Credit Marco Borggreve
STRINGS REUNITED Strings Reunited is made up of three films which you can buy as a series, or as individual films.
GRIEG HOLBERG SUITE, OP. 40 ELGAR SOSPIRI FOR STRINGS AND HARP, OP. 70
KELLY ELEGY FOR STRING ORCHESTRA
First violin Matthew Truscott Margaret Faultless Rodolfo Richter Dominika Feher Henry Tong Richard Blayden Second violin Kati Debretzeni Claire Holden Daniel Edgar Claudia Delago-Norz Debbie Diamond George Clifford
Cello Catherine Rimer Andrew Skidmore Ruth Alford Richard Tunnicliffe Double bass Kate Brooke Alexander Jones Harp Alison Martin
Viola Max Mandel Marina Ascherson Annette Isserlis Ruth Nelson
We are grateful for the support of Jenny and Tim Morrison and our friends at Christ Church, Spitalfields
PROGRAMME NOTES by Richard Bratby
SOSPIRI FOR STRINGS AND HARP, OP. 70
HOLBERG SUITE IN OLDEN STYLE, OP. 40
Edward Elgar (1857-1934)
Edvard Grieg (1843-1907)
The Elgars were holidaying near Naples in the spring of 1913 when distressing news reached them: their American friend Julia Worthington – “our dear, dear Pippa”, as Alice Elgar called her - was gravely ill of cancer. She died in June that year. So it’s easy enough to understand why Elgar didn’t feel particularly inclined to compose in the early months of 1914.
Prelude Sarabande Gavotte and Musette Air Rigaudon The poet Ludvik Holberg (1684-1754) crossed Europe on foot, scraped a living in Oxford as a violin teacher, wrote the first Danish stage comedies, and died a Baron. It was just the sort of tale to appeal to Grieg – a fellow-native of Bergen – and for Holberg’s bicentenary he produced a piano work based on the baroque dance suites Holberg would have known (and played). He arranged it for string orchestra, and in March 1885 presented to a surprised Bergen audience a “Suite in olden style”: From Holberg’s Time. Grieg was no musicologist, and the five movements are very much his own take on baroque forms, seasoned with expressive violin solos, bouncing rhythms and playful humour. A galloping Prelude gets the celebrations off to an exhilarating start, and the movements that follow range from the tender (Air) to the jaunty (Gavotte). And in the final Rigaudon, Grieg summons the ghost not of Baron Holberg the literary giant – but of young Ludvík from Bergen, the footloose student fiddle-teacher.
There was one major exception. Elgar conceived Sospiri (Sighs) as a simple salon piece for violin and piano, and dedicated it to one of his closest musical friends, the violinist W.H “Billy” Reed. But somewhere in the creative process it deepened and darkened into an intensely personal outpouring of anguish for strings, organ and harp. Premiered by Henry Wood at the Proms on 15 August 1914 - just days after the outbreak of war – the public reaction was lukewarm: Sospiri seemed strangely out of keeping with the atmosphere of patriotic excitement. Before long, it would come to feel rather more appropriate.
ELEGY FOR STRING ORCHESTRA (In memoriam Rupert Brooke) Frederick Kelly (1881-1916) Rupert Brooke died on 23 April 1915 on board a hospital ship en route to Gallipolli. The poet who had hailed the outbreak of war with an image of “swimmers into cleanness leaping” succumbed to blood poisoning from a mosquito bite, aged just 27. His burial on the Greek island of Skyros was attended by a group of close friends and fellow-soldiers, including the young Australian composer Frederick “Cleg” Kelly: to whom the occasion felt “as though one were involved in the origin of some classical myth”. A few weeks later, at the base camp at Gallipolli, Kelly sketched a short musical elegy for Brooke, in music (scored for strings and harp) that evokes that sense of mythic tragedy amid the rustling of the olive trees that surrounded Brooke’s grave. Kelly completed the Elegy in June 1915 while recovering from wounds in a hospital in Alexandria. His own end came in November 1916, from a bullet on the Somme.
BEHIND THE SCENES Max Mandel, Principal Viola "This program for strings highlights
two definitive ways in which we seek to understand our art and make it come alive for our listeners. We are a group that attempts a historically informed approach to music, not only in the periods that have become well-established in our field such as the baroque or classical eras, but also stretching the boundaries of what historical performance practice can mean. OAE has never backed down from a challenge and we are constantly pushing ahead with rediscovery, as time marches on. For our 30th anniversary season we gave a performance of Mahler’s Symphony No.2 which was likely the first time that the same equipment was used since Mahler himself conducted it. More recently we started exploring English repertoire composed between the two world wars, which is when gut strings sadly started being taken over by steel strings (it was a tough time for reliable access to sheep guts). A terrible time for humanity and also a loss of colour for western art music until the early music movement started bringing back the uncovered raw gut string in the 1960s. Edvard Grieg’s “Holberg Suite” op. 40 from 1886 has almost exclusively remained in the hands of the many excellent modern string orchestras around the world. It has special appeal for us because Grieg is reaching back to eighteenth century dance forms “From Holberg’s Time” (the actual title of the work). From the gentle harmonic throb of the Sarabande to the concerto grosso-style step out solos for violin and viola in the Rigaudon, this piece sits nicely with our core baroque repertoire and our love of romantic era classicists such as Brahms or Dvořák.
The second definitive aspect to our group featured here is our democratic enlightenment approach to running an orchestra. We don’t have an artistic director and we often invite one of our own to guide us through a program. Matthew Truscott, one of our violin leaders, took the reins for this one. You can imagine that it’s not easy to cohere artistically without a single maestro dictating his or her vision, but we work hard in the OAE to foster a sense of trust that flows across the orchestra, in rehearsal and performance. Internal leadership such as Matthew’s also allows the many specialists and scholars of different musical eras in our orchestra to contribute when they see fit. Sospiri op. 70 was intended by Elgar as a companion piece to his popular work Salut d’Amour but he soon realised he had something quite a bit deeper on his hands, as he was composing it in the months leading up to the outbreak of the First World War. It received it’s first performance in London on 15 of August 1914. Elegy, In Memoriam Rupert Brooke for Strings and Harp is from 1915, written during Kelly’s war service. Frederick Septimus Kelly had a remarkable but tragically short life. Born in Sydney, Australia he attended college at Eton and Oxford where he developed a passion for rowing, winning a gold medal for England at the Olympics in 1908. He went on to study music at the Hoch Conservatorium in Frankfurt. His musical career was interrupted by the outbreak of world war in 1914 and he was commissioned into the Royal Naval Volunteer Reserve with his friend the poet Rupert Brooke. Kelly was killed in action during the last phase of the battle of the Somme at Beaucourt-sur-Ancre on 13 November 1916. He was 35. Brooke died of sepsis on a hospital boat in Greece and the Elegy grew out of Kelly’s loss of his friend. Here is an
excerpt from his diary describing Brooke's burial on the Greek Island of Skyros. Friday 23 April 1915, Hood Battalion, SS Grantully Castle, Skyros: "The events of today made a deep impression on me. Rupert Brooke died on board the French hospital ship at 4.45pm and, in view of the ship's orders to sail at 5am the following morning, arrangements were at once made to bury him on the island he loved so well... It was about a mile from the shore to the grove over very difficult stony ground and the petty officers who bore the coffin were obliged to go very slowly. We reached the grove at 10.45pm where in the light of a clouded half-moon the burial service was read... It was a most moving experience. The small olive grove in the narrow valley and the scent of the wild sage gave a strong classical tone which was so in harmony with the poet we were burying that to some of us the Christian ceremony seemed out of keeping... The body lies looking down the valley towards the harbour and, from behind, an olive tree bends itself over the grave as though sheltering it from the sun and rain. No more fitting resting place for a poet could be found than this small grove, and it seems as though the gods had jealously snatched him away to enrich this scented island. For the whole day I was oppressed with the sense of loss, but when the officers and men had gone and when at last the five of us, his friends, had covered his grave with stones and took a last look in silence - then the sense of tragedy gave place to a sense of passionless beauty, engendered both by the poet and the place." It felt like the right time to sink into these two elegiac works by English composers, Sir Edward Elgar’s Sospiri and F. Septimus Kelly’s Elegy. We are very aware of all that we have lost to the pandemic this year and perhaps it helped ustap in to what Elgar and Kelly were musically speaking to in their time.
The string section forms the main body of any orchestra and it was fulfilling to be together in the beautiful Christ Church Spitalfields after such a long break and feel almost whole again. We hope our love for these pieces along with our relief at being able to make music together comes across in these filmed performances.
“Not all orchestras are the same” 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 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 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 Acland Burghley School has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. 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 it 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, it’s been a laboratory for John Butt’s most exciting Bach experiments. 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
ABOUT CHRIST CHURCH, SPITALFIELDS Christ Church Spitalfields is an Anglican church in London, built between 1714 and 1729. It was one of the first of the so-called "Commissioners' Churches" built under the Act of Parliament of 1711 which required the building of fifty new churches to serve the new populations on the fringes of London. The architectural design of Christ Church is typical of its designer, Nicholas Hawksmoor who is responsible for six of the churches in London. It has an abrupt broad tower topped by a Gothic steeple. The magnificent porch with its semi-circular pediment and Tuscan columns is attached bluntly to the western end. Some suggest that it was a late addition to the design intended to add further support to the tower. "Only in recent decades has he [Hawksmoor] received the recognition and attention which was his due. Hawksmoor is now prominently placed in the Pantheon of British art, and our modern architects are happy to worship at this shrine. Perhaps it is the utterly uncompromising monumentality of his work, sometimes verging upon the brutal, which endears him to modern masters like Lasdun and Stirling; but it is also his thoughtful and harmonious originality within a vital tradition which establishes Hawksmoor among the truly great.'’ Gavin Stamp, architectural historian
The Venetian window at the east is a double window, although the architectural effect now obscured by the Victorian stained glass window between the two. Over recent decades, a series of restoration projects have taken place at Christ Church, revealing one of the most complex and sumptuous of Hawksmoor's interiors in London. The restoration between 1976-2004 was highly acclaimed and received seven major awards, that include the restoration of the organ. In 2015 further restoration work was complete on the Church's organ and crypt. For more information about this beautiful building, please visit christchurchspitalfields.org/
BEHIND THE SCENES Sophie Adams, Projects Officer "Working on films for OAE Player has been such an exciting new challenge. Never did I think I would find myself operating a camera, let alone tying toe tags on to violinists whilst they lay stretched out on an operating gurney! Each new venue and programme poses fresh creative possibilities. I love that point in the set up process where we are shuffling around camera tripods, tweaking and adjusting just to get that perfect angle. My favourite shots are those where we are able to capture the close ups of intricate finger work or subtle glances exchanged between the players, stuff that you might miss from the distance of an auditorium. I hope we are able to showcase our wonderful players in a way that gives our audiences a unique view into the chemistry of the music and a fresh concert experience."
OAE TEAM
Orchestra Consultant Philippa Brownsword
Life President Sir Martin Smith
Chief Executive Crispin Woodhead
Choir Manager David Clegg
Finance and Governance Director Pascale Nicholls
Librarian Colin Kitching
Board of Directors Imogen Overli [Chairman] Steven Devine Denys Firth Adrian Frost Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead
Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Communications Director Elle Docx General Manager Edward Shaw Education Officer Andrew Thomson Projects Officer Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale
Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington
Marketing and Press Officer Anna Bennett Box Office and Data Manager Carly Mills Head of Individual Giving and Digital Development Marina Abel Smith Development Operations Officer Kiki Betts-Dean
Life President
OAE Trust Adrian Frost [Chairman] Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli Rupert Sebag-Montefiore Diane Segalen Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams
SUPPORTERS OAE Thirty Circle
We are 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 and Laura Cory
Sir Martin Smith and Lady Smith OBE Thirty Circle Members
Victoria and Edward Bonham Carter
Nigel Jones and Françoise Valat-Jones
Selina and David Marks
Julian and Camilla Mash
Mark and Rosamund Williams
OAE Experience scheme
- Principal Keyboard
Ann and Peter Law
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Corporate Partners
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Corporate Associates
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Season Patrons
John Armitage Charitable Trust Julian and Annette Armstrong Adrian Frost
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Mark and Rosamund Williams
One Anonymous Donor Project Patrons
Anthony and Celia Edwards Bruce Harris
One Anonymous Donor Aria Patrons
Mrs A Boettcher
Stanley Lowy
Gary and Nina Moss
Rupert Sebag-Montefiore
Maarten and Taina Slendebroek
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Chair Patrons
Mrs Nicola Armitage
- Education Director
Hugh and Michelle Arthur - Double Bass
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Ian S Ferguson and Dr Susan Tranter
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James Flynn QC
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Paul Forman
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Annette and Julian Armstrong Mrs Rosamund Bernays Denys and Vicki Firth Bruce Harris
Ms Madeleine Hodgkin Mrs Sarah Holford
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Old Possum's Practical Trust Imogen and Haakon Overli
The Reed Foundation Associate Patrons
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MM Design - France
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Young Patron
Gold Friends
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Young Ambassador Patron
Two Anonymous Donors
Jessica Kemp
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Apax Foundation
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Barbour Foundation
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Chivers Trust
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Chapman Charitable Trust
Two Anonymous Donors
Derek Hill Foundation
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Trusts & Foundations
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National Foundation for Youth Music
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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. For more information on supporting the OAE please contact Emily Stubbs Development Director
emily.stubbs@oae.co.uk
0208 159 9318
WE MOVED INTO A SCHOOL We are thrilled to announce that we are now the resident orchestra of Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school. Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project, so for the first time, we will all be in the same place: players, staff and library! Crispin Woodhead, our chief executive who came up with the idea of a new partnership, says: “Our accommodation at Kings Place was coming to an agreed end and we needed to find a new home. I felt that we should not settle for a conventional office space solution. We already had a strong relationship with many schools in Camden through our education programme and our appeal hit the desk of Kat Miller, director of operations at Acland Burghley School. She was working on ways to expand the school’s revenue from its resources and recognised that their excellent school hall might be somewhere we could rehearse. It felt like a thunderbolt and meant we wanted to find a way for this place to be our home, and embark on this new adventure to challenge and transform the way we engage with young adults.” The school isn't just our landlord or physical home. Instead, it will offer the opportunity to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. This new move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing. Margaret Faultless, OAE leader and violinist, said: “As classical musicians, it can often feel as though we exist in a bubble. I think I can speak for the whole Orchestra when I say that we’re all looking forward to this new adventure. We are all used to meeting with people from outside the classical music world of course, but the value of our new project lies in the long-term work we’ll be doing at the school and the relationship that will hopefully develop between the students, their parents and teachers and the orchestra.” “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” continues Margaret. “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.” The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts. Their support is facilitating the move to the school and underwriting the first three years of education work.
OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players. This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.
SUPPORT OUR EDUCATION PROGRAMME The work we do could not happen without the support of our generous donors. If you would like to support our education programme please contact Marina Abel Smith, Head of Individual Giving and Digital Development marina.abelsmith@oae.co.uk 0208 159 9319
OAE TOTS at Saffron Hall
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The OAE is a registered charity number 295329 Registered company number 2040312. Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | info@oae.co.uk Photography | Zen Grisdale