972 and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the Musikhochschule of Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival conducting RimskyKorsakov’s May Night, and the same year saw his debut at the Royal Opera House Covent Garden with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997-2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000-2003), Principal Guest Conductor of the Russian National Orchestra (2005-2009) and Music Director of Glyndebourne Festival Opera (2001-2013). Recent highlights include performances of Boris Godunov, uniting the Orchestra of the Age of Enlightenment with the orchestra of the Mikhailovsky Theatre in St Petersburg, appearances with the Mahler Chamber Orchestra at the Lucerne Festival and a unique project with the London Sinfonietta in Moscow to celebrate the Anglo-Russian Year of Cultural Exchange. With the State Academic Symphony of Russia he has developed a highly individual and celebrated profile in Moscow with a strong focus on contemporary repertoire, and curated projects, most recently a series of concerts exploring music from the 1930s and 1940s across all sides of the European political and wartime spectrum. Highlights of the 2015–2016 season and beyond include his return visits to the New York Philharmonic, Boston Symphony, Cleveland, Royal Concertgebouw and Philadelphia Orchestras, his debut at the Salzburg Easter Festival at the helm of the Staatskapelle Dresden, and performances at the Vienna Musikverein and Konzerthaus with the Vienna Symphony

Orchestra. He will bring together the London Philharmonic and State Academic Symphony of Russia to perform Schoenberg’s Gurrelieder at the Moscow Rostropovich Festival, tour with the State Academic Symphony to major European capitals and summer festivals, and among the highlights of his work with the London Philharmonic he will lead performances of Das Rheingold, Mahler’s Seventh and Eighth symphonies and the world premiere of Alexander Raskatov’s Green Mass.

Photo: Vera Zhurasleva

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Resurrection Tuesday 12 April 2016

Biography Adriana Kučerová soprano The young Slovakian soprano Adriana Kučerová studied at the Academy of Performing Arts in Bratislava and the Conservatoire Supérieur de musique et de danse de Lyon. In 2005 she won first prize at the International Hans Gabor Belvedere Competition in Vienna and she was supported by, amongst many others, the Gulbenkian Foundation and the Teatro alla Scala in Milan. At the Ravenna Festival she sang Mozart’s Vesperae solennes de confessore and Exsultate jubilate conducted by Riccardo Muti. The same year she went to the Salzburg Mozart Wochen and at the Salzburg Festival and performed Serpetta in La Finta Giardiniera conducted by Ivor Bolton. At the Teatro alla Scala she sang Frasquita in Carmen under the baton of Daniel Barenboim. She sang a new production of Werther at the Munich State Opera conducted by Ivor Bolton, Ninetta in a new production of La finta semplice in Vienna as well as Adina and Nanetta in Falstaff with Glyndebourne Festival Opera. She also has made her Gretel debut at Glyndebourne, conducted by Kazushi Ono. The Sunday Times wrote: ‘It’s Adriana Kučerová’s irrepressibly hyperactive Gretel who steals every scene.’ Adriana sang Anne Trulove in a new production of The Rake’s Progress conducted by Nikolaus Harnoncourt at the Theater an der Wien, Sophie in Werther at Paris Opera. With Vladimir Jurowski conducting she sang Lauretta in Gianni Schicchi with the Santa Cecilia in Rome and the title role of the Cunning Little Vixen at the Paris Opera. Her recent successes were Susanna in Le nozze di Figaro at the Maggio Musicale Fiorentino, Teatro Real Madrid and the Houston Grand Opera, Adina at Deutsche Staatsoper Berlin and Rosina and Adina at the Vienna State Opera.

Photo: Jakub Gulyas

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Biography Sarah Connolly mezzo-soprano Born in County Durham, mezzo-soprano Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She was made CBE in the 2010 New Year’s Honours List. In 2011 she was honoured by the Incorporated Society of Musicians and presented with the Distinguished Musician Award. She is the recipient of the the Royal Philharmonic Society’s 2012 Singer Award. Highlights in her 2015–2016 season include Fricka in Das Rheingold & Die Walküre at Bayreuther Festspiele, Brangäne in Tristan und Isolde at Festspielhaus Baden-Baden and in concert with the Berlin Philharmonic Orchestra. She also plays the title role in Ariodante for Netherlands Opera, Wood Dove in Gurre-Lieder at Paris Opera and Jocaste in Enescu’s Œdipe at Covent Garden. Past highlights have included Fricka and Brangäne at Covent Garden; Komponist in Ariadne auf Naxos and Clairon in Capriccio at the Metropolitan Opera; the title role in Giulio Cesare at Glyndebourne; and the title role in Ariodante at Festival d’Aix-en-Provence. A favourite at the English National Opera, her many roles for the company have included Octavian, the title roles in Charpentier’s Medée, Handel’s Agrippina, Xerxes and Ariodante, and The Rape of Lucretia. She was nominated for an Olivier Award for Outstanding Achievement in Opera for her Sesto in La clemenza di Tito. The future sees her return to the Metropolitan Opera, Covent Garden, English National Opera, Gran Teatro del Liceu and Glyndebourne, and make major debuts at the Teatro Réal in Madrid and at the Vienna State Opera. She has appeared in recital in London, New York, Boston, Paris, Amsterdam, Rotterdam, Stuttgart and at the Aldeburgh, Cheltenham, Edinburgh and Oxford Lieder Festivals and her many concert engagements include appearances at the Lucerne, Salzburg, Tanglewood and Three Choirs Festivals and at the BBC Proms where, in 2009, she was a memorable guest soloist at The Last Night. Committed to promoting new music, her world premiere performances include Judith Bingham’s The Colour of Fire; Torsten Rasch’s A Welsh Night; Gareth Farr’s Relict Furies; Jonathan Harvey’s Songs of Li Po and Sir John Tavener’s Tribute to Cavafy and Gnosis.

Photo: Peter Warren

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Resurrection Tuesday 12 April 2016

Biography Philharmonia Chorus

Patron: President: Chorus Master:

HRH The Prince of Wales Jeffrey Tate CBE Stefan Bevier

An independent symphony chorus based in London, the Philharmonia Chorus was founded in 1957 and quickly established itself as one of Europe’s leading symphony choruses. In a highly distinguished career, the Chorus has performed with nearly all the leading conductors of the age. Last year included performances of Beethoven’s Symphony No.9 ‘Choral’ with the Philharmonia Orchestra at the Royal Festival Hall, London, Verdi’s Messa da Requiem at the Sheldonian Theatre, Oxford, Act 3 of Wagner’s Parsifal with the Orquesta de Valencia conducted by Yaron Traub, and performances of Brahms’ Nänie and Rossini’s Stabat Mater at the Easter at King’s Festival in Cambridge conducted by Stephen Cleobury, broadcast live on BBC Radio 3. In May the Chorus returned to Spain for performances of Mahler’s Second Symphony, in June they took part in showings of Breakfast at Tiffany’s with the Philharmonia Film Orchestra conducted by Justin Freer at Royal Albert Hall, London, and in September performed Mozart’s Requiem at the Royal Festival Hall with the English Chamber Orchestra. In December they returned to Spain for a complete performance of Handel’s Messiah with the Orquesta de Valencia conducted by Stefan Bevier, with all soloists drawn from the Chorus’s Professional Singer Scheme. The performance was recorded by Spain’s Radio Clásica for future transmission. So far in 2016 the Chorus has returned to Spain for a performance of Rossini’s Stabat Mater conducted by

Yaron Traub, and last month it gave the world première of A Prussian Requiem by film composer John Powell with the Philharmonia Orchestra conducted by José Serebrier at the Royal Festival Hall. Future plans include Orff ’s Carmina Burana with the Royal Philharmonic Orchestra conducted by Charles Dutoit, a showing of the film Amadeus with live music at the Royal Albert Hall with the Academy of St Martin’s in the Fields, and tours to France, Spain and Germany. Stefan Bevier originally studied singing and double bass at the Hochschule der Künste, Berlin, and obtained a scholarship from the Herbert von Karajan Foundation. He was a member of the Orchestra Academy of the Berlin Philharmonic Orchestra as well as a regular deputy for them under Herbert von Karajan. He studied singing with Dietrich FischerDieskau, Schuch-Tovini and Aribert Reimann, and conducting with the former Chief Conductor of the Berlin Philharmonic, Sergiu Celibidache. He has worked closely with many conductors of international stature, including Herbert von Karajan, Eugen Jochum, Karl Böhm, Leonard Bernstein, Charles Dutoit, Lorin Maazel, Colin Davis, Riccardo Muti, Claudio Abbado, Sir Simon Rattle, Christoph von Dohnányi, Vladimir Ashkenazy, Gianandrea Noseda, Eliahu Inbal, Leonard Slatkin, Esa–Pekka Salonen, Danielle Gatti, Vasily Petrenko, Daniel Harding, Yaron Traub, David Robertson, Jeffrey Tate and Andris Nelsons. He has conducted more than 170 different orchestras and choirs around the world, and he conducts about 80 concerts a year. www.philharmoniachorus.co.uk

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Philharmonia Chorus

Sopranos Katherine Adams Catherine Andrews Bogna Bargiel Gill Beach Pamela Bennett Fleur Bray Elizabeth Casselton Imogen Cawrse Sofia Celenza Peyee Chen Mimi Doulton Rachel Farago Sheila Fitzgerald Farah Ghadiali Elina Gofa Marina Goodman Kate Harris Viki Hart Ann Heavens Rebecca Henning Charlotte Hewett Lindsey James Aneta Kolton Sarah Lambie Jackie Leach Ruth Lovett Dilys Morgan Laurel Neighbour Rosslyn Panatti Linda Park Sarah Richards Emily Richter Ayano Sasaki-Crawley Sarah Seeemuller Brenda Smith Johnson Bryony Soothill Denise Squires Alexandra Stenson Elisabeth Swedlund Lorna Swift Elizabeth Thomas Rachel Toynbee Alice Usher Joanna Vidal Shirley Wadham Sophie Walby Rosalind West

Altos Victoria Aindow Elizabeth Album Joanna Arnold Jenifer Ball Claire Barnett-Jones Sally Brien Anneliese Collett Ursula Davies Caroline Davies Lara de Belder Sue Dodd Rachel Dreece Naomi Dunstan Ellie Edmonds Milda Fontanetti Jaime Jo Hallam Judy Jones Emma Lewis Nelli Orlova Pamela Pearce Lindsay Rosser Helen Rotchell Iveta Rozlapa Muriel Scott Maija Siren Sue Smith Silvia Strebel Emilie Taride Danny Thomas Hana Tiller Leila Zanette Dagmar Zeromska

Tenors Simon Bainbridge Keith Bennett Christopher Beynon William Bouvel Christian Forssander Edmund Henderson Christopher Hollis James Hutchings David Lester Simon Marsh Andrew Martin Jon Meredith William Morgan Grégoire Mourichoux Laurence Panter David Phillips James Rhoads Michael Ridley Ben Smith Paul Thirer Kieran White Anthony Yates

Basses Shaun Aquilina Stephen Benson David Bryant Sherman Carroll Geoffrey Chang James Corrigan Phillip Dangerfield Mike Day Christopher Dollins Daniel D’Souza Neville Filar Alexandre Garziglila Richard Gaskell Nigel Gee Richard Harding Oliver Hogg Peter Kirby Stuart Lakin Samuel Lom Geoffrey Maddock Sam Poppleton André Refig Stephen Rosser Kenneth Ryan Benjamin Schilperoort James Shirras Alistair Sutherland Gareth Thomas Stephen Wilmot Jonathan Wood David Wright

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Rattle’s Bruckner Friday 22 April 2016

Rattle’s Bruckner Friday 22 April 2016 7pm Royal Festival Hall

Brahms Tragic Overture Rott Scherzo from Symphony No. 1

Interval

Bruckner Symphony No. 6

Sir Simon Rattle conductor

This concert is being recorded by BBC Radio 3, to be broadcast at a future date.

This concert will finish at approximately 9pm, including an interval of 20 minutes. We are very grateful to Sir Martin and Lady Smith for their support of this concert. OAE Extras at 5.45pm, free admission Royal Festival Hall 1880 – With all three pieces in tonight’s concert written in the year 1880 we examine the social and political context of them, with Dr Ben Winters (Open University).

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Violin I Kati Debretzeni Jennifer Godson Rodolfo Richter Julia Kuhn Miranda Fulleylove Andrew Roberts Maya Magub Roy Mowatt Judith Templeman Huw Daniel Rachel Isserlis Andrej Kapor* Simon Kodurand Alice Evans Stephen Rouse Violin II Matthew Truscott Colin Scobie Iona Davies Claire Holden Nancy Elan Jayne Spencer Paula Muldoon Oliver Cave* George Clifford Declan Daly Catherine Ford Clare Hoffman Anna Curzon Violas Max Mandel Nicholas Logie Martin Kelly Annette Isserlis Marina Ascherson Ian Rathbone Christopher Beckett Thomas Kirby Penny Veryard Elisabeth Sordia* Luba Tunnicliffe

Cellos Luise Buchberger Andrew Skidmore Helen Verney Catherine Rimer Jennifer Morsches Penny Driver Richard Tunnicliffe Carla Rovirosa Guals* Eric de Wit

Flutes Lisa Beznosiuk Katy Bircher

Double basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer Andrei Mihailescu Matthew Gibson Pippa Macmillan Adam Wynter Kate Aldridge Shuko Sugama*

Clarinets Antony Pay Sarah Thurlow

Piccolo Neil McLaren Oboes Josep Domenech Leo Duarte

Bassoons Peter Whelan Sally Jackson Contrabassoon David Chatterton Horns Roger Montgomery Martin Lawrence Gavin Edwards David Bentley Nicholas Benz Trumpets David Blackadder Phillip Bainbridge Matthew Wells John Hutchins Trombones Philip Dale Martyn Sanderson Stephen Saunders Hilary Belsey Tuba James Anderson Timpani Adrian Bending Percussion Nicholas Ormrod *OAE Experience scheme

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Rattle’s Bruckner Friday 22 April 2016

Concert in context

Tonight’s concert provides a fascinating snapshot of AustroGerman orchestral music at the dawn of the 1880s. Aged only 47, but already on the verge of a perceivable ‘late’ period, Johannes Brahms stood four-square to the world – an indomitable creative force whose inspiration seemed to flow directly from Bach and Beethoven. Although Bruckner was by now in his mid-fifties, he was still considered a relatively minor figure by comparison with the mighty Brahms and opera supremo Richard Wagner. This would all change with the premiere of Bruckner’s Fourth Symphony in 1881, the year he completed the Sixth we hear played tonight. Hans Rott, then aged 22 and Bruckner’s most gifted pupil, was on the verge of making a major breakthrough with his First Symphony, from which we hear the scherzo third movement. Sadly, Rott’s struggles with mental health issues made him extremely vulnerable to criticism, and it was Brahms’s less than tactful remarks about this very symphony that ultimately sent him over the edge.

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Programme Notes Johannes Brahms (1833–1897) Tragic Overture, Op. 81 (1880)

The searing intensity of Brahms’s Tragic Overture acted as an emotional safety valve during his concurrent work on a piece of startlingly different hue: the Academic Festival Overture, which he dismissed in a letter as ‘a very jolly potpourri on student songs à la Suppé.’ Although it was not uncommon for Brahms to compose two emotionally opposing works in close proximity – the volatile First and pastoral Second Symphonies, for example – none takes this tendency to such extremes. As Brahms himself put it: ‘One laughs, the other weeps’. In a letter to his publisher of September 1880, Brahms reported: ‘On this occasion I could not deny my melancholy frame of mind and have composed an Overture to a Tragedy’. This has led some commentators to deduce that Brahms had some sort of programme in mind, especially as he had recently considered writing some music to accompany a staged production of Goethe’s Faust. The latest evidence appears to contradict this, however, as the earliest known sketches for the overture include clear indications for an exposition repeat, indicating that it may have begun life as one of Brahms’s many abandoned symphonic projects. Set in motion by two hammerblows of fate, the Tragic Overture rages indomitably until plaintive calls from the solo oboe and horns, accompanied by a gentle oscillating figure in the strings, momentarily soothe the music’s troubled surfaces. One of Brahms’s most heart-felt melodies follows in the violins, though no sooner has it got underway than it too is swept aside. The haunting middle section is dominated by a ghostly, subdued march that all-too-briefly resolves into the luxuriant melody once more (led this time by the violas), before dark forces drive the music relentlessly towards a doom-laden apotheosis.

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Rattle’s Bruckner Friday 22 April 2016

Programme Notes Hans Rott (1858–1884) Scherzo from Symphony No. 1 in E major (1878–1880)

On paper Hans Rott seemed to have everything going for him. Born the son of a well-known comic actor, he showed exceptional musical ability from an early age and subsequently won a scholarship to study at the Vienna Conservatory. His fellow students there included Hugo Wolf and Gustav Mahler, with whom he shared digs for a time, while his organ professor turned out to be none other than Anton Bruckner, who would later declare Rott his ‘favourite pupil’. Rott’s problems began in 1878 when he submitted the first movement of an intended symphony to an expert panel who (apart from Bruckner) were resolutely unseduced by the music’s refreshing take on established procedures. Undeterred, two years later Rott expanded it into a fourmovement symphony that Mahler declared a work of ‘genius’ and the harbinger of a ‘new style’. The outdoor exuberance and ‘ländler’like peasant gait of the scherzo in particular can be heard resonating throughout Mahler’s own symphonies (most especially the Fifth). Convinced that he had a masterpiece on his hands, Rott illadvisedly showed the score to Brahms, who had no time for Bruckner (and by extension his students) or the conservatory or anything overtly new. This helps explain why he dismissed such a highly accomplished score as showing little promise, with the suggestion that Rott should consider giving up composing. Utterly devastated, Rott never recovered from the shock of this encounter and a few months later,

INTERVAL

while journeying by train to take up a new appointment, threatened a fellow-passenger with a gun when he attempted to light a cigar – Rott claimed that Brahms had lined the carriage with dynamite and that it might therefore explode. Diagnosed with hallucinatory persecution mania, Rott spent the rest of his days in an asylum, where he died of tuberculosis in June 1884 following several suicide attempts.

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Programme Notes Anton Bruckner (1824–1896) Symphony No.6 in A major, WAB 106 (1879–81) I Maestoso II Adagio: Sehr feierlich III Scherzo: Nicht Schnell – Trio: Langsam IV Finale: Bewegt, doch nicht zu schnell UK premiere of the Anton Bruckner Urtext Complete Edition, edited by BenjaminGunnar Cohrs.

Although Bruckner is now widely recognised as one of the most important symphonists in the Austro-German tradition, during his lifetime his groundbreaking ideas were slow to gain recognition. Brahms certainly had little time for Bruckner, dismissing him as ‘a swindle that will be forgotten in a few years’ and his majestic late masterpieces as ‘symphonic boa constrictors.’ Part of the reason Bruckner’s symphonies took so long to achieve a wide audience is their unhurried, indomitable pacing. His is a hypnotic, profoundly spiritual art that refuses to be rushed. His structures unwind gradually and with awesome precision, unleashing an all-engulfing emotional power unlike anything else in western music. Recognition of Bruckner’s profound creative genius was a long time coming, however. His first three numbered symphonies were met by almost universal indifference by the Viennese. The First was dismissed as ‘wild‘, the Second as ‘nonsense’ and the trailblazing Third as ‘unperformable’. The latter was premiered in 1877 by the Vienna Philharmonic under Bruckner himself to the sounds of jeers and catcalls from an audience which had dwindled to a mere 25 (including the teenage Mahler) by the end, leaving the orchestra to make a rapid exit. Such was the inauspicious start for the composer‘s first indisputable symphonic masterpiece. Following the abject failure of his first three symphonies, Bruckner’s Fourth (the so-called ‘Romantic’) was accorded a rapturous welcome at its premiere in 1881 under Hans Richter. It seemed as though his reputation as a composer was finally secure, yet the fate of his next two symphonies was if anything more ignominious than anything he had so far

endured. The Fifth of 1876 had to wait until two years after Bruckner’s death before receiving its premiere in a much-altered version by one of his favourite pupils, Franz Schalk. At least the Sixth had two of its movements performed during his lifetime, but only received its first ‘complete’ performance in 1899 under the distinguished composer-conductor (and Bruckner devotee) Gustav Mahler, who took it upon himself to cut the score by around a third and ‘buff up’ the orchestration in places. Yet despite such set-backs the composer’s faith remained immutable: ‘Out of thousands, God gave talent to me,’ he observed. ‘How would the Father in Heaven judge me if I followed others and not Him?’ By Bruckner’s standards, the Sixth Symphony, composed in the wake of the Third’s disastrous premiere, is structured with almost classical concision. Those familiar with the archetypes established by the Fourth Symphony are often taken aback on first acquaintance by the Sixth’s lack of a mysterious, tremolando opening and its tendency to avoid long-range crescendos and reflective interludes. This is music of supreme confidence that hurtles the listener immediately into the action with an insistent triplet figure of excited anticipation and forward momentum that crowns the opening movement in a blaze of thrilling affirmation. This least typical of Bruckner’s mature symphonies continues with an unusually tender Adagio (marked to be played ‘very solemnly’), whose lyrical expansiveness is crowned by an indelible passage in which cellos and violins entwine in nobly restrained ecstasy. The nononsense scherzo states its case with the utmost economy, setting up a central trio whose unusual musical juxtapositions – including

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Rattle’s Bruckner Friday 22 April 2016

Programme Notes

mysterious string pizzicato and Weber-like horn roulades – never allow the music to truly settle. Tellingly Bruckner marks the roller-coaster finale to be played with the sensation of ‘moving onwards, but not too fast’. Musical ideas are exchanged between orchestral families with a dazzling, fast-cutting vitality that propels the listener along irresistibly towards the final, brass-saturated eruption of sound. Programme Notes © Julian Haylock

Boffin’s Corner Dr. Benjamin-Gunnar Cohrs gives us the lowdown on his new edition of Bruckner’s Sixth Symphony, which receives its world premiere at tonight’s concert. In comparison with other composers, Bruckner’s own manuscripts contain very few errors in the musical text. Nevertheless, they present particular problems in terms of performance practice, because dynamic markings, articulation, or tempi were often added during the final stages of work on a composition. The complex source material demands that, in addition to the original autograph manuscripts, the first copies, manuscript sets of parts, first editions and corresponding galley proofs have also to be taken in consideration. This is where the new Anton Bruckner Urtext Complete Edition comes into play. All sources have been thoroughly examined as a whole for the first time and are newly presented together. Bruckner’s Sixth remains one of the least played of his symphonies. It is also a symphony where the performance practice up to the present day has been distorted by misunderstandings of tempo and structure, not least because of the enduring legacy of the much-altered first edition of Josef Schalk (1899). Compared with Schalk’s earlier piano arrangement, it becomes apparent that he essentially transferred most of his own arbitrary performance directives into the orchestral score. He also interfered in the instrumentation. The resulting discrepancies between parts, score and piano version were so egregious that in 1919 the conductor Georg Göhler was among the first to call for a critical new edition of the symphony according to the autograph. In 1935 was this demand fulfilled in an edition by Robert Haas. For its time this was an innovate edition of the original version, but viewed with modern eyes, curious discrepancies become apparent. On the one hand, the score and critical report give the impression of the highest scholarly precision extending to an almost absurd attention to detail. On the other hand, one finds carelessness: Haas decided wherever possible to eliminate unused staves in order to save space, and in separating the flute and clarinet parts Haas repeatedly made mistakes (especially overlooking performance directives for the second instrument). In 1952 Leopold Nowak brought out a revised new edition of the Haas score and in several respects arrived at different conclusions, however, leaving fundamental issues of it unchanged. As I re-examined the sources for this new edition, a mass of previously misunderstood or overlooked details came to light. Repeated comparison with the manuscript brought numerous improvements in precision with regard to playing directives and articulation, as well as corrections and conjectures in the notation. A number of oversights by Bruckner or Haas respectively were already corrected by Nowak. However, some discrepancies requiring correction have remain undiscovered till now. At certain points conjectures were required, especially where Bruckner had lapses: at page breaks in the autograph, where doubling parts subsequently underwent corrections in only one of them, as well as apparently minor mistakes.

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Biography Sir Simon Rattle conductor Sir Simon Rattle was born in Liverpool and studied at the Royal Academy of Music. From 1980 to 1998, Rattle was Principal Conductor and Artistic Adviser of the City of Birmingham Symphony Orchestra and was appointed Music Director in 1990. In 2002 he took up his current position of Artistic Director and Chief Conductor of the Berliner Philharmoniker where he will remain until 2018. From the 2017–2018 season he will become Music Director of the London Symphony Orchestra. Rattle has made over 70 recordings for EMI record label (now Warner Classics), and has received numerous prestigious international awards for his recordings on various labels. Releases on EMI include Stravinsky’s Symphony of Psalms (which received the 2009 Grammy Award for Best Choral Performance) Berlioz’s Symphonie fantastique, Ravel L’enfant et les sortileges, Tchaikovsky Nutcracker, Mahler Symphony No. 2, Stravinsky’s Rite of Spring and in August 2013 Warner Classics released Rachmaninov The Bells and Symphonic Dances, all recorded with the Berliner Philharmoniker. Rattle’s most recent releases (the Sibelius Symphonies, Bach Passions and Schumann Symphonies) have been for Berliner Philharmoniker Recordings – the orchestra’s new in-house label, established in early 2014. As well as fulfilling a taxing concert schedule in Berlin, Rattle and the Berliner Philharmoniker regularly tour within Europe, North America and Asia. The partnership has also broken new ground with the education programme Zukunft@Bphil, earning the Comenius Prize in 2004, the Schiller Special Prize from the city of Mannheim in May 2005, the Golden Camera and the Urania Medal in Spring 2007. He and the Berliner Philharmoniker were also appointed International UNICEF Ambassadors in the same year – the first time this honour has been conferred on an artistic ensemble. Simon Rattle has strong longstanding relationships with the leading orchestras in London, Europe and the USA; initially working closely with the Los Angeles Philharmonic Orchestra and Boston Symphony Orchestras, and more recently with The Philadelphia Orchestra. He regularly conducts the Wiener Philharmoniker, with which he has recorded the complete Beethoven symphonies and piano concertos (with Alfred Brendel) and is a Principal

Artist of the Orchestra of the Age of Enlightenment and Founding Patron of Birmingham Contemporary Music Group. Simon Rattle was knighted in 1994 and in the New Year’s Honours of 2014 he received the Order of Merit from Her Majesty the Queen. He will be a Carnegie Hall ‘Perspectives’ artist through the 2015–2016 and 2016–2017 seasons.

photo: Johann Sebastian Hanel

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Image © Martin U.K. Lengemann

HERBERT BLOMSTEDT CONDUCTOR S u n d ay 24 A p r i l 2 016 , 7. 3 0 p m Royal Festival Hall, London

MOZART Symphony No. 39, K.543 BRUCKNER Symphony No. 4, Romantic Tickets £50-11 (transaction fees apply) philharmonia.co.uk | Freephone 0800 652 6717 southbankcentre.co.uk | 0844 847 9921

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Winds of Change Saturday 7 May 2016

Winds of Change Saturday 7 May 2016 7pm St John’s Smith Square

Mozart Symphony No. 33 Michael Gordon Observations on Air (world premiere tour)

St John’s Smith Square, London SW1P 3HA Box Office 0207 222 1061 sjss.org.uk

Interval

Mozart Symphony No. 1 Mozart Clarinet Concerto

Violins Matthew Truscott Alison Bury Huw Daniel Iona Davies Christiane Eidsten Dahl Claire Holden Julia Kuhn Roy Mowatt Stephen Pedder Colin Scobie Jayne Spencer Violas Max Mandel Nicholas Logie Martin Kelly Kate Heller

Flutes Lisa Beznosiuk Neil McLaren Oboes Rachel Chaplin Richard Earle

Matthew Truscott director Peter Whelan bassoon Antony Pay clarinet

Bassoons Andrew Watts Sally Jackson Horns Phillip Eastop Martin Lawrence

Cellos Robin Michael Catherine Rimer Helen Verney Jennifer Morsches

This concert will finish as approximately 9pm, including an interval of 20 minutes.

Double basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer

We are very grateful to the Mark Williams Foundation for their generous support of this concert. OAE Extras at 5.45pm, free admission St John’s Smith Square An introduction to Michael Gordon’s new piece for bassoon and orchestra.

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Concert in context

Programme Notes Wolfgang Amadeus Mozart (1756-1791) Symphony No. 33 in B flat, K. 319 (1779) I II III IV

Allegro assai Andante moderato Menuetto Allegro assai

London, Paris…no, not New York, but Mannheim, Salzburg and Vienna. Mozart lived in all five cities – for longer in some than in others – cultural centres that were responsible, in one way or another, for the music we hear tonight. Mozart hated Paris, found love in Mannheim, was apparently ambivalent when it came to London and simply wanted out of Salzburg, his hometown, as quickly as possible. Vienna…well, Vienna was complicated. But each city taught Mozart valuable lessons. In London, he heard the newfangled ‘symphonies’ by Johann Christian Bach and Carl Friedrich Abel. From them, he got to know how a composer might maintain an audience’s interest during a long symphony by alternating loud and soft passages, using rapid updown scales and forthright instrumental unisons (and far more besides). We hear about that in the composer’s first ever symphony. Fifteen years later, those gestures were woven into Mozart’s sophisticated symphonic arguments

as second nature. By the time of his symphony numbered 33, Mozart had learnt about orchestral virtuosity from the wickedly thrilling orchestra in Mannheim (not least from its able winds). That, and Parisian musical trends had reminded Mozart about the value of confidently and clearly stating his musical themes – catching the audience’s attention, you might say. Eventually, of course, Mozart settled in Vienna. It was there that he met one of the greatest wind players of his age, Anton Stadler, who inspired the composer to write the concerto we hear tonight. Perhaps that piece best demonstrates that Mozart’s particular brand of genius was one that couldn’t be learnt or picked-up anywhere; it simple existed inside him. Mozart finished his concerto in October 1791, two months before he died in Vienna, pretty much destitute. Stadler went on to perform the concerto in Prague – one city Mozart really did adore, and which appeared to adore him back.

Such is the supreme quality of Bach’s epic Mass in B minor BWV 232 that the four shorter Lutheran masses he completed in the decade between 1737 and 1747 have tended to be overlooked. Another important factor in their relative neglect is the fact that when collating his materials Bach borrowed heavily from (or ‘parodied’) ten existing cantatas dating from the mid-1720s. In the case of BWV 235 the opening movement was adapted from Cantata No.102, the second from No.72 and the remainder from No.187. Practical as ever, bearing in mind that his sacred cantatas were timespecific and could only be performed on one particuar day of the year, by adapting carefully selected movements in the form of a Mass, Bach was potentially able to give some of his finest choral music a more regular airing. The juxtaposition of

the varous movements and emotional pacing was also carefully considered, so that far from being merely cobbled together to save time and effort, each Mass possesses its own unique creative flavour and sense of structural narrative. As was common procedure at the time, Bach reduced the five main sections of the full Roman Ordinary – Kyrie, Gloria, Credo, Sanctus and Agnus Dei – to just the opening two. He further sub-divided the Gloria into two pairs of contrapuntallyintricate choruses – Gloria in excelsis and Cum sancto Spiritu – and solo arias – Gratias agimus tibi for the bass and the tenor-led Qui tollis – placed symmetrically around a central alto aria (Domine Fili unigenite). The latter provides a sublime oasis of major-key calm in the second half of a work otherwise most striking for its minor-key intensity.

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Programme Notes Michael Gordon Observations on Air For Michael Gordon Observations on Air, see insert.

INTERVAL

Wolfgang Amadeus Mozart Symphony No 1 in E flat, K. 16 (1764–65) I Molto allegro II Andante III Presto

It was in London, moving between Chelsea and Soho, that the eightyear-old Mozart wrote his earliest surviving symphony. How many symphonies he wrote before and after it, we don’t know for sure. What’s certain is that Mozart, more than anyone, established the symphony as a sonic journey in which the final movement wasn’t simply that which happened to come last, but a philosophical and musical summation of all that had gone before. Perhaps we heard the slightest hint of that in the piece heard earlier tonight. Can we recognize any of those features in this little piece from the Autumn of 1764? Not really. Mozart’s chief models at the time would have been symphonies by the London composers Johann Christian Bach and Carl Friedrich Abel. From them, he would have taken on board the little tricks of alternating loud and soft passages, using rapid scales and tremolos, deploying forthright

instrumental unisons and writing fast repeating notes to inject variety into the musical canvass. But as always with Mozart, there are extra wonders at work even in an early piece like this. First, there’s the imposing nature of its fanfare opening, followed immediately by a succession of melting chords over eight bars. The horn’s sudden interjection on a dissonance calls us to attention once more; later in the movement, Mozart uses a gentle syncopation to create a sense of flow, of momentum. After that first movement, we hear a brief Andante with the feel of an opera aria; Mozart’s use of sustaining winds and triplets (those three-into-two notes heard in the previous symphony heard tonight) in the upper strings creates a sort of gentle nocturnal feel. To end, a new fanfare announces the jig-like finale suggesting the insatiable spirit that would soon bubble-up in Mozart’s life and work.

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Programme Notes Wolfgang Amadeus Mozart Clarinet Concerto in A, K. 622 (1791) I Allegro II Adagio III Rondo: Allegro

Once again, we are reminded that Mozart’s time in Mannheim wasn’t without its valuable experiences. It was in the town that the composer truly fell for the sound of the clarinet. ‘If only we had clarinets…’, Mozart wrote to his father from the city, ‘you wouldn’t guess the majestic effect of a symphony with clarinets.’ Clarinets were still relatively rare, as Mozart’s words from 1777 suggest. But soon enough, the composer got to know one of the finest clarinettists of his age personally. Anton Stadler was a musician from rural Austria who moved to Vienna in 1781, the year after Mozart had. He played in the Imperial Wind Band and Court Orchestra. But vitally, Stadler was a member of the same masonic lodge as Mozart. Both men collaborated on the provision of music for masonic rituals, and they became close friends. Stadler pioneered an adapted clarinet known as the basset; its range stretched a major third lower than that of a standard clarinet and the instrument was longer and heavier. It was for Stadler and that instrument in particular that Mozart wrote his celebrated Clarinet Concerto of 1791 (and the Clarinet Quintet written two years earlier). When he finished work on the concerto, Mozart was less than eight weeks from death. In the years previously, the composer’s music had been characterised by a more direct expression, what might be called a sophisticated simplicity. But Mozart’s process of expressive distillation reached new heights with the concerto. In this extraordinarily unfussy music, the composer might appear at his most pensive and whimsical. But there’s an underlying poignancy to the piece too; a sense of resignation that carries the hallmarks of an artist at his creative dusk, whether he was aware of the fact or not.

For the concerto’s apparent ease of utterance, we have to thank the clarinet (and perhaps Stadler’s playing of it) itself. Mozart appears to relish and capitalise upon the instrument’s varied characteristics across its broad range: its warm, rounded low notes, its smoky middle range and its piercing and bright top end. Mirth and melancholy are as easily combined in this instrument as they are in the best music Mozart wrote, in any scoring. That sentiment is to the fore in the concerto’s final movement, in which a cheerful disposition is somehow lined with sadness. Before that, Mozart’s Adagio is cast in the famously bright, celebratory key of D major yet remains deeply pensive. The opening Allegro reveals Mozart’s love for the instrument and his understanding of it in full, spanning its whole range and moving from gracious lyricism to forthright acrobatics with no hint of awkwardness. ‘Such an abundance of beauty almost tires the soul’, wrote one reviewer after the first performance of the piece, in Prague, on 16 October 1791. But in truth, it’s likely Mozart’s concerto will never tire.

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Boffin’s Corner Mozart and The Golden Snake According to his diary, Mozart finished the Clarinet Concerto’s final movement after enjoying ‘some particularly fine coffee and tobacco’ at his local pub, The Golden Snake, conveniently located adjacent to his lodgings in Vienna. Accordingly, Mozart was no stranger to the tavern and soon got to know its landlord, Joseph Deiner. His writings also refer to Primus, perhaps one of the waiters at the hostelry (though it was Joseph himself who served the aforementioned coffee). Deiner’s would have been a friendly face for Mozart in a city that might have looked like it was rapidly turning its back on the composer. In the winter of 1790-91, Mozart and his wife Constanze were desperately short of money. One evening Deiner passed the couple in their lodgings and, noticing them dancing, asked if Wolfgang was teaching Constanze some new steps. The composer replied that they were moving, entwined, to keep warm; they had run out of fuel for the fire. Deiner dashed over to the Snake and brought some wood to the Mozart’s, the composer promising to pay him at a later date. If Carlsberg did landlords… Deiner’s generosity couldn’t save Mozart, who died in those very lodgings a year later during the night of 5 December, 1791. But the publican was among the first to hear of Mozart’s death. At 5am on the morning of 6 December, Mozart’s maid Elise rung vigorously on the doorbell of The Golden Snake, summoning Deiner to help dress the dead composer for the undertakers. © Andrew Mellor

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Why does the Orchestra of the Age of Enlightenment commission new pieces? Matthew Truscott, director and OAE Leader The idea of a period instrument group commissioning new pieces, like Michael Gordon's Observations on Air, is for some rather counter-intuitive. For the OAE though, the importance of being involved with contemporary music has over the years become obvious and vital. The orchestraâ&#x20AC;&#x2122;s chief artistic mission is to make old music new, to use context and investigation to render music with as much vitality, clarity and understanding as possible. Experiencing the birth of a new piece of music, apart from being a privilege in itself, is key to this mission. We learn much through the process and are enriched by the engagement with living composers. Inevitable and fascinating discussions ensue regarding the compositional process, notation, attitudes to urtext, the importance of practical solutions, the role of the performer and above all, context. We are sadly no longer in the position of our forbears for whom contemporary classical music was the most relevant and popular. Indeed, to be worthy of an outing, old pieces had to be updated; witness Mozartâ&#x20AC;&#x2122;s version of the Messiah or Mendelssohnâ&#x20AC;&#x2122;s of the Matthew Passion. We do have the opportunity though, through playing new music, to be part of a creative process for which the context is undeniably the here and now; a peculiar thrill for a period orchestra, a glimpse of true authenticity! Right up until the 20th century the complete musician would have been a composer/ performer, engaged with all aspects of the creative process. We are grateful on this occasion to Michael Gordon for his detailed consultation and engagement with individual players of the OAE in the effort to produce a piece which not only fits the sonorities and peculiarities of our particular set of instruments but of which we can take full possession, and make our own.

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Biography Matthew Truscott director Matthew Truscott is a versatile violinist who shares his time between period instrument and ‘modern’ performance, appearing with some of the finest musicians in both fields. One of the leaders of the Orchestra of the Age of Enlightenment since 2007, he has recently been appointed concertmaster of the Mahler Chamber Orchestra, dual roles which he relishes equally. In demand as a guest leader, engagements in this capacity have included projects with The English Concert, Le Concert d’Astrée, The King’s Consort, Arcangelo, Budapest Festival Orchestra, English National Opera, Dutch National Opera and the Netherlands Chamber Orchestra. He is also leader of St James’ Baroque, Classical Opera and the Magdalena Consort. A keen chamber musician, recent recordings have included a set of Purcell Trio Sonatas with Retrospect Trio, a disc of Bach chamber music with Trevor Pinnock, Emmanuel Pahud and Jonathan Manson, and one of Haydn Piano Trios with Richard Lester and Simon Crawford-Phillips. Matthew teaches baroque violin at the Royal Academy of Music in London.

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Biography Peter Whelan bassoon Irish-born Peter Whelan is one of Europe’s most versatile musicians, with a diverse repertoire spanning over 400 years. He is in constant demand as a bassoonist, director, chamber musician and teacher. Equally at home on historical and modern instruments, Peter holds the position of principal bassoon in both the Scottish Chamber Orchestra and the Mahler Chamber Orchestra. He has been described as a ‘phenomenon on the baroque bassoon’ (Crescendo Magazine, Germany), whose performances feature ‘jaw-dropping dexterous virtuosity’ (Gramophone). Peter is the founder and artistic director of Ensemble Marsyas. Directing from the harpsichord, Peter has led Ensemble Marsyas in performances at the Wigmore Hall and on the upcoming LINN release of Handel’s Apollo and Daphne. As director, Peter has a particular passion for exploring and championing neglected and forgotten music of the baroque era. Recent projects funded by The Arts Council (Ireland) and Creative Scotland involved recreating from the manuscripts and staging in live performance choral and symphonic music from eighteenth-century Dublin and Edinburgh. As a concerto soloist, Peter has performed in many of the world’s most prestigious venues, including the Musikverein (Vienna), the Lincoln Centre (NY) and the Wigmore Hall (London- broadcast live on BBC radio). As a chamber musician, Peter has collaborated with the Belcea Quartet, Francois Leleux, Robert Levin, Kris Bezuidenhout, Anthony Marwood and Monica Huggett, and he appears with Tori Amos in her album Night of Hunters (Deutsche Grammophon, 2011). Peter has an extensive discography, including the Weber bassoon concerto (LINN, 2015) with the Scottish Chamber Orchestra, and the Mozart Concerto and Haydn Sinfonia Concertante (Hyperion, 2015) with Arcangelo. With Ensemble Marsyas, Peter’s recording of the Sonatas of Zelenka (LINN, 2012) and a second disc of the music of Fasch (LINN, 2014) were both awarded a Pizzicato-Supersonic Award and were highlighted as BBC Music Magazine’s ‘Editor’s Choice’. Peter is committed to the development of the next generation of performing musicians, and is professor at the Guildhall School of Music and Drama, at the Royal Northern College of Music and at the Royal Scottish Conservatoire.

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Biography Antony Pay clarinet Antony Pay was born in London, studied at the Royal Academy of Music and read Mathematics at Cambridge University. He has been Principal Clarinet of the Royal Philharmonic Orchestra, the London Sinfonietta (of which he was a founder member) and the Academy of St. Martin-in-theFields, and a member of several chamber ensembles, including the Nash Ensemble, the Tuckwell Wind Quintet, the Academy of St. Martin-in-the-Fields Chamber Ensemble, and Hausmusik. Since 1984 he has expanded his solo career, recording the Spohr and Mozart Concertos for Decca and the Weber and Crusell Concertos for Virgin Classics. He has conducted the Academy of St. Martin-in-the-Fields in Germany, Austria and Holland, the London Sinfonietta throughout Europe, and other orchestras in Scandinavia, Italy and the United States. He currently plays in the Academy of Ancient Music and the Orchestra of the Age of Enlightenment.

photo: Eric Richmond

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Orchestra of the Age of Enlightenment

Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle

Emeritus Conductors Sir Roger Norrington William Christie

‘For this remarkable ensemble, it’s all about the music’ Independent on Sunday

Three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It began to make benchmark recordings and attract the finest conductors. It became the toast of the European touring circuit. It bagged distinguished residencies at the Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge. Eccentric idealists the ensemble’s musicians were branded. And that they were determined to remain. In the face of the music industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques. 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 those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its home at London’s Kings Place has fostered further diversity of planning and music-making. Great performances now become recordings on the Orchestra’s in-house CD label, OAE Released. The ensemble has formed the bedrock for some of Glyndebourne’s most groundbreaking recent productions. It travels as much abroad as to the UK regions: New York and Amsterdam court it, Birmingham and Bristol cherish it. Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years. John Butt, the intellectual powerhouse, pushes for well-researched period performance excellence. All five share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. © Andrew Mellor, 2014

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Chief Executive Crispin Woodhead Projects Manager Laura Sheldon Projects Officer Sarah Irving Orchestra Manager Philippa Brownsword Librarian Colin Kitching Director of Finance and Operations Ivan Rockey Finance Officer Daniel da Silva Education Director Cherry Forbes Education Officer Louise Malijenovsky

Board of Directors Sir Martin Smith (Chairman) Cecelia Bruggemeyer (Vice-Chair) Lisa Beznosiuk Luise Buchberger Robert Cory Nigel Jones Roger Montgomery Olivia Roberts Susannah Simons Matthew Truscott Mark Williams Crispin Woodhead

Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Playersâ&#x20AC;&#x2122; Artistic Committee Cecelia Bruggemeyer Lisa Beznosiuk Luise Buchberger Roger Montgomery Matthew Truscott

Programme Editor Charles Lewis Design Harrison Artwork Heather Kenmure Season Photography Eric Richmond Printed by Cantate

OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Robert Cory David Marks Julian Mash Imogen Overli Rupert SebagMontefiore Diane Segalen

Director of 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 Head of Individual Giving Alex Madgwick Development Officer Jo Harvey Development Manager Catherine Kinsler OAE Trainee Alex Crick Development Trainee Danielle Robson

The OAE team 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 orchestraoftheageofenlightenment theoae Registered Charity No. 295329 Registered Company No. 2040312

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Allegro Used chiefly as musical direction, it indicated a quick, lively tempo, usually considered to be faster than allegretto but slower than presto.

Glossary

Andante Slower than allegro, andante tempo is often described as ‘at a walking pace,’ between 76 - 108 beats per minute. Coda From the Italian word meaning ‘tail’, the Coda is a passage which brings a movement, or piece, to a conclusion through prolongation of musical material. Originally consisting of just simple chords, the coda gradually developed into an elaborate and independent form. Dynamic In music, dynamics normally refers to the volume of a sound or note, but can also refer to every aspect of the execution of a given piece, either stylistic (staccato, legato etc.) or functional (velocity). Key A common use is to speak of music as being in a specific key, such as in the key of C or in the key of F-sharp. Sometimes the terms ‘major’ or ‘minor’ are appended, as in the key of A minor or in the key of B-flat major. Although the concept of musical key can be a complicated subject when examined closely, broadly speaking the phrase in key of C means that C is the music’s harmonic center or tonic. Manuscripts are handwritten sources of music. Generally speaking, they can be written on paper or parchment. If the manuscript contains the composer’s handwriting it is called an autograph. Music manuscripts can contain musical notation as well as texts and images. There exists a wide variety of types from sketches and fragments, to compositional scores and presentation copies of musical work. Movement A separate section of a larger composition.

Overture An instrumental composition planned especially as an introduction to an extended work, such as an opera or oratorio. The earliest Italian opera overtures were simply pieces of orchestral music and were called ‘sinfonie’ , later the overture begun to foreshadow the themes and melodic strands of the subsequent larger work and in the 19th and 20th Centuries the overture became a potpourri of the work’s proceeding tunes, played as a teaser. Pizzicato From the Italian word meaning to pluck. Pizzicato is a style of playing / instructions directing performers to play certain notes by plucking rather than bowing the strings/keys. This produces a very different sound, short, pronounced and rapid rather than the sustained sound produced by bowing. Scherzo From the Italian word meaning joke. A Scherzo is a name given to a piece of music or a movement from a larger work such as a symphony. The scherzo developed from the minuet, and gradually came to replace it as the third (sometimes second) movement in symphonies, sonatas and other similar works It denotes various types of composition, primarily one that is quick, lively and dance like. Although not necessarily light hearted in tone, it usually presents surprises in the rhythmic or melodic material. Sonata Form Sonata form refers to the standard layout of an entire work, or more specifically to the standardised form of the first movement of a work. The basic model consists of an exposition, where the main thematic material is introduced; this then goes on to be explored harmonically and texturally in the development. Following on from this is the recapitulation, in which the thematic material returns in the tonic, or home, key before the piece or movement ends with a coda.

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Glossary

Tonality A system of music in which specific hierarchical pitch relationships are based on a key â&#x20AC;&#x153;centerâ&#x20AC;? or tonic. Today the term is most often used to refer to Major-Minor tonality (also called diatonic tonality, common practice tonality, or functional tonality), the system of musical organization of the common practice period, and of Western-influenced popular music throughout much of the world today.

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OAE Education - Music for Everyone As we move into Spring we continue to offer a range of projects for the youngest of music lovers, school pupils, special needs students and our OAE Experience students. First of all, a thank you We would like to thank everyone who has been involved in the Watercycle project for the past two years and everyone who has helped in raising awareness and money for WaterAid. Over 2000 children performed with us the Watercycle song on Monday 21st March at the Royal Albert Hall as part of the 10th Anniversary Camden Music Festival. What a fantastic performance to mark the end of our two year Watercycle project. The sound was simply breathtaking!

OAE TOTS 0-5 year olds – Camden & Brent Early Years Our Early Years programme has seen a huge expansion in the last year with six new schools in Brent being added to our existing Camden nursery programme. Children and staff have explored the Tudor era through music and stories about Kings & Queens. In April over 800 under 5s will join us for a series of concerts in King’s Place and Brent to meet string, wind and brass players from the OAE. Why not come and join us for our next OAE TOTS concert? Classical TOTS Royal Festival Hall – Sunday 1 May 10.30am and 12.00pm We will be exploring the music of Mozart and if you’d like to be one of the few people to sing on the Royal Festival Hall stage this might just be your chance. We’d love to see you there!

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OAE SCHOOLS 7 -11 year olds King Arthur’s Quest will be our next KS2 adventure for pupils in King’s Lynn and London. Hazel Gould is writing a new adventure that will include two singers and the OAE and will involve over 3000 pupils singing and playing with us in concerts at King’s Place and the Corn Exchange in King’s Lynn. String Club Twenty violinists, cellists and bassists join us for 10 lessons per term and also for project based after school activity. This term we will be working on a composition project with composer Anthony Bailey which will culminate in a performance in May. 11-18 year olds Music & Science – Sleeping Sense This stimulating project is taking shape with secondary students starting to compose pieces for OAE musicians inspired by Bach’s Goldberg Variations. Primary pupils are busy collecting data about their sleep patterns and activity levels and also composing pieces reflecting different patterns in sleep. We are looking forward to the culmination of this work which will be showcased at the Sheldonian Theatre in Oxford on Thursday 9 June.

OAE SPECIAL NEEDS Making our Band Projects in Plymouth, Merton and Wandsworth are flourishing with students composing and performing with OAE players. Inspired by music, instruments and players of the OAE, these projects provide a platform where everyone can achieve their potential often with humbling results. Our new partnership with the Princess Alice Hospice in Esher has also started with music sessions for staff in their wellbeing week. A programme of events including room visits, informal concerts and family events are being planned over the next few months. OAE NURTURING TALENT 18+ OAE Experience in Music & Science OAE Experience players will be joining our Sleeping Sense team and will work with animateur Mark Withers, scientists from Oxford University and OAE players. They will be composing material inspired by Bach’s Goldberg Variations and will join the secondary students from Oxford for the culmination of the project. As part of the Experience scheme we are delighted to offer students the chance to participate in OAE Education projects throughout the year. At the OAE we believe that Music is for Everyone and through OAE Education we try to open as many doors as possible. With very best wishes from the Education team.

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OAE News

On the RPS Shortlist

Extra Concert for 2016-17

We’re really chuffed that our Watercycle project has been shortlisted for an RPS Award in the Learning & Participation Category.

Great news for fans of Haydn, and fans of cellos. Cello legend Stephen Isserlis will be performing Haydn’s Cello Concerto in C at the Royal Festival Hall on Monday 20 March, 2017, in a late addition to our 2016-17 season. Tickets are on sale now.

Part of the OAE Education programme, it involved three-day residencies in nine towns and cities around the country, before a performance at the Royal Albert Hall in March 2016. As well as training and workshops for teachers and musicians, residencies included schools concerts, community concerts and performances in unusual places. We even played Vivaldi on a ferry! We’ll find out if we’ve won at the RPS Music Awards ceremony on Tuesday 10 May. Then hear all about it on a special programme on BBC Radio 3 on Tuesday 11 May at 7.30pm.

Back to the Pub Our rule-breaking late night series The Night Shift is back in pubs across London every month throughout 2016. We reckon we’re the first UK orchestra to commit to playing pubs on such a regular basis. The first gig was at The George Tavern in Shadwell on Tuesday 29 March. Despite the torrential rain, a large crowd turned out to see an oboe-led set featuring music by Mozart, Haydn, Purcell and Ennio Morricone.

Introducing Alex Madgwick We have a new Head of Individual Giving, Alex Madgwick. Alex joins us from the Royal College of Music and looks after our Patrons programme, among many other things. If you’d like to support the Orchestra, contact Alex at or call 020 7239 9380.

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Tuesday 26th April 2016 Old Queen’s Head, Islington The Night Shift Monthly 8.30pm

2015–2016 Events

£10 adults/ £5 students Tickets: www.oae.co.uk/thenightshift

You can find more information about the OAE at: Email: info@oae.co.uk Website: oae.co.uk orchestraofthe ageofenlightenment theoae

Saturday 30th April 2016 Insight Morning: Mahler & Bruckner Level 5 Function Room, Royal Festival Hall 10am £12/ £6 concs/ £4 students Tickets: www.southbankcentre.co.uk/oae

Sunday 1st May 2016 Royal Festival Hall Classical TOTS 10.30am & 12pm Tickets: £1 TOTS, £9 adults

Tuesday 31st May 2016 CLF Art Café, Peckham The Night Shift Monthly 8.30pm £10 adults/ £5 students Tickets: www.oae.co.uk/thenightshift

Tuesday 7th June 2016 Royal Festival Hall, London 30th Birthday Gala Concert: Sir Mark Elder conducts Der Freischutz Weber Der Freischutz (semi-dramatised performance, sung in German with English narration by David Pountney) 7pm £10 to £75 Tickets: www.southbankcentre.co.uk/oae

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BEST OF EARLY MUSIC

Handel Solomon Friday 28 May 7.30pm

Haydn The Seasons Thursday 16 June 7.30pm

Stephen Layton conductor Holst Singers Music for Awhile

Paul McCreesh conductor Gabrieli Consort

Soloists: Alex Potter, Anna Dennis, Sophie Junker,

Soloists: Carolyn Sampson, Jeremey Ovenden, Andrew Foster-Williams

Gwilym Bowen, and Matthew Brook

Tickets £45, £35, £25, £15

Box Oﬃce 020 7222 1061 sjss.org.uk Patron HRH The Duchess of Cornwall

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The OAE on camera

This summer, photographer Eric Richmond celebrates 21 years of working with the Orchestra in an exhibition at the Royal Festival Hall. ‘When I was first commissioned by the OAE I never dreamed that it would turn into a marriage of such long duration. The length and breadth of the collaboration has lasted over twenty years now, and long may it continue! It has afforded me the opportunity to get to know many of the players, which as time passes allows for an intimacy and a trust that is very rare in photography, a profession that, like the proverbial shark, requires constant forward movement. Some of the musicians have been in front of the camera since the very first shoot back in 1996, some have retired, and as these things go, there have been many newcomers to get to know. I’ve been able to watch and listen to this wonderful orchestra for a long time, and it never ceases to amaze me when all these people that I photograph and have gotten to know on a personal basis, upon entering the concert hall, shed their friend status, and perform so magnificently and passionately as consummate performers. ‘For the longest time I’ve avoided looking at the work as part of a whole… each year has brought a new assignment, a new challenge, a new concept. The occasion of the OAE’s 30th anniversary made me realize, that looked at in its entirety, my work with them is a pictorial history that has both reflected their spirit and helped shape their identity. I say this with pride, but also with humility…pride because it has also helped shaped my own identity as a photographer, and humility because I am constantly in awe of the art and intelligence these musicians bring to their craft…they are truly a group of inspirational people.’ Eric Richmond Eric’s exhibition will run in the Royal Festival Hall, 4 to 8 June 2016.

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Support Us 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 Macfarlanes Parabola Land Swan Turton The Lant Street Wine Company SEASON PATRONS Bob & Laura Cory Adrian Frost Bruce Harris Nigel Jones & Franรงoise Valat Jones Selina & David Marks Sir Martin Smith & Lady Smith OBE Mark & Rosamund Williams

PROJECT PATRONS Julian & Annette Armstrong Philip & Rosalyn Wilkinson ARIA PATRONS Denys & Victoria Firth John & Martha Graham JMS Advisory Limited Gary & Nina Moss Andrew Nurnberg Rupert Sebag-Montefiore 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 Sir Timothy & Lady Lloyd Co-Principal Keyboard The Mark Williams Foundation Co-Principal Bassoon 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 Venetia Hoare Rory and Louise Landman Professor Richard Portes CBE FBA

The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses

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Our Supporters ASSOCIATE PATRONS Michael Allen Felix Appelbe & Lisa Bolgar Smith Josh Bell & Adam Pile Mrs A Boettcher Marius & Anna Carboni Christopher & Lesley Cooke John & Jennifer Crompton David Emmerson Stanley Lowy Michael & Harriet Maunsell David Mildon in memory of Lesley Mildon Tim & Jenny Morrison 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 THE AMERICAN FRIENDS OF THE OAE Jane Attias Wendy Brooks & Tim Medland Steve and Joyce Davis Jerome and Joan Karter Andrew Wilson

GOLD FRIENDS Noël & Caroline Annesley Mr & Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Simon Edelsten Kitty Sage Mr J Westwood SILVER FRIENDS Haylee & Michael Bowsher Michael Brecknell Christopher Campbell Mr & Mrs Michael Cooper Ray & Liz Harsant Patricia Herrmann Peter & Sally Hilliar Rupert & Alice King William Norris Marsh Christian Trust 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 Marianne Edwards Mrs Mary Fysh Michael & Barbara Gwinnell Auriel Hill Professor John Irving Professor Ingrid Lunt Nigel Mackintosh Hugh & Eleanor Paget Alan Sainer Ruth & David Samuels Gillian Threlfall Mr & Mrs Tony Timms Dr Trilby Johnson David & Margaret Walker Mrs Joy Whitby Mr Paul Willans David & Vivienne Woolf Tony & Jackie Yates-Watson

TRUSTS AND FOUNDATIONS Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Austin and Hope Pilkington Trust Brian Mitchell Charitable Settlement The Charles Peel Charitable Trust Comninos Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Esmée Fairbairn Foundation Fenton Arts Trust Foyle Foundation The Golden Bottle Trust Goldsmiths’ Company Charity The Helen Hamlyn Trust The Hinrichsen Foundation Idlewild Trust Jack Lane Charitable Trust JMCMRJ Sorrell Foundation John Lyon’s Charity Ling Trust The Liz and Terry Bramall Foundation Lord and Lady Lurgan Trust The Mark Williams Foundation Marsh Christian Trust National Foundation for Youth Music The Nugee Foundation Orchestras Live Patrick Rowland Foundation Schroder Charity Trust Radcliffe Trust The Rayne Foundation The RK Charitable Trust The Thistle 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.

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Lubbock Fine is proud of its ongoing association with the Orchestra of the Age of Enlightenment and wishes it every success in its 30th birthday season. We have a dedicated creative and music team which provides specialist accounting and tax advice. Paternoster House, 65 St Paulâ&#x20AC;&#x2122;s Churchyard, London EC4M 8AB T. 020 7490 7766

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