TELLING TALES WITH TELEMANN
TELEMANN Der Harmonische Gottesdienst: Epiphany ‘In gering und rauhen Schalen’
AESOP The Lion and the Wolf TELEMANN Sonata for Recorder in D Minor TELEMANN Sonata in C Minor Recorded at St Jude's Church, Hampstead Garden Suburb
Recorder Tabea Debus Oboe Katharina Spreckelsen
Technical Director and Post Production Zen Grisdale
Cello Jonathan Manson
Camera Operators Sophie Adams Ed Ault Edward Shaw
Organ/harpsichord Satoko Doi-Luck
Vision Mix Crispin Woodhead
Soprano Jessica Cale
Audio Engineer Ben Connellan Music Producer Annette Isserlis Grip Adrian Bending
PROGRAMME NOTES IN GERING UND RAUHEN SCHALEN, TWV 1:941 Georg Philipp Telemann (1681-1767) Aria Recitative Aria '12 cycles [of cantatas]; many long works with trumpets and timpani for high feast days, approximately 700 arias; 19 passions…6 for the mayors’ funerals; 12 for pastors’ initiations, 3 for jubilees….' And the list continues – even just reading the catalogue of his church music that Georg Philipp Telemann incorporated in his autobiography is sufficient to make the point. The life of a kantor (or music director) of a church in baroque Germany was a busy one: rehearsing and performing (and when necessary, composing) a continual supply of fresh, appropriate music for each Sunday and feast-day of the liturgical year. Telemann was an entrepreneur. He realised that if he composed and published a year’s worth of short cantatas, he’d find an enthusiastic market among kantors desperate for ideas (or just a week off now and then). Der Harmonische Gottersdienst was published in 1726, and each of its 72 cantatas used just a single singer, a solo instrumentalist and a continuo – making them performable in even the smallest
churches. This is the cantata for the 1st Sunday after Epiphany, and with a solo recorder reinforcing a lively soprano line, the message is earnest but hopeful: trust in God, be virtuous, and even the smallest of us can hope to vanquish giants.
SONATA FOR RECORDER IN D MINOR, TWV 41:D4
TRIO SONATA FOR IN C MINOR, TWV 42:C2
Affettuoso Presto Grave Allegro
Largo Vivace Andante Allegro
Telemann was a born musician. Writing in his autobiography, years later, he recalled that as a child in Magdeburg, even before the age of ten, music was little short of an obsession:
Telemann was a supremely practical musician. A self-taught violinist, harpsichordist and recorder player, he set himself to master every aspect of his art. “Fired by enthusiasm”.
In the elementary schools I learned the usual things: reading, writing, catechism and some Latin; but then I eventually took up playing on my own the violin, flute and zither and entertained my friends with this music without even knowing anything about notes on a page. Banished to a boarding school in the Harz mountains, the teenage Georg entertained local miners on his “flute”: the instrument that we know today as the recorder. It paid off. By the time he was a successful composer in Hamburg, he knew from the inside what made enjoyable, playable music for the recorder. That was the whole point of the collection of chamber music that he published as Essercizii Musici in 1740: when you gathered fellow-amateurs for a soirée, you’d always find something enjoyable to play. And something fashionable too: the operatic Grave and expressive opening Affettuoso of this D minor sonata are perfectly tailored to an emerging Age of Sensibility.
He didn’t know it at the time, but it was excellent training for his later career in Hamburg. Telemann became a leader of musical fashion in this cosmpolitan seaport, and he found a ready market for collections of chamber music aimed at the city’s prosperous and lively musical public. That was the target audience for Essercizii Musici, a collection of 24 chamber works for various combinations of instruments that Telemann published in 1740. Telemann regarded himself as a particular master of the Trio Sonata and this example from the Essercizii places the recorder in dialogue with the oboe, across four movements that allowed both players to demonstrate their eloquence and sophistication, as well as the depth of their emotions (very fashionable in the mid-18th century) and the liveliness of their wit. A perfect recipe (in other words) for good conversation and enjoyable company. Richard Bratby
AESOP'S FABLE The Lion and the Wolf A wolf, roaming by the mountain's side, saw his own shadow, as the sun was setting, become greatly extended and magnified, and he said to himself: "Why should I, being of such an immense size and extending nearly an acre in length, be afraid of the Lion? Ought I not to be acknowledged as King of all the collected beasts?" While he was indulging in these proud thoughts, a Lion fell upon him, and killed him. He exclaimed with a too-late repentance: Wretched me! this over-estimation of myself is the cause of my destruction. Moral: It is not wise to hold too exalted an opinion of one's self.
BEETHOVEN OCTET IN E FLAT
BACH ST JOHN PASSION
HANDEL MESSIAH
WHAT DO YOU THINK?
HANDEL APOLLO E DAFNE
BRAHMS VIOLIN CONCERTO
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TRANSLATION IN GERING UND RAUHEN SCHALEN 1. Arie
In gering und rauhen Schalen
The silvery glint of pearls plays spielt der Perlen Silberschein. in rough and modest shells.
Setze dir, o Mensch, zum Bilde;
See yourself, mankind, in this image; Pflanz’t des Schoepfers guetge Milde The creator’s gracious kindness Dir von andern Gaben ein;
imbues you with other gifts; lass, wie dort, vor Moses Strahlen Let, as then, before the radiance of Moses, Demut deine Decke sein. humility be your mantle.
2. Rezitativ O Eitelkeit! Du kluger Sterblicher! O vanity! You clever mortal!
Wie kannst du doch so blind, How can you still be as blind wie so vermesesen sein,
as you are presumptuous, dass Kunst, Verstand und Wissenschaft, that art, understanding and knowledge,
von welchen jede dich zur Demut leiten soll, each of which should lead you to humility, dich dennoch hochmutsvoll erhebt,
nevertheless lifts you up in arrogance, ja aus dir selber rafft!
and truly carries you away! Ach, lass den Stolz doch deinen Sinnen nicht abgewinnen!
Ah, but don’t let pride turn your head! Auf, wider diesen Goliath, der Gott zum Hohn,
Up, resist this Goliath, who, in contempt of God, sich gar zu viel erkuehnet! dares far too much!
Schau her, hie sind fuenf glatte Steine,
Look, here are five plain stones, die durch des Glaubens Kraft
which through the power of faith ihm hart und toedlich sind.
are hard and deadly to him. Drum, wenn er sich mit stechem Scheine So, if, with thorny look,
zu deinen Gaben naht,
he comes near your gifts, so denke du dafuer, just remember,
du hast sie nicht von dir;
you do not have them of your own making; nur aus Gottes Weisheitsmeer all gifts come only
kommen alle Gaben her.
from the sea of God’s wisdom. Du hast sie nicht verdienet; You did not earn them;
aus des Hoechsten Gnade fleusst from the highest grace flows
alles, alles was du bist und weisst.
everything that you are and know. Du hast sie nicht allein;
They are not yours alone; dringt den Witz gleich hoch empor, if you get grand notions,
mancher eilt dir noch wohl vor.
many are actually ahead of you. Du hast sie kurze Zeit;
You have them for a short time; sprich, wo bleibt dein hoher Geist, say, where is your noble mind,
wenn der Tod dich niederreisst! when death tears you down!
Zuletzt erweg‘ ohn Unterlass: Finally do not ever forget:
Wofern du Hochmut hast, so hast du Gottes Hass.
for as much as you are arrogant, you are despised by God.
TRANSLATION CONTINUED Gott, vor dem nur Demut gilt,
God, in whose sight only humility matters, stuerzt der Hoffarth Dagons Bild.
dashes the pride of Dagon’s image. 3. Arie
Nicht uns, nicht uns, nein, nein! Not ours, not ours, no, no! Nur dir, nur dir allein,
Only yours, only yours alone, O hoechste Majestaet, O highest majesty,
sei Preis und Staerke!
be prize and strength! Hilf selber, den Tyrannen aus meinem Herzen bannen,
Help me banish the tyrant from my heart, der ueber jedem Werke nicht dich, nur sich erhoeht! Who only vaunts himself, not you, over every deed. Crispin Woodhead
JESSICA CALE Melisande (Pelleas et Melisande, Debussy). Jessica has participated in Masterclasses at the RCM with Dame Ann Murray, Gerald Finley, Edith Wiens and Roger Vignoles.
Welsh Soprano, Jessica Cale, is the 2020 First Prize winner of the Kathleen Ferrier Awards and Joint Audience prize winner at the London Handel Festival International Singing Competition. Jessica is a graduate of the Royal College of Music International Opera Studio with an Artist Diploma in Opera and a Master of Performance with distinction. Whilst at the RCM, Jessica was the Robert Lancaster Scholar and is hugely grateful for the additional support of an Help Musicians UK Sybil Tutton Award, the Josephine Baker Trust and the Countess of Munster Trust. Jessica’s operatic roles whilst at the RCM include Rodelinda (Handel); Flaminia (Haydn’s Il mondo della luna), Susan (Berkeley’s A Dinner Engagement) and Second Bridesmaid (Mozart’s Le nozze di Figaro). Jessica has also performed Despina (Mozart’s Cosi fan tutte) and Serpetta (Mozart’s The Garden of Disguises) for Ryedale Festival Opera. Royal College of Music Opera Scenes include Blanche (Dialogues des Carmelites, Poulenc); Juliette (Romeo et Juliette, Gounod); Poppea (L’incoronazione de Poppea, Monteverdi); Tina (Flight, Dove); Musetta (La Boheme, Puccini); and
In addition to her operatic endeavours, Jessica enjoys a successful career on the concert platform working regularly with many of today's leading ensembles including the Orchestra of the Age of Enlightenment; the Monteverdi Choir, and the Gabrieli Consort. Jessica has performed as a soloist for Sir John Eliot Gardiner in Mendelssohn's A Midsummer Night's Dream, for Paul McCreesh in Purcell’s King Arthur and Fairy Queen with the Gabrieli Consort, and for the Orchestra of the Age of Enlightenment and Mark Padmore in Bach’s St Matthew Passion and St John Passion. Jessica is very proud of her Welsh heritage, competing in the final of the 2021 Welsh Singer’s Showcase and in 2019 Jessica gained 2nd prize at the Llangollen International Eisteddfod Pendine Voice of the Future competition. Prior to the global pandemic, highlight’s of Jessica’s solo career included Handel’s Messiah at the Royal Albert Hall and Mendelssohn’s Elijah at the Berlin Philharmoniker. As the Arts begin to make a return, upcoming performances for Jessica include Canteloube’s Chants d’Auvergne at St Albans Cathedral, Carmina Burana at the St David’s Hall, Cardiff and song recital performances across the UK.
ABOUT THE OAE “Not all orchestras are the same” Over 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. 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 association at London’s Kings Place 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. In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the OAE to live, work and play amongst the students of the school. 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
OAE TEAM Chief Executive Crispin Woodhead
Projects Officer Ed Ault
Life President Sir Martin Smith
Finance and Governance Director Pascale Nicholls
Orchestra Consultant Philippa Brownsword
Board of Directors Imogen Overli [Chairman] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel David Marks Rebecca Miller 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 Doug Buist General Manager Edward Shaw Head of Individual Giving and Digital Development Marina Abel Smith Education Officer Andrew Thomson Projects Manager (Maternity) Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Paola Rossi Development Manager Kiki Betts-Dean Development Officer Luka Lah
Choir Manager David Clegg Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel 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
OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Alison McFadyen Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams
THANK YOU OAE Experience scheme Ann and Peter Law Corporate Partners Champagne Deutz Mark Allen Group Marquee TV Swan Turton Corporate Associates Gelato Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Denys and Vicki Firth Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin and Lady Smith OBE Philip & Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons Bruce Harris Ian S Ferguson CBE and Dr Susan Tranter Aria Patrons Madeleine Hodgkin Steven Larcombe Peter and Veronica Lofthouse Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage - Education Director Victoria and Edward Bonham Carter - Principal Trumpet Katharine Campbell - Violin Anthony and Celia Edwards - Principal Oboe
James Flynn QC - Co-Principal Lute/Theorbo Jonathan and Tessa Gaisman – Viola Michael and Harriet Maunsell - Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Professor Richard Portes - Principal Bassoon Christina – Flute John and Rosemary Shannon - Principal Horn Sue Sheridan OBE – Education Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Associate Patrons Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Hugh and Michelle Arthur David and Marilyn Clark Damaris Albarrán David Emmerson Jonathan Parker Charitable Trust Elisabeth Green in memory of June Mockett Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers Rebecca Miller David Mildon in memory of Lesley Mildon John Nickson and Simon Rew Andrew and Cindy Peck Stephen and Penny Pickles Peter Rosenthal Emily Stubbs and Stephen McCrum Shelley von Strunckel Mr J Westwood
Education Patrons Mrs Nicola Armitage Sir Victor Blank Stephen and Patricia Crew John and Sue Edwards Sir Timothy and Lady Lloyd Andrew and Cindy Peck Professor Richard Portes Sue Sheridan OBE Rising Stars Supporters Annette and Julian Armstrong Denys and Vicki Firth Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli Gold Friends Michael Brecknell Gerard Cleary Mr and Mrs C Cochin de Billy Chris Gould Michael Spagat Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Mr and Mrs Michael Cooper David Cox Anthony and Jo Diamond Suzanne Doyle Rachel and Charles Henderson Malcolm Herring Patricia Herrmann Stephen Hodge Rupert and Alice King Alison and Ian Lowdon Anthony and Carol Rentoul Bridget Rosewell David and Ruth Samuels Leslie Scott Susannah Simons Victor Smart Her Honour Suzanne Stewart Simon and Karen Taube
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Fidelio Charitable Trust Foyle Foundation Garfield Weston Foundation Garrick Charitable Trust Geoffrey Watling Charity Henocq Law Trust John Lyon’s Charity Linbury Trust Lord and Lady Lurgan Trust Michael Marks Charitable Trust National Foundation for Youth Music Old Possum’s Practical Trust Orchestras Live Paul Bassham Charitable Trust The Patrick Rowland Foundation Peter Cundill Foundation Peter Stebbings Memorial Charity Pitt-Rivers Charitable Trust Radcliffe Trust Rainbow Dickinson Trust Stanley Picker Trust The 29th May 1961 Charitable Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Vernon Ellis Foundation
APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic. Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. We gratefully acknowledge those donors below Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock Sir Anthony Cleaver
Professor Susan Cooper Ms Harriet Copperman Dr David Cox Gill Cox Stephen and Patricia Crew Mrs Melanie Edge Esmee Fairbairn Foundation Ms Margaret Faultless Denys and Vicki Firth Adrian Frost Jennifer Frost Jonathan N Gaisman, QC Dr David Glynn Roy Greenhalgh David Guthrie Martin Haddon Ray Harsant Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Nigel Jones and Françoise Valat-Jones Jerome Karter Sue Lamble Steven Larcombe Sir Timothy Lloyd and Lady Lloyd Dr Alan Lord Stanley Lowy, MBE Ellie Makri Michael and Harriet Maunsell Tim and Jenny Morrison Mr Clive Murgatroyd, MBE Robert Nash John Nickson & Simon Rew Andrew Nurnberg Johanna Nusselein Imogen and Haakon Overli Andrew and Cindy Peck Mike Raggett Ruth and David Samuels Laura Sheldon Sue Sheridan OBE Maarten and Taina Slendebroek Sir Martin Smith and Lady Smith OBE Michael Spagat Caroline Steane Para Sun Iain Taylor Christopher Tew Lady Marina Vaizey, CBE Eva Maria Valero Mark and Rosamund Williams Peter Williams
WE MOVED INTO A SCHOOL A little over a year ago we took up permanent residence at 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. The school isn't just our landlord or physical home. Instead, it allows us 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. Our 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: “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.
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 Emily Stubbs, Development Director emily.stubbs@oae.co.uk
We are grateful to Jenny and Tim and our friends at St Jude’s Churc
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