Awakening of the Romantic hero.pdf - Academy of Ancient Music

Musical Revolutions: Awakening of the Romantic h ­ ero Shunské Sato ­violin Richard Egarr ­conductor 10 October 12 October

West Road Concert Hall, C ­ ambridge Cadogan Hall, ­London

How to be a hero? This question occupied the minds of scores of composers, artists and writers throughout the early nineteenth century. Their revolutionary ideas about the individual and its place in the world had a transformative impact on art and society, and tonight we’re very excited to be presenting three great works from this extraordinary period — all very different, but all bustling with new ideas and thrilling music.

We are grateful for the essential support of all our donors and funders, and tonight we extend particular thanks to Sheila Mitchell, who has supported Shunské’s appearance and my own involvement in this project; to Bill and Sue Blyth, who have sponsored the preconcert discussions; and to Ann Grieves, who has sponsored discounted AAMplify tickets, enabling over 100 students and under-26s to join us in London.

I’m also delighted to be welcoming Shunské Sato to make both his AAM and his UK debuts. I first heard him when I was judging the 2010 Leipzig Bach Competition, and was immediately struck by the warmth of his playing and his ability to communicate with his audience. Read more about him on page 11.

Richard Egarr AAM Music Director

AAM performs Mozart with Sumi Jo in London Korean soprano Sumi Jo was always destined for great things. She was catapulted to worldwide fame after enthralling Herbert van Karajan at her European debut, and performances at all the world’s great opera houses soon followed: New York’s Met, the

Royal Opera House, La Scala, Deutsche Oper Berlin... Now, on the back of a tour of the Far East with the AAM, she returns to London for one night only in an all-Mozart programme at Cadogan Hall on 25 November. Don’t miss it — turn to page 23 for more details.

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Programme Carl Maria von Weber (1786–1826) Overture to Der Freischütz (1821) Nicolò Paganini (1782–1840) Violin Concerto No.2 in B minor ‘La Campanella’ (1826) Allegro ­maestoso ­Adagio Rondo — Andantino allegretto ­moderato Interval of 20 ­minutes Please check that your mobile phone is switched off, especially if you used it during the i­nterval

Ludwig van BeethoveN (1770–1827) Symphony No.3 in E flat major ‘Eroica’ (1804) Allegro con brio Adagio assai Allegro vivace Allegro ­molto

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched ­off.

AAM pre-concert discussions Find out more about our performances from the musicians themselves with our free preconcert discussions. Tonight, BBC Radio 3’s Sara Mohr-Pietsch is joined by Richard Egarr

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and Shunské Sato at 6.30pm. If you missed it, you can download the talk for free as a podcast; just search ‘AAM pre-concert talk’ in iTunes.

­ ero Stephen Rose charts the rise of the Romantic h Melancholy yet defiant; suspicious of society yet with a lingering potential to transfigure ­humanity — ­these were the characteristics of the Romantic hero, a figure which took hold in the European imagination at the end of the eighteenth century. The archetype was first popularised by Goethe’s Die Leiden des jungen Werthers (‘The Sorrows of Young Werther’, 1774), in which the lovesick protagonist, sickened by both the world and himself, eventually commits suicide. A more robust version of the Romantic hero is found in Schiller’s play Die Räuber (‘The Robbers’, 1781); here the aristocratic protagonist Karl Moor is initially a Robin Hood-like figure, a rebellious bandit who fights the inequities of the feudal system, but later his heroism is tainted when he sinks to evil acts such as murderous ­arson. In England, the figure of the Romantic hero was given a distinctive twist in Byron’s epic poem Childe Harold’s Pilgrimage (1811–18). The eponymous pilgrim seeks solitude in order to escape the sins of his youth and the society which he regards with such c­ ontempt:

“

He who, grown aged in this world of woe, In deeds, not years, piercing the depths of life, So that no wonder waits him; nor b ­ elow Can love or sorrow, fame, ambition, strife, Cut to his heart again with the keen k­ nife Of silent, sharp endurance: he can t­ ell Why thought seeks refuge in lone caves, yet r­ ife With airy images, and shapes which d ­ well Still unimpaired, though old, in the soul’s haunted ­cell.

”

But even as a pilgrim, Harold cannot evade his own inner ­conflicts:

“

Yet must I think less wildly: I have t­ hought Too long and darkly, till my brain became, In its own eddy boiling and o’erwrought, A whirling gulf of phantasy and fl­ ame...

”

In music, the fashion for the Romantic hero

manifested itself in several contrasting ways. Operas and song-cycles increasingly favoured protagonists who were rural wanderers or darkly mysterious hunters, as in Carl Maria von Weber’s opera Der Freischütz. The archetype of the Romantic hero also extended to showy instrumentalists such as Nicolò Paganini, whose performances demonstrated levels of virtuosity previously considered impossible. Above all, the hero myth seemed to be lived out by Ludwig van Beethoven, both in his volatile temperament (described by Goethe as “an utterly untamed personality”) and his constant struggles against adversities such as his increasing ­deafness. Carl Maria von Weber, Overture to Der Freischütz When Der Freischütz was premiered in Berlin on 18 June 1821, it was immediately recognised as a turning-point in the history of German opera. Unlike so many previous operas, the piece was not set in Italy or in Classical Antiquity. Nor was it peopled by mythological or noble characters. Rather, Der Freischütz was set at the end of the Thirty Years’ ­War —­one of the darkest episodes in Germany’s ­history — ­and in a forest in Bohemia. And its dramatis personae consisted of peasants and ­hunters — ­characters who had formerly appeared in opera as mere comic side-kicks, if at all. Not only was the opera’s setting of the forest characteristically German; it also appealed to the Romantic idealisation of the forester and hunter as heroic figures on journeys of masculine self-­discovery. The plot tells of a shooting-match that Max, a forester, must win if he is to ensure his marriage to Agathe. Another forester, Caspar, however, has made a Faustian pact with the diabolic Black Huntsman, Samiel, who grants him magic bullets that always hit their target, in return for the eventual surrender of Caspar’s or another victim’s life. Max becomes embroiled in Caspar’s schemes, accepting use of a magic bullet to ensure victory in the shooting-match. Yet

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© Kunsthalle, Hamburg

The wanderer above the sea of fog (c.1818) by Caspar David Friedrich (1774–1840). The sense of selfreflection in Friedrich’s painting was central to much of the art, music and literature of the period — as was his enquiry into the relationship between the human individual and the natural w ­ orld.

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Caspar plans to offer Max as a sacrifice to the Black Huntsman, and then instead agrees that Agathe should be the victim hit by the magic bullet. Thus the shooting-match and impending wedding are not innocent rural festivities, but filled with an impending sense of horror that is nothing short of ­Gothic. The overture to the opera evokes both the sylvan and darker sides of the forest. After the wispy string lines of the first few bars, four natural horns play a folk-like melody, evoking a Romantic vision of hunter-heroes seeking their destiny in sylvan settings. Yet this C major opening is rapidly followed by minorkey passages with prominent timpani and diminished chords; here the darker, Gothic elements of the story are a­ nticipated. Nicolò Paganini, Violin Concerto No.2 in B ­minor In the career of the Italian violinist Nicolò Paganini, the archetype of the Romantic hero fused with that of the virtuoso instrumentalist. Until the eighteenth century instrumental virtuosos had often been regarded with suspicion and even accused of gaining their technique via supernatural means. By contrast, Paganini’s phenomenal virtuosity was increasingly interpreted as an expression of individual heroism, as he struggled with and overcame the limitations of his instrument. Many of these virtuoso struggles were staged: he would weaken the strings of his violin so they would break, and he could miraculously finish the performance playing on just one string. Such outlandish displays of virtuosity set him apart from other musicians, like the quintessentially Romantic outsider: “No living violinist dares to attempt as much as he does,” wrote Carl Guhr in 1830. “With him everything is new, never heard before; he knows how to bring effects out of the instrument of which no-one had any notion until now, and for which words fail to give any idea of what one has

heard.” And the emotional content of Paganini’s performances was also appreciated, not least by the young Franz Liszt writing in 1831: “What a man, what a violin, what an artist! Heavens, what sufferings, what misery, what tortures in those four strings!... As to his expression, his manner of phrasing, his very soul in fact!” Paganini premiered his Violin Concerto No.2 in B minor in 1827, but like virtuosos of previous centuries, he guarded his compositional secrets closely. The piece was not published until 1851, eleven years after the composer’s death; and it is a moot question how much the published score captures of the theatricality of Paganini’s own performances. Certainly the opening Allegro maestoso gives a greater emphasis to thematic content than many of Paganini’s other compositions. After the sinister throbbing unison strings at the start, a sequence of themes is heard: first a stately motto in dotted rhythms, then later a dolce theme in the relative major key. After the soloist’s entry, the level of virtuosity slowly increases, with much solo violin writing in the high register that was Paganini’s ­trademark. The Adagio aspires to grandeur in its opening horn-calls and portentous cadences for full orchestra. The soloist spins out a long cantilena line that only occasionally is interrupted by fortissimo orchestral chords; eventually it dies away in an echo that disappears into the upper register of the instrument. The final Rondo uses an old Italian melody La Campanella as its recurrent theme, interspersed with violin episodes of increasing showmanship; a bell-like effect is maintained by the constant repeated notes high on the violin. So popular was this Rondo with audiences that Liszt used it as the ­ orks. basis for two of his own virtuosic piano w Ludwig van Beethoven, Symphony No.3 in E flat major ‘Eroica’ In the case of Beethoven’s Symphony No.3 ‘Eroica’, composed between 1802 and 1804,

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the Romantic hero of the title was originally Napoleon Bonaparte. Napoleon and his revolutionary spirit were widely admired by young German intellectuals; Hegel waxed ecstatic over the “wonderful feeling” of having glimpsed “this world-soul” riding through Jena in 1806. Beethoven initially shared similar feelings about Napoleon. As Beethoven’s pupil Ferdinand Ries explained in 1­ 838:

“

Beethoven had thought about Bonaparte during the period when he was still First Consul. At that time Beethoven held him in the highest regard and compared him to the greatest Roman consuls. I myself, as well as many of his close friends, had seen this symphony, already copied in full score, lying on his table. At the very top of the title page stood the word Buonaparte and at the very bottom Luigi van Beethoven, but not a word more. Whether and with what the intervening space was to be filled I do not know. I was the first to tell him the news that Bonaparte had declared himself emperor, whereupon he flew into a rage and shouted: ‘So he too is nothing more than an ordinary man. Now he also will trample all human rights underfoot, and only pander to his own ambition, he will place himself above everyone else and become a tyrant!’ Beethoven went to the table, took hold of the title page at the top, ripped it all the way through, and flung it on the ­floor.

”

The first page was written anew and only then did the symphony receive the title Sinfonia ­eroica. With the dedication to Napoleon effaced, the heroic qualities of Beethoven’s symphony can instead be detected in its musical ambitions. Its first movement is longer than that of any previous symphony, taking the listener on a tonal journey of unprecedented scope. Even the opening theme is tonally wayward: it initially sounds as if will contain just the notes of the E flat major triad (rather like a martial fanfare)

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but there is a sting in its tail, in the form of the foreign note of C sharp. At this stage the C sharp deflects the orchestra only momentarily; but much later, in the recapitulation of the opening, it will lead the music gloriously into F ­major. Beethoven’s ambitions in the first movement are particularly evident in the development section (heard after the exposition of the main themes): here Beethoven embarks on such lengthy modulations that he even reaches the daringly remote key of E minor, for a theme that is paradoxically the most lyrical one of the movement. After such tonal wanderings it is only natural that the first movement requires a coda of immense length to settle firmly in the home ­key. The second movement is again innovative: rather than a slow cantabile melody, this is a funeral march, increasing the emotional range of the symphony through almost programmatic content. Its opening gains a grim effect from the C minor key and use of the lowest register of the strings; but later there is an episode in the sunlit regions of C major, and a fugue using two sombre themes in F minor. Beethoven again avoided convention in the third movement, eschewing the customary minuet with its connotations of polite courtly dance. Instead he wrote a scherzo (as in his Symphony No.2), a movement characterised by its onward driving energy and quicksilver textures. Never tonally straightforward, the scherzo starts with repeated staccato notes that prefer to centre on B flat rather than E flat; only in the trio, with its exposed horn-calls, does Beethoven unambiguously outline E flat m ­ ajor. The finale is a set of variations on a theme from Beethoven’s earlier ballet The Creatures of Prometheus. The symphony is thus linking to another of the composer’s works with a heroic programme. Whereas Mozart or Haydn began their variation-sets by stating the theme clearly,

Beethoven initially uses only fragments from the bass of his theme; often these fragments are related thematically to the first movement. Only much later is the Prometheus melody heard, and Beethoven cannot resist interrupting it for a fugal ­episode. The ‘Eroica’ was premiered in 1805, and its first audience was nonplussed by Beethoven’s innovations, complaining that the piece was too difficult and too long. The critic writing for the Allgemeine Musikalische Zeitung advised that “the symphony would improve immeasurably (it lasts an entire hour) if Beethoven could bring himself to shorten it, and to bring more light, clarity, and unity into the whole”. Within a few decades, however, the symphony was becoming one of the most influential pieces of the century, inspiring a new level of symphonic

attainments and redefining the notion of the Romantic hero. As Wagner commented on the ‘Eroica’ ­Symphony:

“

If we understand by ‘hero’ the whole complete man who is in possession of all purely human ­feelings —­love, pain and ­vigour —­at their richest and most intense, we shall comprehend the right object the artist is communicating to us in the movingly eloquent tones of this work. The artistic area of this work is occupied by all the manifold feelings of a strong, fully rounded individuality to which nothing human is alien, and containing within itself everything that is truly ­human.

”

Thus Beethoven’s compositional heroism far transcended the symphony’s initial association with ­Napoleon. Stephen Rose © ­2011 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London. His book The Musician in Literature in the Age of Bach has recently been published by Cambridge University Press.

This evening’s instruments The instruments on which we are performing tonight are closely matched to those which would have been used in the first performances of these works. The violinists are using three plain gut strings with no chin or shoulder rests; the violas and cellos are using at least two gut strings; and the cellists are playing without spikes. All bows are late classical or early modern, without ferrules (the metal attachment between the bow-hairs and the frog, at the foot of the bow).

Shunské is performing the Paganini concerto on a violin very similar to the composer’s own instrument. When Paganini needed extensive repairs to his violin, he sent it to the French maker Vuillaume. Vuillaume, with or without Paganini’s permission, took the measurements of the instrument so that copies could be made. One such copy was produced in Paris in 1846 by Auguste Bernadel, and it is this instrument — restored to its original state — which Shunské is playing tonight.

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Tumultuous times 1804 Napoleon declares himself Emperor of France

1810 Napoleonic empire reaches its greatest extent and power 1812 USA declares war on the British Empire (ends in 1814 with the Treaty of Ghent)

1801 The Kingdom of Great Britain and Kingdom of Ireland merge into the United Kingdom of Great Britain and Ireland

1811 Luddite movement, which leads to the foundation of trade unions

1805 An outnumbered British force under Admiral Lord Nelson defeats the French and Spanish fleet at the Battle of Trafalgar

1815 Napoleon is defeated at the Battle of Waterloo, ending his rule as Emperor of France

1812 French attack on Russia leaves over half a million dead; the Napoleonic Empire begins to crumble

1804 Beethoven Symphony No.3 in E flat major ‘Eroica’

1800

1798 Wordsworth and Coleridge set out a new vision for English poetry in the Lyrical Ballads (which includes The Rime of the Ancient Mariner)

1810 1804 William Blake begins the composition of ‘Milton a Poem’, which includes ‘And did those feet in ancient time’ — later used in the hymn ‘Jerusalem’

1800 Beethoven’s Symphony No.1 is premiered in Vienna

1804 The world’s first steam train journey takes place in South Wales

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1817 John Keats writes “I am certain of nothing but the holiness of the Heart’s affections and the truth of Imagination – What the imagination seizes as Beauty must be truth”

1809 Joseph Haydn, Beethoven’s teacher, dies 1812 The first instalment of ‘Childe Harold’s Pilgrimage’ is published

18

1821 Napoleon dies in exile on St Helena

1839 The first Opium War, between the UK and China’s Qing Dynasty, begins

1830 Belgian Revolution

1821 Venezuela liberated from Spanish rule by Simon Bolivar; Colombia, Argentina and Chile would also fall.

1833 Slavery abolished throughout the British Empire

1825 The Decembrist Uprising, when the Russian army revolted over the accession of Nicholas I, is comprehensively defeated in Saint Petersburg

1830 King Charles X of France is overthrown 1821 Weber Der Freischütz

1820

1826 Paganini Violin Concerto No.2 in B minor

1832 Franz Liszt hears Paganini for the first time; he determines to become as great a virtuoso on the piano as Paganini was on the violin

1830

1819 William Blake writes ‘Ode to Melancholy’

1830 Delacroix paints ‘Liberty Leading the People’

1822 Liszt, age 11, meets and is congratulated by Beethoven and Schubert at his first public concert in Vienna

1831 First attempt to build Brunel’s design for the Clifton suspension bridge is halted by Bristol Riots 1831 HMS Beagle sets off for South America, with Charles Darwin on board

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Richard Egarr conductor In 2007 Richard established the Choir of the AAM, and operas and oratorios lie at the heart of his repertoire. He regularly appears at the Concertgebouw in Amsterdam with, among others, the Netherlands Opera Company; and in 2007 he made his Glyndebourne debut in a staged performance of JS Bach’s St Matthew Passion. Richard is also renowned as an inspiration for young musicians: alongside his teaching position at the Amsterdam Conservatoire, he has regular relationships with the Britten–Pears Foundation in Aldeburgh and with the Netherlands Opera A ­ cademy.

Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music– making. As well as being an accomplished conductor, Richard is a brilliant harpsichordist and equally skilled on the organ, fortepiano and modern pianos. His many roles include directing from the keyboard, playing concertos and giving solo recitals, and he relishes the chance to talk about music at every opportunity. Richard trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester and as organ scholar at Clare College, Cambridge. His studies with early music pioneers Gustav and Marie Leonhardt further inspired his work in the field of historical p ­ erformance. Richard was appointed Music Director of the AAM in 2006, since when he has led the orchestra on tours to four continents and in a number of acclaimed recordings. Richard is also involved with a number of other period ensembles: he appears in America with the Handel and Haydn Society and Portland Baroque, and this season makes his debut with Philharmonia Baroque in San Francisco. He has performed as a soloist with The English Concert, the Orchestra of the Age of Enlightenment and the Orchestra of the 18th C ­ entury.

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Richard is increasingly sought after by non– period orchestras. This season he returns to conduct the Rotterdam Philharmonic Orchestra and the Scottish Chamber Orchestra, and makes his debut with the Berlin Konzerthausorchester and Helsingborg ­Symphony. “This was a performance of extreme contrasts, dramatically charged and highly characterised from start to finish” T H E A U S T R A L I A N , F E B R U A R Y ­2 011 Richard has performed as a soloist throughout Europe, Japan and the USA, and his solo recording output comprises works by Frescobaldi, Orlando Gibbons, Couperin, Purcell, Froberger, Mozart and JS Bach. For many years he formed an “unequalled duo for violin and keyboard” (Gramophone) with violinist Andrew Manze, which resulted in acclaimed concerts and award-winning recordings of music from Stylus Phantasticus to Mozart and S­ chubert. Richard has directed the AAM in recordings by JS Bach, including the Brandenburg Concertos; and in a complete cycle of Handel’s Opp.1-7 instrumental music which has won MIDEM, Edison and Gramophone ­Awards. Richard lives in Amsterdam with his wife and ­daughter.

Shunské Sato violin In addition to solo appearances with all the major orchestras in Japan, he has worked with leading European orchestras including the Deutsche Oper Berlin, Bavarian Radio Philharmonic, Orchestre Philharmonique de Radio France and the State Symphony Orchestra of Russia. Since his American debut with the Philadelphia Orchestra at the age of 10, he has performed with renowned US orchestras such as the Baltimore Symphony Orchestra, National Symphony Orchestra and Seattle Symphony Orchestra. These UK debut performances with the AAM come on the back of considerable recognition at the 17th International Johann Sebastian Bach Competition Leipzig in 2010, where accolades included the audience prize. Richard Egarr, the AAM’s Music Director, was judging the competition. 

Born in Tokyo in 1984, Shunské performs regularly on both modern and baroque violins, and is regarded as one of the most promising and versatile musicians of his generation. These performances of Paganini’s Second Violin Concerto in London and Cambridge mark his UK debut. Shunské began the violin at the age of two. Immigrating to America with his parents two years later, he studied with Chin Kim before coming under the tutelage of Dorothy DeLay and Masao Kawasaki at the Juilliard School of New York. In 2003, Shunské moved to Paris to pursue his studies with Gérard Poulet, and at this point his interest was captured by the world of period instruments. Since 2009 he has been living in Munich and studying the baroque violin at the Hochschule für Musik und Theater München.

“His concert was a knockout... Technical challenges seemed not to faze him, but it was the fluidity of his playing that impressed, rather than its muscularity” T H E N E W YO R K T I M E S ON S H U N S K É ’ S N E W YO R K ­D E B U T Shunské made his debut recording in 2005 with Eugène Ysaÿe’s Six Sonatas for solo violin. Further recordings from the same label include Edvard Grieg’s complete sonatas for violin and piano, which was awarded the Grand Prize by the Agency for Cultural Affairs of Japan. In 2009, Shunské became the first violinist to record Nicolò Paganini’s Twenty-Four Caprices for solo violin on a period violin. Shunské plays on violins — modern and baroque — made by Stephan von B ­ aehr.

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Academy of Ancient Music: our ethos The history of the AAM is the history of a revolution. When Christopher Hogwood founded the orchestra almost forty years ago, he rejected the decades-old convention of playing old music in a modern style. Hogwood and the AAM were inspired by original performances and, along with musicians across Europe, were beginning to discover the sound worlds which Bach, Handel and Haydn would have known. These bold initial steps would lead to a radical transformation in musical performance, allowing baroque and classical masterworks to be heard anew from that day to this. So what’s different about the AAM? Partly it’s the instruments, which are originals (or faithful copies of them). The stringed instruments have strings made of animal gut, not steel; the trumpets have no valves; the violins and violas don’t have chin-rests, and the cellists grip their instruments between their legs rather than resting them on the floor. The result is a sound which is immediate and striking; every

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instrument shines through, and the original balance of sound is restored. There’s also a difference in the way we approach our music making. Composers prized the creativity of musicians, expecting them to make the music come alive and to communicate its thrill to the audience — an ethos we place at the heart of all that we do. Moreover, our performances thrive on the close interaction within the orchestra and between the musicians, which allows our music making to be spontaneous, sparky and engaged. It’s not just about researching the past; it’s about being creative in the ­present. In everything we do, we aim to recapture the intimacy, passion and vitality of music when it was first composed. The result? Performances which are full of energy and vibrancy, the superb artistry and musical imagination of our players combined with a deep understanding of the music’s original context.

Academy of Ancient Music: our past, present and future The AAM was founded in 1973 by Christopher Hogwood, under whose leadership the orchestra developed the global reputation for inspirational music making which continues today. In its first three decades the AAM performed live to music lovers on every continent except Antarctica, and millions more heard the orchestra through its astonishing catalogue of over 300 CDs: Brit- and GrammyAward-winning recordings of Handel operas, pioneering accounts of the Beethoven, Mozart and Haydn symphonies, and revelatory discs which championed neglected ­composers. This artistic excellence was fostered by a stunning roster of guest artists: singers Dame Emma Kirkby, Dame Joan Sutherland and Cecilia Bartoli and pianist Robert Levin were among those performing regularly with the AAM. A range of collaborations continue to inspire the group with new ideas and fresh approaches. The current relationship with the Choir of King’s College, Cambridge recently produced the world’s first live classical cinecast, with Handel’s Messiah streamed live into thousands of cinemas across the globe; and ongoing work with the likes of soprano Elizabeth Watts, tenor Andrew Kennedy and cellist Steven Isserlis lies at the heart of the AAM’s present-day artistic success. In 2006 Richard Egarr succeeded Hogwood as Music Director, and the orchestra continues

its tradition of enthralling audiences old and new. Already Egarr has directed the first-ever performances in China of Purcell’s Dido and Aeneas and JS Bach’s complete Brandenburg Concertos, and has led tours throughout Europe and to Australia, America and the Far East. Recent recordings, including a complete cycle of Handel’s instrumental music Opp.1-7, have won MIDEM, Edison and Gramophone Awards. In 2007 Egarr founded the Choir of the AAM, which a year later was awarded the title of ‘Choir of the Year’ at the Beijing Classical E­ lites. The future is just as bright. Performances in 2011–12 feature music from Monteverdi to Beethoven, with outstanding artists including Alina Ibragimova and Anna Prohaska making their AAM debuts. In early 2012 the worldpremière recording of music by the English composer Christopher Gibbons, featuring the Choir of the AAM, will be released. Meanwhile the AAMplify new generation scheme continues to flourish: hundreds of young music lovers will be welcomed to AAM concerts this season, and the musicians of the future will rehearse and perform side-by-side with the orchestra in Cambridge and, for the first time, in London. Visit www.aam.co.uk to find out more, or pick up a season brochure tonight.

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Tonight’s composers

Beethoven in 1­ 801

Paganini in ­1831

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Weber in around 1825

Academy of Ancient Music Violin ­I Pavlo Beznosiuk* Iwona ­Muszynska Iona ­Davies Simon ­Kodurand Persephone ­Gibbs Jane ­Gordon Hilary ­Michael Shunské ­Sato Violin ­II Rebecca ­Livermore Pierre ­Joubert William ­Thorp Sarah ­Moffatt Liz ­MacCarthy Joanna ­Lawrence Marianna Szücs Viola Jane ­Rogers Marina Ascherson* Clare ­Barwick Emma ­Alter

Cello Catherine Jones* Imogen Seth-Smith* Gabriel ­Amherst Poppy ­Walshaw

Horn Gavin ­Edwards David ­Bentley Richard ­Bayliss Helen ­Shillito

Double ­bass Judith ­Evans Timothy ­Amherst

Trumpet David ­Blackadder Phillip ­Bainbridge

Flute Rachel Brown* Guy ­Williams

Trombone Philip Dale Simon ­Wills Adrian ­France

Oboe Antoine ­Torunczyk Leo ­Duarte Clarinet Antony ­Pay Barnaby ­Robson

Timpani & Bell in F# Benedict ­Hoffnung Orchestra list correct at time of going to print

*Sponsored ­chairs Leader Lord and Lady ­Magan Principal cello Dr Christopher and Lady Juliet ­Tadgell Principal flute Christopher and Phillida ­Purvis Sub-­principal viola Sir Nicholas and Lady G ­ oodison Sub-­principal cello Newby Trust ­Ltd

Bassoon Ursula ­Leveaux Zoe ­Shevlin

In “ profile

David Blackadder trumpet

I first played Beethoven on the natural trumpet with AAM and Christopher Hogwood on tour in Japan back in 1989. It was a thrilling experience and a real test of stamina. Years later it’s equally exciting to look forward to tonight’s concert and be part of a thriving environment, playing great music on period instruments with such an inspiring group of musicians. I remember meeting my great friend and colleague Ben Hoffnung for the first time back then in Japan, and here we are still making up two thirds of the ‘trumpani’ section!

”

Board of D ­ irectors Adam ­Broadbent Kay Brock LVO ­DL John ­Everett Matthew ­Ferrey James Golob John ­Grieves Heather ­Jarman Christopher Purvis CBE (Chairman) Dr Christopher ­Tadgell

Development ­Board Adam ­Broadbent Kay Brock LVO ­DL Delia ­Broke Elizabeth de Friend Kate Donaghy John ­Everett Matthew ­Ferrey James Golob John ­Grieves Madelaine ­Gunders Annie ­Norton Christopher Purvis ­CBE Chris ­Rocker Terence Sinclair Dr Christopher ­Tadgell Madeleine ­Tattersall Sarah Miles ­Williams Alison ­Wisbeach

Music ­Director Richard ­Egarr Emeritus ­Director Christopher Hogwood ­CBE Chief ­Executive Michael ­Garvey Orchestra ­Manager Andrew ­Moore Head of External ­ Relations Simon ­Fairclough

External Relations Manager: ­ Communications Toby ­Chadd External Relations Manager: ­ Development Oriel Williams Administration ­Manager Samantha ­Fryer Finance ­Manager Elaine ­Hendrie Arts Management ­Trainee Anna Goldbeck-­Wood

A ca d em y o f A n cie n t M usic , 2 0 1 1 - 2 01 2 S eas o n 15

Supporting the Academy of Ancient M ­ usic Having fun, getting closer to the music and securing the future of a great tradition. That’s what supporting the Academy of Ancient Music is all about. The music we are enjoying tonight only ever came into being through a tradition of patronage. JS Bach composed his instrumental masterpieces at the courts of Weimar and Köthen; Haydn enjoyed the backing of the Esterházy family; Mozart’s patrons included the Archbishop of Salzburg and Emperor Joseph II. The AAM exists to keep this music alive — but income from ticket sales covers only a third of the cost of staging concerts like tonight’s. Just like the composers of old, the orchestra relies on generous support from those who value its work and care about its future.

Over the next few years the AAM will be doing more than ever to develop the audiences, musicians and arts managers of the future through its AAMplify new generation programme, to bring baroque and classical music to a global audience through recordings and online work, and to enrich people’s lives through its concerts. In order to do so it must raise a total of £2.8 million by 2015. Through the generosity of individual philanthropists, Arts Council England and other funders and supporters £1.3 million has already been secured. £1.5 million remains to be raised. The future of ancient music is in our hands. Read on to find out how you can help.

Join the AAM Society The AAM Society is the AAM’s core group of regular supporters. Members’ annual gifts provide the vital ongoing support without which the orchestra would be unable to continue to perform. Members enjoy a close and ongoing involvement with the life of the orchestra: they dine with the musicians after performances in London; they receive regular invitations to open rehearsals, private recitals and other special events; and at least once each year they are invited to travel with the orchestra on tour internationally. Membership starts from £250 per annum (£100 for young supporters aged up to 40) and goes up to £20,000+. Gifts can be made annually or by regular standing order. Those giving over £1,000 receive invitations to regular recitals and other special events held in the homes of fellow members. Those giving over £5,000 have

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“The AAM’s Porto-Lisbon trip was memorable. We socialised with the players, heard wonderful music twice over with soprano Carolyn Sampson, had an exclusive tour and tasting of Graham’s Port, and were introduced to Porto’s extraordinary churches by an expert — with an optional trip to the Gulbenkian thrown in. All smoothly organised, relaxed and with the bonus of excellent company, meals and wine”. E lizabeth d e Frie n d A A M S ociety member

the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of Benefactors which meets annually to receive an update on the orchestra’s performance from the Chief Executive and Chairman. To join the AAM Society, please either contact the AAM or complete and return the membership form on page 17.

Support a special project From time to time, syndicates are formed to support special artistic projects. Members enjoy a particularly close involvement with the work they are supporting. It’s not too late to get involved with Musical Revolutions, the concert

series at the heart of the AAM’s 2011–12 London and Cambridge season. Please contact the AAM to find out more.

Invest in the AAM Tomorrow Fund The AAM Tomorrow Fund has been established for those who want to invest at a substantial level in the long-term future of the orchestra. Support from the Fund is making major strategic initiatives possible, including the development of the AAMplify new generation

programme and the revitalisation of the AAM’s recording programme. The Fund was established by a generous leading gift from Lady Sainsbury of Turville, and major gifts have subsequently been received from other individual and institutional supporters.

Leave a legacy Over the last four decades the AAM has brought joy and inspiration to millions of people. Our aim over the next is to begin to build an endowment which will ultimately enable it to do so in perpetuity.

ways in which you can support our work: gifts of any size have a real impact in enabling the AAM to keep baroque and classical music alive for generations to come. By supporting our work in this way you may also be able to reduce the overall tax liability due on your estate.

Leaving a legacy is one of the most enduring

Tax-efficient giving Generous tax incentives exist for UK taxpayers supporting charities like the AAM. Under the Gift Aid scheme the eventual cost of making a gift to the AAM could be as little as half of its

To find out more • Contact Simon Fairclough, Head of External Relations, on 01223 341096 or s.fairclough@ aam.co.uk; • Visit www.aam.co.uk and click “Support the AAM”.

value to the AAM — and for donors who make gifts of shares the cost could be lower still. Further information is available from the AAM.

“We love the AAM’s excellent performances, academic depth and innovative programming, and as AAM Society members we share the musical life of this superb ensemble project by project. The AAM is as welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage!” R ichar d a n d E le n a B ri d ges A A M S ociety members

A ca d em y o f A n cie n t M usic , 2 0 1 1 - 2 01 2 S eas o n 17

AAM Funders & Supporters The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work: AAM Business Club Cambridge University ­Press Kleinwort ­Benson Royal Bank of Canada Public funders Arts Council England Orchestras ­Live Cambridge City ­Council

Trusts and foundations CHK Charities ­Ltd Dunard ­Fund John Ellerman ­Foundation Esmée Fairbairn ­Foundation Fidelity UK ­Foundation Newby Trust ­Ltd Sir Siegmund Warburg’s Voluntary S­ ettlement Constance Travis Charitable ­Trust Garfield Weston ­Foundation J Paul Getty Jnr Charitable T­ rust and other anonymous trusts and foundations

The AAM S­ ociety Special gifts The Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestra’s work at a particularly significant level this y­ ear. The Chairman’s C ­ ircle (Donations £20,000–£49,999 per annum) Matthew ­Ferrey CHK Charities ­Ltd Dunard ­Fund The Hogwood C ­ ircle (Donations £10,000 - £19,999 per annum) Lord and Lady ­Magan Christopher and Phillida Purvis * Mrs Julia ­Rosier Dr Christopher and Lady Juliet T­ adgell Lady Linda Wong Davies (KT Wong Foundation) Principal ­Patrons (Donations £5,000 ­– £9,999 per annum) Richard and Elena Bridges Christopher Hogwood CBE * Mrs Sheila ­Mitchell Newby Trust Ltd * Chris Rocker and Alison W ­ isbeach Terence and Sian Sinclair and other anonymous Principal P ­ atrons Patrons (Donations £2,500 – £4,999 per annum) Adam and Sara ­Broadbent Richard and Elizabeth de Friend Mr and Mrs JE E­ verett ­ olob Mr and Mrs James G Sir Nicholas and Lady Goodison * John and Ann ­Grieves Graham and Amanda Hutton Mark and Liza ­Loveday John and Joyce Reeve Mark West and other anonymous ­Patrons Principal ­Benefactors (Donations £1,000 – £2,499 per annum) Lady Alexander of ­Weedon George and Kay ­Brock Mrs D ­Broke Mr and Mrs Graham Brown Clive and Helena ­Butler Jo and Keren ­Butler Sir Charles ­Chadwyck-­Healey ­Bt Kate Donaghy The Hon Simon ­Eccles

Elma Hawkins and Charles R ­ ichter Professor Sean ­Hilton Lord Hindlip John McFadden and Lisa Kabnick * David and Linda Lakhdhir Mr and Mrs C ­Norton Lionel and Lynn ­Persey Nigel and Hilary Pye * ­ awlinson Mr and Mrs Charles R Sir Konrad and Lady Schiemann * JG ­Stanford John and Madeleine ­Tattersall Marcellus and Katharine Taylor-­Jones Stephen Thomas Sarah and Andrew ­Williams Mrs R Wilson ­Stephens Charles ­Woodward and other anonymous Principal B ­ enefactors Benefactors (Donations £500 – £999) Dr Aileen Adams ­CBE Bill and Sue ­Blyth Claire Brisby and John Brisby QC * Jo and Keren Butler Mr and Mrs Edward Davies-­Gilbert Charles Dumas Mr and Mrs ­Jean-­Marie ­Eveillard Simon Fairclough Marshall ­Field Michael and Michele Foot Andrew and Wendy ­Gairdner Hon William ­Gibson The Hon Mr and Mrs Philip H ­ avers Dr and Mrs G and W Hoffman Heather Jarman * Susan ­Latham Tessa ­Mayhew Mr and Mrs Hideto Nakahara Rodney and Kusum Nelson-­Jones Nick and Margaret ­Parker Bruno Schroder and ­Family Peter ­Thomson Robin ­Vousden Pippa Wicks Peter and Margaret ­Wynn Julia Yorke and other anonymous ­Benefactors Donors (Donations £250 – £499) Angela and Roderick Ashby-­Johnson Elisabeth and Bob Boas * Mrs Nicky Brown Mr Jeremy J ­Bunting

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Dr and Mrs S C ­ hallah David and Elizabeth ­Challen Stephen and Debbie ­Dance Derek and Mary Draper Beatrice and Charles ­Goldie Steven and Madelaine ­Gunders Gemma and Lewis Morris H ­ all Mrs Helen ­Higgs Lord and Lady Jenkin of R ­ oding Alison ­Knocker Richard ­Lockwood Yvonne de la Praudière Robin and Jane ­Raw Annabel and Martin ­Randall Arthur L Rebell and Susan B C ­ ohen Denys ­Robinson Mr and Mrs Timothy Robinson Michael and Giustina ­Ryan Miss E M ­Schlossmann Michael Smith Rt Hon Sir Murray S­ tuart-­Smith * Janet ­Unwin Paul F. Wilkinson and Associates I­nc. and other anonymous ­Donors * denotes founder ­member Musical ­Revolutionaries Hilary Barton Cottisford Trust Hon William Gibson Mark and Lisa Loveday Mrs Sheila Mitchell Mr and Mrs Charles R ­ awlinson Michael and Giustina Ryan Robin Vousden Mr Charles ­Woodward and other anonymous Musical Revolutionaries

Join the AAM Society I would like to join the AAM Society I would like to give membership of the AAM Society to someone else as a gift Your details Name: ........................................................................................................................................ Address: .................................................................................................................................... ........................................................................................................................................................ Telephone: ............................................................................................................................. Email: .......................................................................................................................................... Gift membership — member’s details Please complete this section only if you are giving Society membership to someone else as a gift. Member’s name: ................................................................................................................ Member’s address: ............................................................................................................ ........................................................................................................................................................ Member’s telephone: ...................................................................................................... Member’s email: ................................................................................................................. Membership level The Chairman’s Circle The Hogwood Circle Principal Patron Patron Principal Benefactor Benefactor Donor Young Supporter (under 40 only)

£20,000+ £10,000–£19,999 £5,000–£9,999 £2,500–£4,999 £1,000–£2,499 £500–£999 £250–£499 £100–£249

Date of birth: ..................................................................................................................

Three-year pledge By pledging to support the AAM over a three-year period, you can help the orchestra to plan for the future with confidence. Please tick here if you are able to pledge to support the orchestra at this level for three years. Leaving a legacy Please tick here if you would be willing to receive information about remembering the AAM in your will. Matched giving My firm operates a matched giving policy. Please contact me to discuss this further. Gift Aid declaration Please complete this section if you pay UK income tax and/ or capital gains tax at least equal to the tax which the AAM will reclaim on your donations in the appropriate tax year. Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations. Signed: ..................................................................................................................................... Date: ........................................................................................................................................... Donations made by standing order Please complete this section if you would like to make your donation to the AAM by standing order. Name of bank: ..................................................................................................................... Bank address: ........................................................................................................................ ........................................................................................................................................................ Account number: ............................................................................................................... Sort code: ................................................................................................................................

Acknowledgement Please acknowledge my gift using the following form of wording

Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place Branch, Cambridge, sort code 30-13-55, Account number 02768172 the sum of

.......................................................................................................................................................

£......................................................................................................................................................

I would prefer to remain anonymous Payment details I would like to make my donation by I enclose a cheque for £................................ (please make payable to ‘AAM’) I enclose a CAF cheque for £................................ (please make payable to ‘AAM’) I would like to pay by standing order (please complete the standing order section below) I would like to make a gift of shares (please contact the AAM)

per

month quarter year

starting on: ............................................................................................................................. Signed: ...................................................................................................................................... Date: ........................................................................................................................................... Full name: ............................................................................................................................... Please return your completed form to: Simon Fairclough Head of External Relations Academy of Ancient Music 32 Newnham Road Cambridge CB3 9EY

A ca d em y o f A n cie n t M usic , 2 0 1 1 - 2 01 2 S eas o n 19

AAM London and Cambridge 2011–2012 season

Musical Revolutions Musical Revolutions is the concert series at the heart of the AAM’s work in 2011–12, showcasing five moments from the early baroque to the Romantic era when music changed forever. We’ll be exploring the earliest days — and some of the greatest achievements — of the concerto and the symphony; the unique periods of musical history which produced the early Italian cantata and the French baroque; and the birth of the phenomenon of the Romantic hero. Musical Revolutions celebrates cutting edge music and game-changing composers: be sure to join us for a very special journey.

Birth of the symphony A 50-year period of extraordinary musical change, from Handel and JS Bach’s sinfonias to the classical symphonies of Haydn and Mozart London

HANDEL Sinfoonia from Saul (1738) FX RICHTER Symphony No.4 in C major (1744) MOZART Symphony No.1 in E flat major (1764) JS BACH Sinfonia from Cantata No.42 (1718) J STAMITZ Sinfonia à 4 in D major (c.1750) J HAYDN Symphony No.49 in F minor ‘La passione’ (1768)

Monday 19 September 2011 7.30pm Wigmore Hall Richard Egarr director & harpsichord

Cambridge

Tuesday 20 September 2011 7.30pm West Road Concert Hall

Awakening of the Romantic hero Shunské Sato stars in Paganini’s Violin Concerto No.2, complemented by the most revolutionary work of its time: Beethoven’s ‘Eroica’ Cambridge

WEBER Overture to Der Freischutz (1821) PAGANINI Violin concerto No.2 in B minor (1826) BEETHOVEN Symphony No.3 in E flat major ‘Eroica’ (1804)

Monday 10 October 2011 7.30pm West Road Concert Hall Richard Egarr ­conductor

Shunské Sato ­ violin AAM Debut

London

Wednesday 12 October 2011 7.30pm Cadogan Hall

Witches and devils Music inspired by the occult and extraordinary, conjured up by Rebecca Bottone’s bewitching voice and AAM leader Pavlo Beznosiuk Cambridge

TELEMANN Concerto in A major ‘The frogs’ (c.1720) HANDEL Vocal and instrumental excerpts from Alcina (1735) TARTINI Sonata in G minor for violin ‘Devil’s trill’ (1713) CHARPENTIER Scenes from Act 3 of Médée (1693)

Monday 31 October 2011 7.30pm West Road Concert Hall Pavlo Beznosiuk Rebecca Bottone director & ­violin ­soprano AAM Debut

London

Wednesday 2 November 2011 7.30pm Wigmore Hall

Sumi Jo sings Mozart Star Korean soprano Sumi Jo explores a world of Viennese Masonic ritual, Greek myths and Turkish palaces Overture to Le nozze di Figaro (1786) ‘Martern aller Arten’ from Die Entführung aus dem Serail (1782)   Entr’actes from Thamos, König in Ägypten (1773) ‘Vorrei spiegarvi, oh Dio’ (1783)         Maurerische Trauermusik (1785) ‘Se il padre perdei’ from Idomeneo (1781)                  Symphony No.31 in D major ‘Paris’ (1778) ‘No, che non sei capace’ (1783)        

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London

Friday 25 November 2011 7.30pm Cadogan Hall Sumi Jo soprano AAM UK Debut

Richard Egarr director & harpsichord

Handel’s Messiah Handel’s timeless masterpiece in an unmissable festive performance

London

Wednesday 14 December 2011 7.00pm Barbican Centre Sarah Fox ­soprano

Anna Stephany mezzo-­soprano

Ben Johnson ­tenor

Choir of the A ­ AM

Stephan Loges ­baritone

Rise of the concerto Alina Ibragimova makes her AAM debut in a programme ranging from the first work for solo violin to the summit of the baroque concerto Cambridge

BIBER Passacaglia in G minor for violin from The Rosary Sonatas (c.1674) JS BACH Sonata in E major for violin and harpsichord BWV1016 (c.1725) JS BACH Concerto in A minor for violin BWV1041 (c.1730) VIVALDI Concerto in D major for violin ‘L’inquietudine’ RV234 (c.1727) VIVALDI Concerto in D minor for two violins and cello RV565 (1711) BIBER Battalia (1673) JS BACH Concerto in E major for violin BWV1042 (c.1730)

Monday 27 February 2012 7.30pm West Road Concert Hall Alina Ibragimova director & ­violin AAM Debut

London

Wednesday 29 February 2012 7.30pm Wigmore Hall

JS Bach’s St Matthew Passion Our acclaimed collaboration with the Choir of King’s College, Cambridge continues with a performance of JS Bach’s magisterial St Matthew Passion.

CAMBRIDGE

Tuesday 3 April 2012 5.30pm King’s College Chapel James Gilchrist Evangelist

Choir of King’s College, Cambridge

Stephen Cleobury conductor

Dawn of the cantata Jonathan Cohen showcases the human emotion and musical invention of the early Italian cantata FALCONIERI Ciaccona in G major (c.1616) MONTEVERDI ‘Zefiro Torna’ (1614) MONTEVERDI ‘Se vittore si belle’ (1638) STROZZI ‘Udite, amanti’ (1651) MONTEVERDI ‘Ardo e scoprir’ (1638) B MARINI Passacaglio in G minor (1655) CASTELLO Sonata No.15 à 4 (1621) MONTEVERDI Excerpts from Il ritorno di Ulisse in patria (1640) ZANETTI Saltarello della Battaglia (1645) MONTEVERDI Il combattimento di Tancredi e Clorinda (1624)

LONDON

Thursday 26 April 2012 7.30pm Wigmore Hall Anna Prohaska ­soprano

James Gilchrist ­tenor

CAMBRIDGE

Saturday 28 April 2012 7.30pm West Road Concert Hall

Jonathan Cohen director & ­keyboards AAM Debut

Age of the French baroque The Choir of the AAM explores the revolutionary church music of Lully, alongside ingenious instrumental works by two of his contemporaries J-B LULLY De profundis (1683) M-A CHARPENTIER Sonate à huit  J-B LULLY Regina coeli laetare (1684) J-B LULLY Salve Regina (1684) M MARAIS Sonatas pour le Coucher du Roy (1692) LULLY Dies Irae (1683)

Cambridge

Tuesday 26 June 2012 7.30pm West Road Concert Hall Richard Egarr director & harpsichord

London

Wednesday 27 June 2012 7.30pm Wigmore Hall

Booking ­information WEST ROAD CONCERT HALL Cambridge Arts Theatre box office 01223 503333 www.aam.co.uk

WIGMORE HALL Wigmore Hall box office 020 7935 2141 www.wigmore-hall.org.uk

CADOGAN HALL Cadogan Hall box office 020 7730 4500 www.cadoganhall.com

BARBICAN CENTRE Advance box office, Silk Street 020 7638 8891 www.barbican.org.uk

Booking for the concert in King’s College Chapel in April 2012 opens on 16 January 2012 via The Shop at King’s on 01223 769342. A ca d em y o f A n cie n t M usic , 2 0 1 1 - 2 01 2 S eas o n 21

Academy of Ancient Music

Handel’s Messiah Handel’s masterpiece has been the ultimate festive soundtrack for generations of families. Join the AAM and a fantastic line-up of soloists for London’s unmissable seasonal experience, and celebrate Christmas with music of stunning power and warmth.

“

The sublime, the grand, and the tender conspired to transport and charm the ravished heart and ear

”

THE DUBLIN JOURNAL ON MESSIAH, APRIL 1742

Sarah Fox soprano

Clare Wilkinson mezzo-soprano

Ben Johnson tenor

Stephan Loges baritone

LONDON

Wednesday 14 December 2011 7.00pm Barbican Concert Hall Tickets £10, £15, £25, £35, £45 020 7638 8891 www.barbican.org.uk Handel's Messiah A4 ad.indd 1

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Richard Egarr director & harpsichord 9/26/2011 1:25:32 PM

Academy of Ancient Music

Sumi Jo sings Mozart

“

the Korean “Queen of Coloratura” was nothing short of spectacular... the bright and luminous glow was immediately apparent

”

SINGAPORE TIMES, 2011

Hot on the heels of a seven-concert tour of the Far East with the AAM, stunning South Korean soprano Sumi Jo makes a rare UK appearance to sing some of Mozart’s most glittering music. Programme to include excerpts from The Marriage of Figaro, Idomeneo and The Abduction from the Seraglio, as well as the complete ‘Paris’ symphony and Masonic funeral music.

Sumi Jo soprano

LONDON

Friday 25 November 2011 7.30pm Cadogan Hall Tickets £10, £15, £25, £35, £45 020 7730 4500 www.cadoganhall.com Sumi Jo sings Mozart A4.indd 1

Richard Egarr director & harpsichord 9/28/2011 12:23:20 PM

A ca d em y o f A n cie n t M usic , 2 0 1 1 - 2 01 2 S eas o n 23

Academy of Ancient M ­ usic

On sale tonight: JS Bach’s Brandenburg Concertos

“ 

I ’m here to tell you that the Egarr-AAM Brandenburgs really blow. In a good way. They blow centuries of library dust off these pieces, and they blow fantastic horn and trumpet lines. Egarr & co. are in it to win it. Whew! Wild, outdoorsy, jazzy, almost bepop...

STEREOPHILE

”

Available for £20 from the CD sales desk in the foyer

Mozart

Sir Mark Elder conducts a stellar cast of soloists in Berlioz’s magical oratorio

Il re pastore 11 & 12 November 2011, 7.30pm Kings Place

L’enfance du Christ London

Southbank Centre’s Queen Elizabeth Hall Thursday 8 December 2011 7.30pm Box Office: 0844 847 9910

Cambridge

www.classicalopera.co.uk

West Road Concert Hall Friday 9 December 2011 7.30pm Box Office: 01223 357851

Tickets: £9.50 - £34.50 : 020 7520 1490 / www.kingsplace.co.uk

www.brittensinfonia.com

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aam ad 77 x 111.indd 1

03/10/2011 10:37:33