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WELCOM
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INTRODUCING OUR NEW SEASON Double bass and 2016/17 season curator Cecelia Bruggemeyer gives her take on our current season.
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oremost in my mind when curating are
questions like ‘who are the excellent interesting artists we want to collaborate with? What are the fascinating stories we want to share? How do we show off our wonderful period instruments?’ I’m delighted we’ve managed to include so many fantastic artists this season. Some we’ve had long relationships with like Ádám Fischer, Steven Isserlis, Sarah Connolly and William Christie; some we’re delighted to welcome back after only one or two previous projects like Ottavio Dantone, Isabelle Faust and Jonathan Cohen. I use the word collaboration in its truest sense as every time we get together it really feels like a two way process that yields exciting performances. Another question was how do we follow our magnificent 30th Birthday Season with its boundary-breaking foray into Mahler 2 and Der Freischütz? But we’re not done with asking questions about how we perform the most
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familiar of composers and this season sees a rich seam of Bach running through five of our concerts. To perform the glorious Christmas Oratorio we collaborate for the first time with world-renowned Masaaki Suzuki. It will be fascinating to see what questions and responses this new collaboration inspires. With William Christie we’ll be telling the story of how the ‘suite’ format, so very familiar to us in Bach’s music, actually started out in Paris. And of course Bach gives us the opportunity to show off our charismatic baroque instruments, and equally brilliant players, in the Brandenburg concerti. An often employed device when putting programmes together is to focus on a composer. We decided to focus on a city instead: Paris in the classical period. What was it that drew so many composers from round Europe to this artistic honey pot? One of the key figures of this time turns out to be Méhul. It was he who was famous rather than the likes of Mozart or Beethoven; he who was considered the revolutionary composer of his time, and yet we hardly hear any of his music today. Our gala gives a picture of the world Mozart and Beethoven were trying to make their name in. How will it sound to our ears in 2017? With the virtuosic Michael Spyres who sang so fabulously in Les Martyrs this will be an evening like no other.
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CONTENTS
3 6
Introducing our new season Bach: Christmas Oratorio
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5
In context
10 18
Texts and Translations
Orchestra and Chorus
40 Education
12 Programme notes
34 Biographies
42 44 46
News
Supporters
Coming Soon
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CONCERT SOLOISTS / REPERTOIRE
BACH: CHRISTMAS ORATORIO
These performances are generously supported by the Dunard Fund; J Paul Getty Jnr Charitable Trust; Michael and Giustina Ryan; and Rosalyn and Philip Wilkinson
Friday 9 & Saturday 10 December 7pm Cadogan Hall
Masaaki Suzuki conductor Anna Dennis soprano Robin Blaze countertenor Jeremy Budd tenor Ashley Riches baritone Choir of the Age of Enlightenment Pre-concert events – Come & Sing the Christmas Oratorio at 5.45pm (both nights) in the hall (free admission)
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Friday 9 December
Saturday 10 December
BACH
BACH
Christmas Oratorio, part 1
Sanctus from B minor Mass
BACH
BACH
Christmas Oratorio, part 2
Christmas Oratorio, part 4
INTERVAL BACH
INTERVAL BACH
Motet, Singet dem Herrn
Christmas Oratorio, part 5
BACH
BACH
Christmas Oratorio, part 3
Christmas Oratorio, part 6
The concert will finish at approximately 9.20pm
The concert will finish at approximately 9pm
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ORCHESTRA Violins I
Julia Wedman Andrew Roberts Sophie Barber Debbie Diamond
Violins II
Julia Kuhn Claire Holden Dominika FehĂŠr Stephen Rouse
Violas
Max Mandel Nicholas Logie Christopher Beckett
Cellos
Andrew Skidmore Helen Verney
Double Bass
Margaret Urquhart
Organ
Stephen Farr
Harpsichord
Christopher Bucknall
Flutes
Lisa Beznosiuk Eva Caballero
Oboes
Katharina Spreckelsen Alexandra Bellamy Hilary Stock Nicola Barbagli
Bassoon
Joe Qiu
Horns
Ursula Paludan Monberg Martin Lawrence
Trumpets
David Blackadder Matthew Wells Peter Mankarious
Timpani
Scott Bywater
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CHORUS
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Sopranos
Zoe Brookshaw Angharad Gruffydd Jones Katy Hill
Altos
David Clegg Daniel Collins David Gould
Tenors
Matthew Beale Richard Dowling Nicholas Madden
Basses
Jonathan Brown Benjamin Rowarth Philip Tebb
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IN CONTEXT Historic Royal Palaces’ Food Historian, Marc Meltonville, explores what Christmas dinner would have been like in Britain at the time Bach was writing his Christmas Oratorio.
CHRISTMAS DINNER
1734 S
o what would I see if I sat down to Christmas dinner in 1734? Turkey, perhaps, mince pies, perhaps, in fact there could be any number of things. Dinner eaten at wealthy tables before the mid 19th Century were served as a buffet; that is all the food for the diners was laid on the table before them to serve themselves. Because of this it is difficult to say what a typical meal was and even more difficult to work out what people ate. Some of it? Or all of it? To eat a dinner at a wealthy household is all about giving your guests choice. The more things there are to choose from, the better your host has treated you. Those dishes should be picked by your chef to suit the tastes of the table and the diners. So would you be able to eat with your ancestors? The 18th Century is not that long ago, you would be perfectly comfortable at their table. Knives, forks, spoons, serving dishes and glasses, you would recognize it all. So were there Christmas dishes in 1734? Certainly. The turkey was already the choice of those with money. This bird,
originally from the Americas soon became a tasty treat for those who could afford it. Those with less to spend would save for a goose, or a large piece of meat, such as a side of beef. A plum porridge would be served with one course; not quite a Christmas pudding, but more a risotto with dried fruits. Minced pies were served, sometimes with meat, sometimes with fruit, sometimes both. A minced pie is just a pie where the contents have been minced up. A surviving Royal Christmas menu contains all of the above along with many other tasty treats to tempt you, but modern diners would miss the importance of the dish at the centre of the Royal table. A large salad. A salad, in December! This shows that you are prepared to spend a lot on money of some really talented gardeners who can grow you food that is out of season.
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IN CONTEXT
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From Above Three Hundred Recipes Anon, Published 1734.
MINCE
PIES
This is a recipe for Egg Minced Pies printed in 1734. It tells you to hard boil some eggs and then chop them up finely. Add the same amount of suet as eggs and a large amount of currents, finely chopped lemon peel and some lemon juice. Then add a little mace, nutmeg, some sugar and a little salt. You may also add some chopped candied peel from oranges and lemons. Make this mixture wet with some sherry. It forgets to tell you to them put this mixture into little short crust pastry cases, adding a lid and baking until golden brown.
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PROGRAMME NOTES
BACH: CHRISTMAS ORATORIO
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or many, Johann Sebastian Bach’s music stands at the creative summit of the Western classical tradition. Yet he was essentially a modest, parochial man, who viewed composing as an act of homage to God – the notion of countless millions of admirers paying homage to his genius would have been incomprehensible to him. ‘Bach is a Colossus of Rhodes,’ wrote the French opera composer Charles Gounod, ‘beneath whom all musicians pass and will continue to pass – he has said all there is to say.’ Robert Schumann felt his achievement was ‘unapproachable’, while Vaughan Williams considered him ‘the greatest composer of the world.’ Yet during his lifetime, Bach was valued more for his skills as an organist and choirmaster than as a composer. Indeed, many of the works for which he is celebrated today fell on deaf ears or were simply ignored. The Margrave of Brandenburg, for whom the Brandenburg Concertos were originally composed, never bothered to listen to them and sold Bach’s handwritten
St. Nicholas’s Church, Leipzig
manuscript on as part of a job lot. Incredibly, over a third of Bach’s matchless series of cantatas (around 100 in total) were gradually disposed of as being of no further use, while following its first performance during the Christmas season of 1734–5, the Christmas Oratorio went unplayed for over 120 years. Bach was some ten years into his longest and final musical appointment in Leipzig when he composed the Christmas Oratorio. Here he was responsible for music at the city’s two most important churches: St. Thomas’s and St. Nicholas’s. At first all had seemed well, yet within only a few weeks of taking up the post he felt the sea-change. ‘The authorities are peculiar
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13 and not very devoted to music,’ he wrote in a letter, ‘so that I now live amid almost constant vexation, envy and persecution.’ Given that Bach had severely restricted time for rehearsals and was saddled with inadequate numbers of competent choristers and musicians, we can be fairly sure that the Christmas Oratorio would have sounded excruciating by modern performance standards. Yet he went on to produce a series of choral masterworks of blinding visionary intensity. When Bach died on 28 July 1750 aged 65, the Leipzig authorities noted his passing with a mild sense of relief, resolving that ‘we need a choir master and not a music director.’ For his Christmas Oratorio Bach chose to focus on a series of separate events surrounding Christ’s birth in the form of six individual cantatas. The first, describing Christ’s birth, was intended to be performed on 25 December (Christmas Day), while the following two parts (26/27 December) celebrate respectively the announcement of Christ’s arrival to the shepherds by a host of angels and the shepherds’ adoration of the boy child. Part IV (New Year’s Day) focuses on Jesus’s christening and circumcision, Part V (the first Sunday after New Year) the journey of the Magi, and the final part (Epiphany) the Magi’s worshipping of the new born with gifts of gold, frankincense and myrrh. Of the two churches under Bach’s supervision, St. Nicholas’s heard the entire work divided over six days as planned, but due to sheer lack of time St. Thomas’s heard only parts I, II, IV and VI. As was common at the time, Bach borrowed heavily from several recent works when composing the Christmas
St Thomas’s Church, Leipzig
Oratorio. Part of Bach’s reasoning for refashioning some of his existing music under an imposing collective title was to ensure its greater longevity, as in its original cantata form it would normally receive only one performance and then be consigned to the shelf. Yet it would be wrong to assume the Christmas Oratorio was cobbled hurriedly together. Bach subtly imbued the work with a sense of tonal and instrumental unity by casting Parts I and III (with their exhilarating trumpet writing) in the rousing key of D major, whilst moving to a more calming G major for the pastoral atmosphere of Part II. For Christ’s naming in Part IV he shifts to the more remote F major (partly to accommodate the horn writing), and then signals a glorious return by setting Part V in the leading dominant key of A major, setting up the final part in D, which once again rejoices in the festive sound of trumpets.
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PROGRAMME NOTES – FRIDAY 9 DECEMBER Christmas Oratorio Part I. Jauchzet, frohlocket, auf, preiset die Tage
Christmas Oratorio Part II. Und es waren Hirten in derselben Gegend
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1 2
2 3 4 5 6 7 8 9
Chorus: Jauchzet, frohlocket, auf, preiset die Tage Recitative (Evangelist): Es begab sich aber zu der Zeit Recitative (alto): Nun wird mein liebster Bräutigam Aria (alto): Bereite dich, Zion Chorale: Wie soll ich dich empfangen Recitative (Evangelist): Und sie gebar ihren ersten Sohn Chorale & Recitative (soprano, bass): Er ist auf Erden kommen arm Aria (bass): Großer Herr, o starker König Chorale: Ach, mein herzliebes Jesulein
Bach welcomes the arrival of Christ with a heady choral exuberance that hurtles the audience into the scene via the dazzling sound of three trumpets and timpani. The Evangelist then tells of Joseph’s and Mary’s arrival in Bethlehem, while the alto first expresses her contentment at the news of Christ’s birth in a recitative before calling upon the faithful (Zion) to prepare themselves for the big event, accompanied by a plaintive oboe d’amore. The chorale that follows is based on the Passion Chorale, which would have been familiar to the congregation in Bach’s time and would have carried with it resonances of Christ’s untimely end on the Cross. The Evangelist tells us that Mary has lain her new-born child in a manger, before Bach ingeniously combines a traditional Christmas chorale melody (sopranos) and recitative (bass), in a striking passage that looks forward to Christ’s powers of healing. This sets up a forthright bass aria (with trumpet) extolling the new arrival, and a majestic final Christmas chorale, punctuated by the regal sound of trumpets and drums.
Sinfonia Recitative (Evangelist): Und es waren Hirten in derselben Gegend 3 Chorale: Brich an, du schönes Morgenlicht 4 Recitative (Evangelist, soprano): Und der Engel sprach zu ihnen 5 Recitative (bass): Was Gott dem Abraham verheißen 6 Aria (tenor): Frohe Hirten, eilt, ach eilet 7 Recitative (Evangelist): Und das habt zum Zeichen 8 Chorale: Schaut hin! dort liegt im finstern Stall 9 Recitative (bass): So geht denn hin, ihr Hirten, geht 10 Aria (alto): Schlafe, mein Liebster, genieße der Ruh’ 11 Recitative (Evangelist): Und alsobald war da bei dem Engel 12 Chorus: Ehre sei Gott in der Höhe 13 Recitative (bass): So recht, ihr Engel, jauchzt und singet 14 Chorale: Wir singen dir in deinem Heer Part Two opens with the only purely instrumental movement in the entire opus. It is also one of the few numbers composed specifically for the Christmas Oratorio, rather than being adapted from other sources. With its distinctive woodwind scoring for two flutes, two oboe d’amore and two oboe da Caccia, it establishes the predominately pastoral atmosphere of the second part as a whole. A series of three recitatives and a chorale then describes the shepherds abiding in the field and the appearance of the Angel who informs them that ‘unto you is born this day in the city of David a Saviour, which is Christ the Lord.’ A heightened sense of expectation is generated by an ecstatic tenor aria, two recitatives and a
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chorale in which the shepherds are encouraged to make haste to Bethlehem. There follows an enchanting lullaby for alto soloist that captures perfectly the scene at the crib-side, a theme taken up by the Evangelist in a recitative and then the heavenly host in a joyous chorus praising the new arrival. A bass recitative leads into the final chorale, which like Part 1 features brief reminiscences of the opening movement along the way.
INTERVAL Motet: Singet dem Herrn BWV225 By the late 17th century, the longestablished vocal form of the motet had been superseded almost entirely by the Baroque cantata. Ever the traditionalist, Bach continued to employ motet style in his choral works, and then revived the standalone genre in a small series of exquisite refinement and technical bravado. Finest of all is the exultant Singet dem Herrn ein neues Lied (‘Sing a New Song to the Lord’, 1726), which made such an impact on the young Mozart that he copied out his own score, enthusing ‘Now that is something one can learn from!’ The motet’s celebratory mood makes it a perfect companion piece for this evening’s main work.
Christmas Oratorio Part III. Herrscher des Himmels, erhöre das Lallen 1 Chorus: Herrscher des Himmels, erhöre das Lallen 2 Recitative (Evangelist): Und da die Engel von ihnen gen Himmel fuhren 3 Chorus: Lasset uns nun gehen gen Bethlehem 4 Recitative (bass): Er hat sein Volk getröst’t 5 Chorale: Dies hat er alles uns getan 6 Duet (soprano, bass): Herr, dein
Mitleid, dein Erbarmen 7 Recitative (Evangelist): Und sie kamen eilend 8 Aria (alto): Schließe, mein Herze, dies selige Wunder 9 Recitative (alto): Ja, ja! mein Herz soll es bewahren 10 Chorale: Ich will dich mit Fleiß bewahren 11 Recitative (Evangelist): Und die Hirten kehrten wieder um 12 Chorale: Seid froh dieweil 12b Chorus: Herrscher des Himmels, erhöre das Lallen Part III of the Christmas Oratorio marks the arrival of the shepherds in Bethlehem and returns us to the key (D major) and festive soundworld (complete with trumpets and timpani) of the work’s opening chorus. Following the arresting opening chorus celebrating Christ’s birth, the Evangelist recounts the shepherds’ encounter with the Angel, leaving the chorus to express their mounting excitement on the road to Bethlehem. A bass recitative, chorale and sopranoand-bass duet contemplate God’s role in making the miracle come about, while emphasising the importance of love and compassion. The Evangelist tells of the shepherds’ encounter with Joseph, Mary and the infant child, and their subsequent spreading news of his arrival. The mood now turns reflective with a heartfelt alto aria with violin obbligato in which the Virgin Mary reflects on her pivotal role in Christ’s birth. The following alto recitative and chorale reflect further on her words before the Evangelist informs us that the shepherds have now left Bethlehem and returned to their flocks. Part III concludes with a contemplative chorale cast unusually in the minor key, and a repeat of the opening chorus.
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PROGRAMME NOTES – SATURDAY 10 DECEMBER Sanctus from B minor Mass When putting the finishing touches to his Christmas Oratorio, Bach’s B minor Mass was still very much work in progress. As a form of musical CV (it would be another 15 years before the Mass was finally completed), Bach sent part of the Mass to the Elector of Saxony for his approval in 1733. Included was the Gloria and Sanctus, which opens tonight’s concert – the earliest part of the Mass, composed originally for the Christmas season of 1724-5. This radiant setting exemplifies Bach’s creative genius for composing music from the point of view of an awe-struck member of the congregation. Bach had hoped the Elector would reward him with an official court appointment – none was forthcoming!
opening chorus encapsulates the simple yet noble dignity of the occasion, before the Evangelist tells us that Jesus’s name had been foretold by the Angel. The following tripartite section offsets two recitatives and ariosos for soprano and bass (featuring chorale melodies entirely of Bach’s invention), with a central ‘echo’ aria for two sopranos, which reflects that Jesus’s birth has driven away mankind’s fear of death. Whereas in its original birthday-cantata setting the echoing represents a choice of action, here it becomes a source of comforting reflection. A virtuoso aria for tenor and two obbligato violins, asking for guidance in finding words of praise sufficiently worthy for the Almighty, leads to a final chorale anticipating Jesus’s unconditional kindness, in which the horns make a welcome and final return.
Christmas Oratorio Part IV. Fallt mit Danken, fallt mit Loben
INTERVAL
1 2 3 4 5 6 7
Chorus: Fallt mit Danken, fall mit Loben Recitative (Evangelist): Und da acht Tage um waren Recitative (bass, soprano): Immanuel, o süßes Wort Aria (soprano): Flößt mein Heiland, flößt dein Namen Recitative (bass, soprano): Wohlan! Dein Name soll allein Aria (tenor): Ich will nur dir zu Ehren leben Chorale: Jesus richte mein Beginnen
A change of key to F major and an evocative soundworld of two horns and oboe (with the usual complement of strings) fits hand-in-glove with Part IV’s more contemplative atmosphere and the essentially static nature of events surrounding Jesus’s christening. The
Christmas Oratorio Part V. Ehre sei dir, Gott, gesungen 1 2 3 4 5 6 7 8 9
Chorus: Ehre sei dir, Gott, gesungen Recitative (Evangelist): Da Jesus geboren war zu Bethlehem Chorus & Recitative (alto): Wo ist der neugeborne König der Jüden? Chorale: Dein Glanz all’ Finsternis verzehrt Aria (bass): Erleucht’ auch meine finstre Sinnen Recitative (Evangelist): Da das der König Herodes hörte Recitative (alto): Warum wollt ihr erschrecken? Recitative (Evangelist): Und ließ versammeln alle Hohenpriester Trio (soprano, alto, tenor): Ach, wenn wird die Zeit erscheinen?
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10 Recitative (alto): Mein Liebster herrschet schon 11 Chorale: Zwar ist solche Herzensstube Although it is the most consistently lively section of the Christmas Oratorio, Part V is also modestly scored, with just two oboe d’amore added to the usual complement of strings. Bach sets the scene on the Magi’s arrival at King Herod’s court with an energetic chorus of infectious forward momentum. The Evangelist tells of the Magi’s arrival, followed by two brief choruses in which they are heard attempting to find the boy King, offset by a central alto recitative encouraging them to search instead within themselves. The following chorale and delicately scored bass aria (representing one of the Magi) are both pleas for guidance and light, especially when the path to goodness is strewn with worldly temptation. The Evangelist, interrupted briefly by an indignant alto, now tells of King Herod’s fear that a mighty ruler has been born, and demands to know his whereabouts. In the following trio, an anxious soprano and tenor ask when the Messiah will arrive, only to be admonished by the alto that ‘He is already here!’ A final brief recitative and closing chorale extol that a faithful heart is a home worthy of Christ.
Christmas Oratorio Part VI. Herr, wenn die stolzen Feinde schnauben 1 Chorus: Herr, wenn die stolzen Feinde schnauben 2 Recitative (Evangelist, bass): Da berief Herodes 3 Recitative (soprano): Du Falscher, suche nur den Herrn zu fällen 4 Aria (soprano) Nur ein Wink von seinen Händen 5 Recitative (Evangelist): Als sie nun den König gehöret hatten 6 Chorale: Ich steh an deiner Krippen hier
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Recitative (Evangelist): Und Gott befahl ihnen im Traum’ 8 Recitative (tenor): So geht! Genug, mein Schatz geht nicht von hier 9 Aria (tenor): Nun mögt ihr stolzen Feinde schrecken 10 Recitative (soprano, alto, tenor, bass): Was will der Höllen Schrecken nun 11 Chorale: Nun seid ihr wohl gerochen Returning to the celebratory mood of the work’s opening section, Part VI of the Christmas Oratorio opens with a stirring chorus in which Christ’s enemies are rendered ineffective by the Lord’s allembracing power. The Evangelist now tells of Herod’s plan to discover Christ’s whereabouts by sending the Magi to Bethlehem (his words are sung by the bass). However, as the soprano asserts calmly in her following recitative and aria, Christ’s strength can overcome any enemy. In two recitatives offset by a moving chorale, the Evangelist relates the story of the Magi following the star to Bethlehem, their arrival at the manger bearing gifts, and subsequent return home without telling Herod of their whereabouts for fear that he means the infant Jesus harm. In the ensuing recitative and aria, the tenor declares his devotion to Christ and that with Christ on your side we need fear no-one. A brief four-part recitative in which Christ’s enemies are quashed, leads to a final chorus in which the Passion Chorale combines with music of majestic splendour in order to rejoice in the Lord and his vanquishing of all sin and evil. Programme note © Lindsay Kemp
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CHRISTMAS ORATORIO BWV 248 PART 1 For the first day of Christmas 1. CHORUS Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren! 2. RECITATIVE Evangelist: Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt.Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das judische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte. 3. RECITATIVE Nun wird mein liebster Bräutigam, Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden. Nun wird der Stern aus Jakob scheinen, Sein Strahl bricht schon hervor. Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor! 4. ARIA Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn! Deine Wangen Müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!
Rejoice, be glad! Come, praise the days! Glorify what the Lord has done this day! Set fear aside, banish lamentation! Strike up a song of rejoicing and merriment! Serve the All Highest with glorious choirs! Let us worship the name of the Lord!
Evangelist: And it came to pass in those days that there went out a decree from Caesar Augustus, that all the world should be taxed, and all went to be taxed, everyone to his own city. And Joseph also went up from Galilee, out of the city of Nazareth, into Judea, unto the city of David, which is called Bethlehem; because he was of the house and lineage of David; to be taxed with Mary his espoused wife, being great with child. And so it was that, while they were there, the days were accomplished that she should be delivered.
Now shall my most beloved bridegroom, Now shall the hero of David’s line, For the solace and salvation of all the earth, At last be born. Now shall the star of Jacob shine, Already its light is breaking forth, Arise, Zion, and leave weeping now, Thy salvation rises up on high.
Prepare thyself, Zion, with tender affection, Soon to behold the fairest and dearest! Your cheeks Today must be more radiant, Hasten to the Bridegroom with most ardent love.
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5. CHORALE Wie soll ich dich empfangen Und wie begegn’ ich dir? O aller Welt Verlangen, O meiner Seelen Zier! O Jesu, Jesu, setze Mir selbst die Fackel bei, Damit, was dich ergötze, Mir kund und wissend sei!
How shall I receive Thee, And how encounter Thee? O Thou, desired by all the world, O Thou, the jewel of my soul! O Jesus, Jesus, set down Thy torch beside me here, Whereby that which pleases Thee May be manifest and known to me!
6. RECITATIVE Evangelist: Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippe, denn sie hatten sonst keinen Raum in der Herberge.
Evangelist: And she brought forth her first-born Son, and wrapped him in swaddling clothes, and laid him in a manger, because there was no room for them in the inn.
7. CHORALE AND RECITATIVE Er ist auf Erden kommen arm, Wer will die Liebe recht erhöhn, Die unser Heiland vor uns hegt? Daß er unser sich erbarm, Ja, wer vermag es einzusehen, Wie ihn der Menschen Leid bewegt? Und in dem Himmel mache reich, Des Höchsten Sohn kömmt in die Welt, Weil ihm ihr Heil so wohl gefällt, Und seinen lieben Engeln gleich. So will er selbst als Mensch geboren werden. Kyrieleis!
He came to earth in poverty, Who can fully extol the love Which our Saviour feels for us? To have mercy upon us, Yea, who is capable of comprehending How man’s distress has moved Him so? And make us rich in Heaven, The Son of God comes into the world, Because it so pleases him to save it, And make us like His dear angels. Thus would He Himself be born a man. Lord have mercy on us!
8. ARIA Großer Herr, o starker König, Liebster Heiland, o wie wenig Achtest du der Erden Pracht! Der die ganze Welt erhält, Ihre Pracht und Zier erschaffen, Muß in harten Krippen schlafen.
Great Lord and mighty King, Dearest Saviour, oh how little Dost Thou esteem earthly splendour! He who supports the whole world, And did create its splendour and beauty, Must sleep in a hard manger.
9. CHORALE Ach mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Daß ich nimmer vergesse dein!
Ah, my dearest little Jesus! Make Thyself a clean soft cradle, To rest in my own heart’s shrine, That I may never forget Thee!
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CHRISTMAS ORATORIO BWV 248 PART 2 For the second day of Christmas 10. SINFONIA 11. RECITATIVE Evangelist: Und es waren Hirten in derselben Gegend auf dem Felde bei den Hürden, die hüteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr.
Evangelist: And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
12. CHORALE Brich an, o schönes Morgenlicht, Und laß den Himmel tagen! Du Hirtenvolk, erschrecke nicht, Weil dir die Engel sagen, Daß dieses schwache Knäbelein Soll unser Trost und Freude sein, Dazu den Satan zwingen Und letztlich Friede bringen!
Shine forth. O beauteous morning light, And let the heavens dawn! You shepherd folk, be not afraid, Because the angels tell you: That this weak infant boy Shall be our comfort and our joy, That He will also conquer Satan And bring peace at last!
13. RECITATIVE Evangelist: Und der Engel sprach zu ihnen: Engel: Fürchtet euch nicht, siehe, ich verkündige euch große Freude, die allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David.
Evangelist: And the angel said unto them: Angel: Fear not, for behold, I bring you good tidings of great joy, which shall be to all the people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
14. RECITATIVE Was Gott dem Abraham verheißen, Das laßt er nun dem Hirtenchor Erfüllt erweisen. Ein Hirt hat alles das zuvor Von Gott erfahren müssen. Und nun muß auch ein Hirt die Tat, Was er damals versprochen hat, Zuerst erfüllet wissen.
That which God promised Abraham, He now shows to the shepherd band, That it has come to pass. It was a shepherd who, a long time ago, First heard it from the lips of God. And now again a shepherd Learns that the promised act Is come to pass.
15. ARIA Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen!
Joyful shepherds, hasten, ah hasten, Lest you tarry too long, Hasten to behold the lovely babe! Go, the joy is all too sweet, Seek to acquire this grace, Go, and refresh both heart and mind!
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l6. RECITATIVE Evangelist: Und das habt zum Zeichen: Ihr werdet finden das Kind in Windeln gewickelt und in einer Krippe liegen.
Evangelist: And this shall be a sign unto you: Ye shall find the babe wrapped in swaddling clothes, lying in a manger.
17. CHORALE Schaut hin, dort liegt im finstern Stall, Des Herrschaft gehet überall! Da Speise vormals sucht ein Rind, Da ruhet itzt der Jungfrau’n Kind.
Behold! there in a dark stable lies He, who has dominion over all! Where once the ox sought to feed, There now rests the Virgin‘s child.
18. RECITATIVE So geht denn hin, ihr Hirten, geht, Daß ihr das Wunder seht: Und findet ihr des Höchsten Sohn In einer harten Krippe liegen, So singet ihm bei seiner Wiegen Aus einem süßen Ton Und mit gesamtem Chor Dies Lied zur Ruhe vor!
So go hence, you shepherds, go, That you may witness the miracle: And if you find the Son of God Lying in a hard manger, Then sing to him beside His cradle In a sweet voice And with a full choir This lullaby!
19. ARIA Schlafe, mein Liebster, genieße der Ruh, Wache nach diesem vor aller Gedeihen! Labe die Brust, Empfinde die Lust, Wo wir unser Herz erfreuen!
Sleep, my darling, enjoy Thy rest, Henceforth watch over the well-being of all! Refresh the heart, Taste the joys That gladden our hearts!
20. RECITATIVE Evangelist: Und alsobald war dabei dem Engel die Menge der himmlischen Heerscharen, die lobten Gott und sprachen:
Evangelist: And suddenly there was with the angel a multitude of the heavenly host, praising God and saying:
21. CHORUS Die Engel: Ehre sei Gott in der Höhe und Friede auf Erden und den Menschen ein Wohlgefallen.
Angels: Glory to God in the highest, and on earth peace, good will toward men!
22. RECITATIVE So recht, ihr Engel, jauchzt und singet, Daß es uns heut so schön gelinget! Auf denn! Wir stimmen mit euch ein, Uns kann es so wie euch erfreun.
Then fittingly, you angels, rejoice and sing That this day turned out so well for us! Up then! We shall join your song, That can please us as much as you.
24. CHORALE Wir singen dir in deinem Heer Aus aller Kraft Lob, Preis und Ehr, Daß du, o lang gewünschter Gast, Dich nunmehr eingestellet hast.
We sing to Thee amidst Thy host: Praise, honour and glory with all our might, That Thou, O long-desired guest, Hast now at last appeared.
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SINGET DEM HERRN BWV 225 1. CHORUS Singet dem Herrn ein neues Lied! Sing to the Lord a new song! Die Gemeine der Heiligen sollen ihn loben, The congregation of the saints shall praise Israel freue sich des, der ihn gemacht hat. Him, Israel rejoices in Him, who has created it. Die Kinder Zion sei’n fröhlich über ihrem Let the children of Zion be joyful in their Könige. King. Sie sollen loben seinen Namen im Reihen, Let them praise His name in dances, mit Pauken und Harfen sollen sie ihm with drums and harps let them play to Him. spielen. 2. ARIA Gott, nimm dich ferner unser an! Denn ohne dich ist nichts getan mit allen unsern Sachen. Drum sei du unser Schirm und Licht, und trügt uns unsre Hoffnung nicht, so wirst du’s ferner machen. Wohl dem, der sich nur steif und fest auf dich und deine Huld verläßt!
God, take us to Yourself from now on! For without You we can accomplish nothing with all of our belongings. Therefore be our protection and light, and if our hope does not deceive us, You will make it happen in the future. Happy is the person who strictly and tightly abandons himself to You and Your mercy!
3. CHORALE Wie sich ein Vat’r erbarmet Üb’r seine junge Kindlein klein: So tut der Herr uns Armen, So wir ihn kindlich fürchten rein. Er kennt das arme Gemächte, Gott weiß, wir sind nur Staub. Gleichwie das Gras vom Rechen, Ein Blum und fallendes Laub, Der Wind nur drüber wehet, So ist es nimmer da: Also der Mensch vergehet, Sein End, das ist ihm nah.
As a father has mercy upon his young children: so the Lord does with us poor ones, when we fear Him with pure and childlike hearts. He knows his poor creatures, God knows we are but dust. Just as the grass that is mowed, a flower or a falling leaf, the wind only blows over it, and it is no longer there; So also man passes away, his end is near to him.
4. CHORUS Lobet den Herrn in seinen Taten, Lobet ihn in seiner großen Herrlichkeit. Alles was Odem hat, lobe den Herrn, Halleluja!
Praise the Lord in His works, praise him in his great glory. Let everything that has breath, praise the Lord, Hallelujah!
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CHRISTMAS ORATORIO BWV 248 PART 3
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For the third day of Christmas 24. CHORUS Herrscher des Himmels, erhöre das Lallen, Laß dir die matten Gesänge gefallen, Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen,
Ruler of Heaven, hear our murmurings, Let these faint songs find favour with Thee, When Thy Zion exalts Thee with psalms! Hear our hearts’ exultant praises, When we now render homage to Thee,
Weil unsre Wohlfahrt befestiget steht!
Because our welfare is assured.
25. RECITATIVE Evangelist; Und da die Engel von ihnen gen Himmel fuhren, sprachen die Hirten untereinander:
Evangelist: And it came to pass, as the angels were gone away from them into Heaven, the shepherds said to one another:
26. CHORUS Die Hirten: Lasset uns nun gehen gen Bethlehem und die Geschichte sehen, die da geschehen ist, die uns der Herr kundgetan hat.
Shepherds: Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known to us.
27. RECITATIVE Er hat sein Volk getröst, Er hat sein Israel erlöst, Die Hülf aus Zion hergesendet Und unser Leid geendet. Seht, Hirten, dies hat er getan; Geht, dieses trefft ihr an!
He has comforted His people, He has delivered His Israel, And sent help out of Zion And ended our suffering. Behold, shepherds, this He has done; Go, this is what you shall find!
28. CHORALE Dies hat er alles uns getan, Sein groß Lieb zu zeigen an; Des freu sich alle Christenheit Und dank ihm des in Ewigkeit. Kyrieleis!
All this He has done for us To proclaim His great love; Let all Christendom rejoice at this And give Him thanks eternally. Lord have mercy on us!
29. ARIA Herr, dein Mitleid, dein Erbarmen Tröstet uns und macht uns frei. Deine holde Gunst und Liebe, Deine wundersamen Triebe Machen deine Vatertreu Wieder neu.
Lord, Thy mercy, Thy compassion Doth comfort us and make us free. Thy gracious favour and love, Thy wondrous affection, Make Thy fatherly devotion Ever new.
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SUPPORT US The past 30 years have seen the OAE grow to become one of the world’s leading period instrument orchestras performing to a global audience of over 5 million people each year.
Our education work reaches over 12,000 participants annually across the UK. The Night Shift, our pioneering late night series of informal performances, now tours internationally attracting audiences of over 4,000 each year. We love what we do and we’re proud of our international reputation for performing with warmth, imagination and expertise.
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30. RECITATIVE Evangelist: Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen. Da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kind gesaget war. Und alle, für die es kam, wunderten sich der Rede, die ihnen die Hirten gesaget hatten. Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen.
Evangelist: And they came with haste, and found Mary and Joseph and the babe lying in a manger. And when they had seen it, they made known abroad the saying which was told them concerning the child. And all they that heard it wondered at those things which were told them by the shepherds. But Mary kept all these things, and pondered them in her heart.
31. ARIA Schließe, mein Herze, dies selige Wunder Fest in deinem Glauben ein! Lasse dies Wunder, die göttlichen Werke, Immer zur Stärke Deines schwachen Glaubens sein!
Enclose, my heart, this blessed miracle Fast within your faith! Let this miracle of divine works Ever strengthen Your feeble faith!
32. RECITATIVE Ja, ja, mein Herz soll es bewahren, Was es an dieser holden Zeit Zu seiner Seligkeit Für sicheren Beweis erfahren.
Yea, my heart shall guard Those certain proofs Which at this time of grace It experienced for its bliss.
33. CHORALE Ich will dich mit Fleiß bewahren, Ich will dir Leben hier, Dir will ich abfahren, Mit dir will ich endlich schweben Voller Freud Ohne Zeit Dort im andern Leben.
I shall guard Thee with fervour, For Thee shall I Live here on earth, For Thee shall I depart hence. With Thee shall I soar at last, Filled with joy, Time without end, There in the other life.
34. RECITATIVE Evangelist: Und die Hirten kehrten wieder um, preiseten und lobten Gott um alles, das sie gesehen und gehöret hatten, wie denn zu ihnen gesaget war.
Evangelist: And the shepherds returned again, praising and giving thanks to God for everything that they had seen and heard, as it was told unto them.
35. CHORALE Seid froh dieweil, Daß euer Heil Ist hie ein Gott und auch ein Mensch geboren, Der, welcher ist Der Herr und Christ In Davids Stadt, von vielen auserkoren.
Rejoice the while That your Saviour Has been born here, both God and Man, He, who is The Lord and Christ In David’s city, chosen amongst many.
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SANCTUS FROM B MINOR MASS BWV 232
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CHORUS CHORUS Sanctus, Sanctus, Sanctus Dominus Deus Holy, holy, holy, Lord God of Hosts. Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory.
CHRISTMAS ORATORIO BWV 248 PART 4 For the feast of the Circumcision 36. CHORUS Fallt mit Danken, fallt mit Loben Vor des Höchsten Gnadenthron! Gottes Sohn Will der Erden Heiland und Erlöser werden, Gottes Sohn Dämpft der Feinde Wut und Toben. 37. RECITATIVE Evangelist: Und da acht Tage um waren, daß das Kind beschnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward. 38. RECITATIVE & CHORALE Immanuel, o süßes Wort! Mein Jesus heißt mein Hort, Mein Jesus heißt mein Leben. Mein Jesus hat sich mir ergeben, Mein Jesus soll mir immerfort Vor meinen Augen schweben. Mein Jesus heißet meine Lust, Mein Jesus labet Herz und Brust. Jesu, du mein liebstes Leben, Meiner Seelen Bräutigam, Komm! Ich will dich mit Lust umfassen, Mein Herze soil dich nimmer lassen, Der du dich vor mich gegeben An des bittern Kreuzes Stamm! Ach! So nimm mich zu dir! Auch in dem Sterben sollst du mir Das Allerliebste sein; In Not, Gefahr und Ungemach Seh ich dir sehnlischt nach.
With thanks and praise prostrate yourselves Before the merciful throne of God on high! The Son of God Is willing to become the Saviour And Redeemer of mankind. The Son of God Quenches the foe’s furious raging.
Evangelist: And when eight days were accomplished for the circumcising of the child, his name was called Jesus, which was so named of the angel before he was conceived in the womb.
Emmanuel, oh sweet word! My Jesus is my shepherd, My Jesus is my life, My Jesus has given Himself to me. My Jesus shall for evermore Hover before my eyes. My Jesus is my joy, My Jesus refreshes heart and soul. Jesus, Thou my dearest life Bridegroom of my soul, Come, I shall embrace Thee with joy, Never more shall my heart forsake Thee, Thou, who gavest Thyself for me On the Cross, the bitter tree! Ah, then, take me to Thee! Even in death Thou shalt be Dearest above all to me; In distress, danger and discomfort I look to Thee most longingly.
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Was jagte mir zuletzt der Tod für Grauen ein? Mein Jesus! Wenn ich sterbe, So weiß ich, daß ich nicht verderbe. Dein Name steht in mir geschrieben, Der hat des Todes Furcht vertrieben.
What dread did death strike into me of late? My Jesus, when I come to die, I know I shall not perish. Thy name is inscribed within me And has dispelled the fear of death.
39. ARIA Flößt, mein Heiland, flößt dein Namen Auch den allerkleinsten Samen Jenes strengen Schreckens ein? Nein, du sagst ja selber nein. (Nein!) Sollt ich nun das Sterben scheuen? Nein, dein süßes Wort ist da! Oder sollt ich mich erfreuen? Ja, du Heiland sprichst selbst ja. ( Ja!)
O my saviour, could Thy name Instil even the slightest grain Of that dread fear? No. Thou Thyself dost say no! (No!) Shall I then be afraid to die? No, Thy sweet word is there! Or should I rejoice? Yes, my Saviour Thou dost say yes! (Yes!)
40. RECITATIVE & CHORALE Wohlan, dein Name soil allein In meinem Herzen sein! Jesu, meine Freud und Wonne, Meine Hoffnung, Schatz und Teil, So will ich dich entzücket nennen, Wenn Brust und Herz zu dir vor Liebe brennen. Mein Erlösung, Schmuck und Heil, Doch, Liebster, sage mir: Wie rühm ich dich, wie dank ich dir? Hirt und König, Licht und Sonne, Ach! wie soll ich würdiglich, Mein Herr Jesu, preisen dich?
So be it! Thy name alone Shall dwell in my heart! Jesu, my joy and rapture, My hope, my treasure, my portion, So shall I call Thee, filled with delight, When heart and soul burn for love of Thee. My Redeemer, shelter and salvation, But, dearest beloved, tell me: How may I thank Thee and extol Thee? Shepherd and king, light and sun, Ah, how might I worthily My Lord Jesus, praise Thee?
41. ARIA Ich will nur dir zu Ehren leben, Mein Heiland, gib mir Kraft und Mut, Daß es mein Herz recht eifrig tut! Stärke mich, Deine Gnade würdiglich Und mit Danken zu erheben!
I shall live only to honour Thee, My Saviour, give me strength and courage, That my heart might do so zealously. Strengthen me That I may worthily, And with gratitude, extol Thy goodness!
42. CHORALE Jesus richte mein Beginnen, Jesus bleibe stets bei mir, Jesus zäume mir die Sinnen, Jesus sei nur mein Begier, Jesus sei mir in Gedanken, Jesu, lasse mich nicht wanken!
May Jesus guide my beginning, May Jesus always be at my side. May Jesus curb my desires, May Jesus be my sole longing, May Jesus be in my thoughts, O Jesus, let me never falter!
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CHRISTMAS ORATORIO BWV 248 PART 5
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For the first Sunday in the New Year 43. CHORUS Ehre sei dir, Gott, gesungen, Dir sei Lob und Dank bereit’, Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut Unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut.
Glory be to Thee, O Lord, Let praise and thanksgiving be prepared for Thee. All the world extols thee, Because our well-being pleases Thee, Because this day Our wish has been fulfilled, Because Thy blessing fills us so wondrously with joy.
44. RECITATIVE Evangelist: Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen:
Now when Jesus was born in Bethlehem of Judaea in the days of Herod the King, behold, there came wise men from the East to Jerusalem, saying:
45. CHORUS AND RECITATIVE Die Weisen: Wo ist der neugeborne König der Jüden? Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust! Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten.
Where is He that is born King of the Jews? Seek Him in my breast, He dwells here, for my delight, and His! We have seen His star in the East and are come to worship Him.
Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen! Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie, sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, Geliebter Jesu, sein!
Blessed are you, who have seen this light, It is come for your salvation! My Saviour, Thou, Thou art the light, That shall also shine on the gentiles, And they, they do not yet know Thee, And already want to worship Thee. How bright, how clear must Thy radiance be, Beloved Jesus!
46. CHORALE Dein Glanz all Finsternis verzehrt, Die trübe Nacht in Licht verkehrt. Leit uns auf deinen Wegen, Daß dein Gesicht Und herrlichs Licht Wir ewig schauen mögen!
Thy brightness doth consume all darkness, It turns the dismal night to day. Lead us on Thy pathways, That on Thy face And glorious light We may forever gaze!
47. ARIA Erleucht auch meine finstre Sinnen, Erleuchte mein Herze
Illumine too my dark thoughts, Illumine my heart
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Durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze In allen meinen Werken sein; Dies lasset die Seele nichts Böses beginnen. 48. RECITATIVE Evangelist: Da das der König Herodes hörte, erschrak er und mit ihm das ganze Jerusalem.
49. RECITATIVE Warum wollt ihr erschrecken? Kann meines Jesu Gegenwart euch solche Furcht erwecken? O! solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen. 50. RECITATIVE Evangelist: Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten: Und du Bethlehem imjudischen Lande bist mitnichten die kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei. 51. ARIA Ach, wenn wird die Zeit erscheinen? Ach, wenn kömmt der Trost der Seinen?
With the brightness of Thy rays! Thy Word shall be the brightest candle To me in all my doings; And shall keep my soul from wicked deeds.
Evangelist: When Herod the King had heard these things, he was troubled, and all Jerusalem with him.
Why are you so afraid? Can the presence of my Jesus awake such fear in you? Oh, should you not rather Rejoice instead, Because by this He promises To save mankind once more.
Evangelist: And he gathered all the chief priests and scribes of the people together, and demanded of them where Christ should be born. And they said unto him: in Bethlehem of Judaea; for thus it was written by the prophet: And thou Bethlehem, in the land of Juda, are not the least among the princes of Juda; for out of thee shall come a Governor, that shall rule my people Israel.
Schweigt, er ist schon würklich hier! Jesu, ach so komm zu mir!
Ah! When shall the time appear? Ah! When shall the comfort of His people appear? Be still, He is in truth already here! Jesus, ah then come to me!
52. RECITATIVE Mein Liebster herrschet schon. Ein Herz, das seine Herrschaft liebet Und sich ihm ganz zu eigen gibet, Ist meines Jesu Thron.
My dearest Beloved already reigns. A heart which loves His dominion, And wholly gives himself to Him, Is my Jesu’s throne.
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53. CHORALE Zwar ist solche Herzensstube Wohl kein schöner Fürstensaal, Sondern eine finstre Grube; Doch, sobald dein Gnadenstrahl In denselben nur wird blinken, Wird es voller Sonnen dünken.
31 Although the heart‘s own humble dwelling Is no fine princely palace But a gloomy dungeon, As soon as the ray of Thy mercy Casts its brightness within, It will seem to be bathed in sun.
CHRISTMAS ORATORIO BWV 248 PART 6 For the feast of Epiphany 54. CHORUS Herr, wenn die stolzen Feinde schnauben, So gib, daß wir im festen Glauben Nach deiner Macht und Hülfe sehn! Wir wollen dir allein vertrauen, So können wir den scharfen Klauen Des Feindes unversehrt entgehn. 55. RECITATIVE Evangelist: Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre? Und weiset sie gen Bethlehem und sprach: Herodes: Ziehet hin und forschet fleißig nach dem Kindlein, und wenn ihr’s findet, sagt mir’s wieder, daß ich auch komme und es anbete.
56. RECITATIVE Du Falscher, suche nur den Herrn zu fällen, Nimm alle falsche List, Dem Heiland nachzustellen; Der, dessen Kraft kein Mensch ermißt, Bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, Nebst aller seiner List, des Höchsten Sohn, Den du zu stürzen suchst, sehr wohl bekannt.
Lord, if proud enemies rage, Grant that we, in steadfast faith, May look to Thy might and Thy help. In Thee alone would we put our trust, Thus can we escape unharmed The enemy’s sharp talons.
Evangelist: Then Herod, when he had privily called the wise men, enquired of them diligently what time the star appeared. And he sent them to Bethlehem, and said: Herod: Go and search diligently for the young child: and when you have found him, bring me word again that I may come and worship him also.
Deceiver, though you try to destroy the Lord, And use all false cunning To trap the Saviour, Yet shall He, whose power no man can measure, Remain in safe hands. Your heart, your false heart With all its cunning, is already wellknown To the Son of God whom you seek to overthrow.
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57. ARIA Nur ein Wink von seinen Händen Stürzt ohnmächtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, Seiner Feinde Stolz zu enden, O, so müssen sich sofort Sterblicher Gedanken wenden.
A mere gesture from His hands Topples the might of impotent man. Here all strength is derided! A single word from the Lord suffices To shatter His enemies’ pride Ah‘ The thoughts of mortals Are at once transformed.
58. RECITATIVE Evangelist: Als sie nun den Königgehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und täten ihre Schätze auf und Schenkten ihm Gold, Weihrauch und Myrrhen.
When they had heard the king, they departed; and lo, the star, which they saw in the East, went before them, till it came and stood over where the young child was. When they saw the star, they rejoiced with exceeding great joy. And when they were come into the house, they saw the young child with Mary, His mother, and fell down, and worshipped Him; and when they had opened their treasures, they presented unto Him gifts: gold, and frankincense, and myrrh.
59. CHORALE Ich steh an deiner Krippen hier, O Jesulein, mein Leben; Ich komme, bring und schenke dir. Was du mir hast gegeben. Nimm hin! Es ist mein Geist und Sinn, Herz, Seel und Mut, nimm alles hin, Und laß dirs wohlgefallen!
Here I stand before Thy manger, O little Jesus, O my life. I come and bring and present to Thee What Thou Thyself hast given me. Take it, it is my mind and spirit, Heart, soul and will - take it all, And may it please Thee well!
60. RECITATIVE Evangelist: Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.
Evangelist: And being warned of God in a dream that they should not return to Herod, they departed into their own country another way.
6l. RECITATIVE So geht! Genug, mein Schatz geht nicht von hier, Er bleibet da bei mir, Ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb Mit sanftmutsvollem Trieb Und größter Zärtlichkeit umfassen; Er soll mein Bräutigam verbleiben, Ich will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich,
Go then, enough, my dear one shall not go from here. He shall stay here with me, Neither shall I suffer Him to leave me. His arm shall enfold me out of love, With gentle desire And with the utmost tenderness. He shall remain my bridegroom, I shall dedicate to Him my heart and soul. I know full well, He loves me,
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Mein Herz liebt ihn auch inniglich Und wird ihn ewig ehren. Was könnte mich nun für ein Feind Bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund; Und werd ich ängstlich zu dir flehn: Herr, hilf! so laß mich Hülfe sehn!
33 My heart too loves Him fervently And will always honour Him. What enemy could hurt me With such good fortune! Thou, Jesus, art my friend, and ever shall be; And should I cry in anguish to Thee: Lord, help me! then let me find succour!
62. ARIA Nun mögt ihr stolzen Feinde schrecken; Was könnt ihr mir für Furcht erwecken? Mein Schatz, mein Hort ist hier bei mir. Ihr mögt euch noch so grimmig stellen, Droht nur, mich ganz und gar zu fällen, Doch seht! mein Heiland wohnet hier.
Though you proud foes try to frighten me, What fear could you awake in me? My treasure, my refuge is here with me. Look on as grimly as you please, Threaten to destroy me utterly; But lo! Here my Saviour dwells.
63.RECITATIVE Was will der Höllen Schrecken nun, Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn?
What terror now has Hell for us? What harm can the world and sin inflict, Since we rest in Jesus’s hands?
64. CHORALE Nun seid ihr wohl gerochen An eurer Feinde Schar, Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd und Holle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.
Now are you truly avenged On your host of enemies, For Christ has shattered All who were hostile to you. Death, devil, sin and Hell Are now laid low forever; By God’s side Is where the human race belongs.
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MASAAKI SUZUKI CONDUCTOR
ANNA DENNIS SOPRANO
Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach with an impressive discography on the BIS label including all of Bach’s major choral works and the complete cycle of Sacred cantatas. He has remained their Music Director ever since taking them on tours to major North American and European cities, and building up an outstanding reputation for the expressive refinement and truth in their performances.
Described by the Times as a “delectable soprano and a serene, ever-sentient presence”, Anna’s notable concert performances have included Britten’s War Requiem at the Berlin Philharmonie, Thomas Adès’ Life Story accompanied by the composer at the Lincoln Centre and Orff’s Carmina Burana with the Orquestra Gulbenkian Lisbon. Her BBC Proms appearances include performances with the CBSO, BBC Symphony, the Britten Sinfonia and the Orchestra of the Age of Enlightenment.
In addition to working with renowned period ensembles, Suzuki is now invited to conduct repertoire as diverse as Britten, Fauré, Mahler and Stravinsky with orchestras such as the Danish National Radio Symphony Orchestra, the Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, Orchestre Symphonique de Montréal, the New York Philharmonic and the San Francisco Symphony Orchestra. Suzuki continues as an active organist and harpsichordist. Founder and head of the early music department at the Tokyo University of the Arts, he was on the choral conducting faculty at the Yale School of Music and Yale Institute of Sacred Music from 2009 until 2013, where he remains affiliated as the principal guest conductor of Yale Schola Cantorum.
Operatic roles include: Paride/Gluck’s Paride ed Elena (Nuremberg Opera House), Katherine Dee/Damon Albarn’s Dr Dee (English National Opera), and Strawberry Seller & Strolling Player/Britten’s Death in Venice (La Scala, Milan). Anna has created roles in premieres including Francisco Coll’s Café Kafka (Royal Opera House/Opera North/Aldeburgh), Jonathan Dove’s The Enchanted Pig (Young Vic) and Edward Rushton’s The Shops (Bregenz Festspiele/Royal Opera House). Performances in 2016/17 include major roles in all three Monteverdi operas in John Eliot Gardiner’s Monteverdi 450 anniversary international tour, Lepido/Handel’s Silla for Göttingen Händel Festspiele, Schoenberg’s 2nd String Quartet at the Auditorio de Tenerife and Queen of the Night/The Magic Flute in performances with Clarion Music Society in New York.
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ROBIN BLAZE COUNTERTENOR
JEREMY BUDD TENOR
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Photo: Will Unwin
Robin Blaze is firmly established in the front rank of interpreters of Purcell, Bach and Handel, and has worked with some of the most distinguished conductors including Christophers, Gardiner, Haïm, Herreweghe, Hogwood, Koopman, Goodwin, Leonhardt, King, Kraemer, Mackerras, Pinnock and Suzuki. He studied music at Magdalen College, Oxford and won a scholarship to the Royal College of Music. He regularly appears with The Academy of Ancient Music, Bach Collegium Japan, Collegium Vocale Gent, The English Concert, The Gabrieli Consort, The King’s Consort, Florilegium, Orchestra of the Age of Enlightenment and The Sixteen. Other engagements have included the Berlin Philharmonic, the National Symphony Orchestra, Washington, Royal Flanders Philharmonic, BBC Philharmonic, Royal Philharmonic Orchestra, Royal Northern Sinfonia and the Philharmonia Orchestra. Recent and future highlights include Didymus Theodora at the Göttingen Handel Festival, Umana fragilitá Il ritorno d’Ulisse in patria for The Grange Festival, performances of Handel’s Messiah with the Handel and Haydn Society in Boston, the Royal Scottish National Orchestra, and with the Orquesta Sinfonica de Galicia in Spain, performances of Bach Cantatas with the Nederlandse Bach Vereniging, and Robin also continues his collaboration with Bach Collegium Japan and Masaaki Suzuki.
Born in Hertfordshire, Jeremy started out as a Chorister at St Pauls Cathedral in London before going on to study at the Royal Academy of Music. Since finishing his studies he has been much in demand on the concert platform predominantly for his Baroque repertoire. Jeremy has worked with many of the foremost conductors in this field including: Sir John Eliot Gardiner, Harry Christophers CBE, Sir Roger Norrington, Sir Charles Mackerras, Paul McCreesh, John Butt, Bernard Labadie and Jeffrey Skidmore. Operatic engagements include a fully-staged St. John Passion in Paris, Orfeo in Lille with Emmanuelle Haim, Pilade in Handel’s Oreste at Linbury Studio Theatre, Purcell’s Dido and Aeneas with English Country Garden Opera, Chabrier’s L’Etoile at Opera Comique in Paris. Recent performances have included Monteverdi Vespers with The Sixteen, Evangelist in Symphony Hall with Jeffrey Skidmore and ExCathedra, Britten Serenade for Tenor, Horn and Strings with Harry Christophers. Future solo engagements include a recording and concerts of Gibbons Verse Anthems with Fretwork, St John Passion with Jeffrey Skidmore and ExCathedra, Mozart Requiem and St Matthew Passion with Paul McCreesh and the Gabrieli Consort, Monteverdi Vespers with Harry Christophers and the Handel and Haydn Society.
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ASHLEY RICHES BARITONE
CHOIR OF THE AGE OF ENLIGHTENMENT
British bass-baritone Ashley Riches studied at King’s College, Cambridge and the Guildhall School of Music and Drama. He was a Jette Parker Young Artist at the Royal Opera House, Covent Garden from 2012-14 and a BBC Radio 3 New Generation Artist from 2016-18.
The Choir of the Age of Enlightenment is a group of professional singers, many of whom are soloists in their own right. The Choir has taken part in many of the OAE’s recordings over the years, including Monteverdi’s Vespers of 1610, Purcell’s Dido and Aeneas, Bach Cantatas with Gustav Leonhardt, and Mozart’s Così fan tutte with Sir Simon Rattle. It has also appeared frequently on radio and television with the Orchestra, perhaps most memorably in July 2000 when the Choir and Orchestra performed Bach’s B Minor Mass at the BBC Proms on the 250th anniversary of his death.
Opera roles include Salieri in Rimsky Korsakov’s Mozart and Salieri, Michael in the world premiere of Eichbert’s Glare, Morales Carmen, Mandarin Turandot (ROH); Schaunard La Bohème (ENO); Guglielmo Così fan tutte (Garsington Opera); Polyphemus Acis and Galatea (Academy of Ancient Music); Pollux Castor et Pollux (Early Opera Company); title role Owen Wingrave (Opéra National de Lorraine, Nancy). Concert highlights include Creon in Stravinsky’s Oedipus Rex with Berlin Philharmonic and Sir John Eliot Gardiner, a European tour of St Matthew Passion with the Monteverdi Choir & Orchestra, Mozart Requiem with the Gabrieli Consort, Verdi Requiem at the Royal Albert Hall, the UK premiere of Shostakovich Orango and the world premiere of John Powell’s Prussian Requiem (Philharmonia Orchestra). Ashley’s fast-growing discography includes Poulenc Chansons Gaillardes with Graham Johnson (Hyperion), a solo disc of Shakespeare Sonnets set to music by Mario CastelnuovoTedesco (Resonus Classics), St John Passion (AAM), Daniel Purcell’s The Judgement of Paris and Handel’s L’Allegro (Gabrieli Consort).
During recent seasons the Choir of the Age of Enlightenment has performed with the Orchestra in the UK and further afield. In 2013 the Choir performed the Brahms Requiem at the BBC Proms with Marin Alsop and the OAE. One review praised ‘the most homogenous sound I think I’ve ever heard from a choir….they rightly received the loudest ovation of the night’.
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Solicitors
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 Paul’s Churchyard, London EC4M 8AB T. 020 7490 7766
www.lubbockfine.co.uk Member of Russell Bedford International
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ORCHESTRA OF THE AGE OF ENLIGHTENMENT hree 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 conductorless 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. The ensemble’s musicians were branded eccentric idealists, 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
T
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 performance have redefined concert parameters. Its new 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. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking 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. And, most recently, John Butt has conducted his experiments in Bach inside it. All five of them 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
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THE OAE TEAM
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Chief Executive Crispin Woodhead
Head of Individual Giving Alex Madgwick
Director of Finance and Operations Ivan Rockey
Development Manager Catherine Kinsler
Development Director Emily Stubbs
Trusts & Foundation Manager Andrew Mackenzie
Director of Marketing and Audience Development John Holmes
Development and Events Administrator Danielle Robson
Director of Press Katy Bell
Development Trainee Alice Macrae
Education Director Cherry Forbes
Board of Directors Sir Martin Smith (Chairman) Cecelia Bruggemeyer (Vice-Chair) Lisa Beznosiuk Luise Buchberger Robert Cory Denys Firth Nigel Jones Max Mandel David Marks Roger Montgomery Olivia Roberts Susannah Simons Mark Williams Crispin Woodhead
Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Projects Officer Sarah Irving Librarian Colin Kitching Education Officer Louise Malijenovsky Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Charles Lewis Regional Marketing Officer Holly Cassidy
OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Robert Cory Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen
Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Cecelia Bruggemeyer Lisa Beznosiuk Luise Buchberger Max Mandel Roger Montgomery
Administration Orchestra of the Age of Enlightenment Kings Place, 90 York Way, London, N1 9AG Tel: 020 7239 9370 Email: info@oae.co.uk Website: oae.co.uk Registered Charity No. 295329 Registered Company No. 2040312
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OAE EDUCATION Now we’ve celebrated our 30th birthday year, it is a good moment to reflect on what we have achieved since we started our Education work 20 years ago. We’ve grown rapidly, with ten times as much educational activity happening this year compared to when our Education programme began. There are six main parts to our educational work: TOTS, Schools, Special Needs, Nurturing Talent, Opera and Flagship projects We have partnerships in ten cities across the country, work with 12 music hubs and numerous venues and concert halls, and in every location we have created an extended OAE family, something we are very proud of.
And have worked with over
17,500 people
Since September 2015 our education work has included:
21 TOTS and family concerts
8
4Community
concerts Special needs concerts and care homes visits
16 Schools 3 Opera
concerts
projects
3
We have raised over £12,500 for WaterAid
Events in unconventional settings (pubs and ferries)
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Music is Special – Camden special needs project
Support our Education programmes
This autumn we’ve been bringing together both mainstream and special schools on a collaborative music project. We worked with four Camden schools: Gospel Oak, St Patrick’s, Frank Barnes and Swiss Cottage.
The work we do could not happen without the support of our generous donors. If you would like to support our Education work please contact Alex Madgwick, Head of Individual Giving alex.madgwick@oae.co.uk, 020 7239 9380
Swiss Cottage students created the lyrics for a new song Mr. RM (see lyrics below). Gospel Oak and St Patrick’s composed the melodies and Frank Barnes children taught everyone to sign the song. Animateur Sam Chaplin arranged everything for the Orchestra and we all came together for a performance at Cecil Sharp House with a twenty-piece orchestra who also performed movements from Handel’s Music for the Royal Fireworks. All schools rehearsed and performed as one team, which was a delight. Children also got the opportunity to have a closer look at our instruments and talk to our musicians. It was a touching day for everyone and showed the power of music as a common language.
Mr. RM – lyrics The red monster, Mr. RM Has a firework in his tummy His pink orange hair explodes More powerful than a shark In the year 2099 His arms like a burning rope Will touch the moon And the world will end
Music is Special at Cecil Sharp House
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NEWS INTRODUCING HOLLY We’ve recently welcomed our new Regional Marketing Officer, Holly Cassidy, who will work with us for the next nine months on our Musical Landscapes tour. Holly’s role will involve promoting the wide range of Musical Landscapes concerts, from TOTS to schools to new commissions for local musicians, in Norfolk, Suffolk and County Durham.
SIMONE JANDL You might not even notice from the audience because Simone (pictured above) has been a friend of the Orchestra for a while now, but it’s with great excitement that we can announce her as our new Co-Principal Viola. She joins Max Mandel in leading the viola section. Although she’s a native German, she’s fluent in Italian and Spanish as well as German and English, so we’re looking forward to her joining us on European tours. Welcome, Simone.
Follow F ollow us ffor or mor moree ne news ws
orchestraoftheageofenlightenment orc chestraofftheag th heageoffenlightenment
@theoaee @theoa
oae_photos oae_photos
RISING STARS We’re launching a new programme to help kick start the careers of aspiring singers who have undertaken musical training. Our Rising Stars of the Enlightenment will get tutorage from legendary tenor Mark Padmore (pictured), and sing in a variety of concerts from intimate Bach cantatas to the Royal Festival Hall stage. For more information see oae.co.uk.
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SUPPORTERS The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.
OAE THIRTY CIRCLE The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust THIRTY CIRCLE PATRONS Bob & Laura Cory Sir Martin Smith & Lady Smith OBE THIRTY CIRCLE MEMBERS Victoria & Edward Bonham Carter Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Julian & Camilla Mash Mark & Rosamund Williams
OAE THIRTY CIRCLE ANN & PETER LAW OAE EXPERIENCE SCHEME Ann & Peter Law MAJOR SPONSOR
CORPORATE PARTNERS Apax Partners E.S.J.G. Limited Lindt Lubbock Fine Chartered Accountants Parabola Land Stephen Levinson at Keystone Law Swan Turton SEASON PATRONS Bob & Laura Cory Bruce Harris Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Sir Martin Smith & Lady Smith OBE Philip & Rosalyn Wilkinson Mark & Rosamund Williams
PROJECT PATRONS Julian & Annette Armstrong JMS Advisory Limited Adrian Frost Julian and Camilla Mash ARIA PATRONS Denys and Vicki Firth Gary & Nina Moss Andrew Nurnberg Rupert Sebag-Montefiore Caroline Steane Eric Tomsett CHAIR PATRONS Mrs Nicola Armitage Education Director Hugh & Michelle Arthur Violin Victoria & Edward Bonham Carter Principal Trumpet Anthony & Celia Edwards Principal Oboe Sir Vernon & Lady Ellis Co-Principal Viola Franz & Regina Etz Principal Double Bass James Flynn QC Co-Principal Lute/Theorbo Paul Forman Co-Principal Cello and Co-Principal Bassoon Su Li and Stephen Gibbons Violin The Mark Williams Foundation Co-Principal Bassoon Sandy Mitchell Jenny and Tim Morrison Second Violin Haakon & Imogen Overli Co-Principal Cello Jonathan Parker Charitable Trust Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal Bassoon Olivia Roberts Violin John & Rosemary Shannon Principal Horn Roger & Pam Stubbs Sub-Principal Clarinet Crispin Woodhead & Christine Rice Principal Timpani
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GOLD FRIENDS Noël & Caroline Annesley Mr & Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Michael & Harriet Maunsell Mr J Westwood
TRUSTS AND 45 FOUNDATIONS Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund SILVER FRIENDS Brian Mitchell Charitable Settlement Haylee & Michael Bowsher The Charles Peel Charitable Trust Michael Brecknell ASSOCIATE PATRONS Derek Hill Foundation Christopher Campbell Felix Appelbe & Dunard Fund Mr & Mrs Michael Cooper Lisa Bolgar Smith Ernest Cook Trust Simon Edelsten Mrs A Boettcher Fenton Arts Trust Norman and Sarah Fiore David and Marilyn Clark Garfield Weston Foundation Malcolm Herring Christopher & Lesley Cooke The Golden Bottle Trust Patricia Herrmann David Emmerson Goldsmiths’ Company Charity Peter & Sally Hilliar Ian S. Ferguson & Jack Lane Charitable Trust Rupert & Alice King Dr. Susan Tranter JMCMRJ Sorrell Foundation William Norris Jonathan & Tessa Gaisman J Paul Getty Jnr General Charitable Trust Marc-Olivier and Agnes Laurent Roger Mears & Joanie Speers John Lyon’s Charity Stephen & Roberta Rosefield Sir Timothy & Lady Lloyd The Mark Williams Foundation Susannah Simons Stanley Lowy Michael Marks Charitable Trust Her Honour Suzanne Stewart Michael & Harriet Maunsell National Foundation for Youth Music David Swanson David Mildon in memory Orchestras Live of Lesley Mildon BRONZE FRIENDS Palazzetto Bru-Zane North Street Trust Keith Barton P F Charitable Trust Andrew & Cindy Peck Dennis Baldry Schroder Charity Trust Michael & Giustina Ryan Dan Burt Valentine Charitable Trust Ivor Samuels & Gerry Wakelin Tony Burt Emily Stubbs & Michael A. Conlon Stephen McCrum Anthony & Jo Diamond Shelley von Strunckel Mrs S M Edge Rev.d John Wates, OBE & Mrs Mary Fysh Carol Wates Ray & Liz Harsant We are also very grateful to our Tim Wise Auriel Hill anonymous supporters and OAE Nigel Mackintosh YOUNG PATRONS Friends for their ongoing generosity Angus Macpherson Josh Bell and Adam Pile and enthusiasm. Julian Markson Marianne and William For more information on supporting the Hugh & Eleanor Paget Cartwright-Hignett OAE please contact Emily Stubbs, Nigel Pantling Joseph Cooke and Rowan Development Director Alan Sainer Roberts emily.stubbs@oae.co.uk Ruth & David Samuels Sam Hucklebridge 020 7239 9381. Gillian Threlfall THE AMERICAN FRIENDS Mr & Mrs Tony Timms The OAE is a registered charity OF THE OAE David & Margaret Walker number 295329 accepting tax Jane Attias Mrs Joy Whitby efficient gifts from UK taxpayers Wendy Brooks & Tim Medland Tony & Jackie Yates-Watson and businesses. Steve and Joyce Davis Jerome and Joan Karter Andrew Wilson EDUCATION PATRONS John & Sue Edwards (Principal Education Patrons) Mrs Nicola Armitage Patricia & Stephen Crew The Nigel Gee Foundation Venetia Hoare Professor Richard Portes CBE FBA
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OON
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COMING S NOËL: A CHRISTMAS CELEBRATION Early German Baroque takes centre stage, including Schütz’s under-rated Christmas Story.
TURNING POINTS: VIVALDI’S FOUR SEASONS Join us for an absolute classic of Baroque repertoire.
7.30pm, Monday 19 December
7.30pm, Saturday 11 February, 2017
Kings Place
Kings Place
Tickets: kingsplace.co.uk
Tickets: kingsplace.co.uk
MÉHUL: THE FIRST ROMANTIC
FAUST & THE MOZART CONCERTOS
Explore the operas of a forgotten giant of the Romantic era.
A double dose of Mozart at this conductor-less concert featuring star violinist Isabelle Faust.
7pm, Friday 10 February, 2017 St John’s Smith Square Tickets: southbankcentre.co.uk/oae
7pm, Tuesday 18 April, 2017 Royal Festival Hall Tickets: southbankcentre.co.uk/oae
SARAH CONNOLLY’S BERLIOZ Explore six stages of love with one of Britain’s favourite singers. 7pm, Monday 20 February, 2017 Royal Festival Hall Tickets: southbankcentre.co.uk/oae
STEVEN ISSERLIS PERFORMS HAYDN The cello legend performs one of music’s most enigmatic pieces. 7pm, Monday 20 March, 2017 Royal Festival Hall Tickets: southbankcentre.co.uk/oae
KIRKER MUSIC HOLIDAYS FOR DISCERNING TRAVELLERS Kirker Holidays offers an extensive range of holidays for music lovers. These include our own exclusive opera and chamber music festivals on land and at sea and tours to leading festivals in Europe.
THE DRESDEN MUSIC FESTIVAL A SEVEN NIGHT HOLIDAY | 17 MAY 2017
The Saxon capital is one of Europe’s most beautiful cities and a historic centre of musical excellence. Our holiday to the annual Dresden Music festival takes in performances by Diana Damrau, Steven Isserlis and Francesco Piemontesi and three major European orchestras. In addition to five concerts at venues including the famous Semper Opera and the Schloss Wackerbarth, we shall also explore the historic heart of Dresden itself. Highlights include the extraordinary collection amassed by the Electors of Saxony at the Green Vaults, the important exhibition of Old Masters housed in the elaborate rococo Zwinger Gallery, and the magnificently restored Frauenkirche. Price from £2,725 per person for seven nights including return flights, accommodation with breakfast, three lunches, two dinners, tickets for five concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.
Speak to an expert or request a brochure:
020 7593 2284 quote code GCN www.kirkerholidays.com
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ACADEMY OF ANCIENT MUSIC london concert season 2016-17 Purcell the fairy queen Monday 10 October 2016, Barbican Hall
James Gilchrist Directs Thursday 20 October 2016, Milton Court Concert Hall
the Glory of Venice Wednesday 7 December 2016, Milton Court Concert Hall
bach anD the italian concerto Wednesday 15 February 2017, Milton Court Concert Hall
JorDi saVall Directs Saturday 11 March 2017, Barbican Hall
bach reconstructeD Friday 7 April 2017, Milton Court Concert Hall
richarD eGarr Directs Friday 5 May 2017, Milton Court Concert Hall
monteVerDi VeSPerS Friday 23 June 2017, Barbican Hall
tickets £10-50 plus booking fee* £5 for aamplify members | £70 premium seats available
Book at barbican.org.uk or call 020 7638 8891 aam.co.uk/london * £3 online, £4 by telephone, no fee when booked in person
2016-17 London Listings167x239.indd 1
10/08/2016 23:00
Without help, I wouldn’t be able to afford to study to become a singer. Our work gives people like Soraya a chance to follow their dreams. Help us help musicians. helpmusicians.org.uk 020 7239 9100
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Help Musicians UK is the new name for the Musicians Benevolent Fund. We help musicians of all genres throughout their professional lives. Registered charity 228089.
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